Like many, we at the ABAA have spent the recent weeks watching, listening, reading, learning and reflecting on the prevalence of racism in our society. As we think about the events that have brought us to this point, and the long history behind them, we consider difficult questions about what we can do to contribute to positive change. As purveyors and custodians of rare books, manuscripts, and other cultural artifacts, we pride ourselves on the encyclopedic scope of our field. But do we truly embody the core values of fairness and inclusion that we claim to embrace? Are we really doing all that we can to combat systems and structures that have kept the rare and antiquarian book trade exclusive and even exclusionary? What steps can we take to be more proactive and responsible agents of the rich, complex, and beautifully varied cultures whose physical materials we preserve, protect, and sell? How do we increase representation of people of color not only in the items we offer and the collections we help to build, but also among our customers and our own membership?
These are tough questions to face. Indeed, as an organization that is all but entirely white, it is hard to know where to start because we want to support change in a meaningful and productive way. We have felt the need to listen more than to speak. At the same time, however, we know that we must not remain silent in the face of injustice. The recent necessary upheavals and the outpouring of valuable, thoughtful commentary, remind us all that no matter how small our corner of society, and no matter how we feel about ourselves and our values, there is work for each of us to do to see that longstanding systems of racism and habits borne of prejudice are finally broken down. We must do more.
We can begin by stating plainly that at the ABAA we stand against racism and discrimination in all forms, we condemn police brutality, and we affirm the value of Black lives.
But beginning with that statement is the easy part. As an organization, we commit ourselves to doing better and not looking the other way. We must be active in promoting diversity in our ranks and ensuring that our book fairs and public programs are inclusive and welcoming to all without concern for race, national origin, religion, sexual orientation, physical disability, or gender identity.
The ABAA aims to:
Ensure that there are no barriers to the participation of Black, Indigenous, and people of color in the world of collecting
Advance diversity in our leadership and membership through outreach and recruitment
Educate our membership in best practices for diversity in hiring and representation
Consistently reassess our procedures and communications to eliminate any and all instances of bias, whether conscious, unconscious, or implicit
Browse the latest catalogs, newsletters, and e-lists of rare books, fine bindings, incunabula, print ephemera, and much more from the members of the ABAA below. (Also includes podcasts, blog posts, and other digital formats.)
Venice: Repario and Cesano, 1551. vellum. 393 pages. Engraved title page. Full vellum binding with red leather spine label. Thick 12mo [4.5x6.5cm]. Vellum shows soiling, edgewear and some stains. Front hinge cracked but binding sound. Spine label dulled and chipped. Most of the inside paste down pulled out leaving residue and border. Some rippling to rear pastedown. Title page foxed, otherwise clean with mild toning. Good. Item #76851
Boccacio's first major work, preceding the DeCameron. A retelling of the 12th Century French romance. In Italian.
New York: Scribner’s, 1942. First edition, first printing. Inscribed by Chidester to Irma Wyckoff, secretary to Maxwell Perkins: “With best wishes to Miss Wyckoff, Sincerely, Ann Chidester”. Additionally laid in to this copy are a typed letter signed and typed postcard signed, also to Irma Wyckoff. Publisher’s pale blue-green cloth; in original blue dust jacket with an illustration by Cleon. Near fine book; in very good unclipped dust jacket with some wear and shallow nicks to corners, a few small closed tears to head of spine, 1” closed tear to top edge of rear panel near the spine, a few small tears to bottom of rear panel, front panel bright and fresh. Overall, a pleasant copy, with an interesting association. Young Pandora is Ann Chidester’s first novel. It is autobiographical in nature, featuring a young girl from the Midwest who falls in love, travels, and begins a writing career. Chidester wrote five novels and many short stories, focusing on women’s issues and the plight of the poor. She was close friends with her publisher at Scribner’s, Maxwell Perkins, who famously published F. Scott Fitzgerald, Ernest Hemingway, and Thomas Wolfe. This copy of Young Pandora was inscribed by Chidester to Irma Wykoff, Perkins’ devoted secretary. Also included are a typed letter and postcard. In them, she discusses their mutual acquaintance Marian, an editor at Mademoiselle, and Chidester’s recent move to Taos, NM. She also talks about the new book she is writing, Mable Dodge Luhan’s literary colony, and refers to Perkins as “my friend, Mr. God.”
Offered by B&B Rare Books and found in "ABAA Virtual Book Fair List."
London: John Murray, 1912. First English edition. 6 maps and charts (4 folding), one diagram of the journey, and 99 photographic plates. xxxv, , 392; x, 449 pp. 2 vols. 8vo. Original maroon cloth lettered in gilt, decorated with the Norwegian flag on front covers and spines, top edge gilt, others uncut, contemporary gift inscription. Flags on spines a little rubbed, frontispiece loose, otherwise a near fine copy. Taurus 71; Rosove 9.
After hearing of Cook's and Peary's claim of the North Pole in 1909, Amundsen changed his plan and instead decided to head for Antarctica in 1910. Setting off in the Fram, he and his men arrived at the eastern edge of Ross Ice Shelf at a large inlet called the Bay of Whales on 14 January 1911. Amundsen spent the winter mapping his route and preparing depots for food and provisions along the way and finally left for the South Pole on 19 October 1911 with four other men, four sledges and 52 dogs. They arrived at the Pole on 14 December 1911, 35 days before Robert Falcon Scott and his party.
OCCASIONAL LIST 22: A Miscellany: Original Art Work; Small Archive of Major English Watercolourist; Interesting Theatrical Pieces; Manuscript Material, Etc., Etc. -- available on request from fgrare@fgrarebooks.com...
Has the following lists available: California, Texas, Kansas, Missouri, Minnesota, Iowa, Nebraska, Oregon, Louisiana, Colorado, Ohio and New York. Will email to interested parties. Contact info@ginsbook.com to request...
Boston: published for the Author by Estes & Lauriat, [1884-] 1885. Quarto. (11 3/4 x 8 7/8 inches). Uncoloured lithographic map, 22 hand-coloured lithographic plates (18 of birds, 1 of a nest and eggs, 3 of details of heads of birds).
Contemporary half morocco and marbled paper covered boards, spine gilt with raised bands, marbled endpapers. Provenance: W. L. Foster (booklabel).
A fine monograph on the birds of Haiti and San Domingo, from an edition limited to 300 copies.
An exhaustive account of all the birds of Haiti and St. Domingo known in the late 19th century. The advertisement for the work notes that the "edition will be absolutely limited to three hundred copies, and will be sold only to subscribers for the complete work. Price $5.00 per part." Included are representatives of 87 genus from 42 different families. Each entry includes the synonymy and description of the individual species, together with interesting more personalised notes by the author about where he encountered the birds, how many specimens he collected, etc. The fine plates are by various artists including eight by Joseph Smit. They include 18 plates of individual or pairs of birds (these are of a total of 17 different species as there are two plates of adults and a juvenile of the same species), 1 plate of a nest with eggs in it, and three plates with multiple images of bird's heads showing a total of 23 species.
1941. 31.5cm x 21cm. One typed sheet tipped in followed by 21 ll, [1 - blank] leaf (of which five of the leaves have manuscript and documents recto and verso; the other sixteen recto only). Contemporary plain paper wrappers, title in manuscript on the upper wrapper, light wear to the edges of the wrappers and some sunning. $1500.00 An incredible document from the German occupation of Paris during the Second World War. The Germans took control of Paris on June 14th, 1940. Already, food was scarce in France due to much of the work force having already left for war and the supply chains from France’s colonies greatly disrupted. This was made far worse when Germany occupied France. Immediately, the remaining French products were sent to Germany to support the German cause, and only what was left over, was made available to the French through a strict rationing system.
The current album relates to the rations available in Paris during the month of September, 1941. On the upper wrapper is written “3eme Bureau;” this likely refers to the rationing office of the 3rd arrondissement in Paris. The first leaf is a typescript index for the album (all leaves are present). The sheets are numbered 1-21 (with a few versos numbered with a “bis” number) and contain the original ration sheets that were being issued by the German occupation government during the war. The sheets are pasted in, and in most cases, small ration tags are cut out and mounted alongside. On each sheet, there is also manuscript information that explains the quantity of the given foodstuff that the ration is good for and how it is to be administered. For example, one ration tag is good for 325 grams of butter, another for 60 grams of cheese, and so on. The foods included are bread; meat and cold cuts; and matières grasses (i.e. oil; butter; cheese; beef fat; margarine; and lard). There is also a special coupon for workers which entitles them to greater amounts of food. On the verso of that coupon, it states “L’hiver qui s’aproche sera rude. Les effectifs des cuisines d’entr’aide vont croître. Vous aiderez le SECOURS NATIONAL à « tenir ». Et la misere reculera !” (The coming winter will be harsh. The number of service kitchens [i.e. soup kitchens] will increase. You will help SECOURS NATIONAL to “hold on.” And misery will recede!) Also laid in is a contemporary newspaper clip entitled “Le ravitaillement. Les rations alimentaires du mois de juillet” and an unused contemporary German postcard (printed in Berlin) that is a picture of German ration coupons.3 A remarkable glimpse into the conditions under which the Parisians had to live during the Second World War. In good condition and preserved in an archival folder.
N.p.: [Royal Crown Cola Company?], [1960s]. 11” x 28”. Thick cardboard. Very good plus: light edge and corner wear, bump near lower left corner.
Over two feet wide, this is an advertisement for Diet Rite cola featuring an African American family, probably intended as a store display. Although not the first diet soda, the launch of Diet Rite in 1958 (which was initially marketed to diabetics and
sold in drug stores) led to a significant expansion of the diet soft drink industry. We find no other examples.
19th c. calf, single gilt filet framing the boards, hinges discreetly repaired, gilt spine, label chipped, edges worn. Fine copy with the initial leaf with signature mark and blank ¶8 both present. Marginal worm-trail to blank lower margin in middle signatures, not affecting text. Title with decorative border, woodcut of Robert Dudley, Earl Leicester’s emblem (the muzzled bear) inscribed with the Garter motto on leaf ¶3. Woodcut initials, diagram of divisions of the Mass, some passages in Greek. Rare. 7 institutional holdings in North America. Provenance: bookplates of George Stokes, Cardiff Castle, and Robert Pirie.
One of the greatest of the Tudor humanists, Ascham was favored by Henry VIII, to whom he dedicated his “Toxophilus”, tutor to the princess Elizabeth, and author of a masterpiece of English pedagogy, “The Scholemaster”. Ascham also tutored the boy king Edward VI in the art of elegant handwriting, and Edward thought of him fondly, and so it is of interest that Ascham wrote this “reformed” work while Edward was being groomed by his close advisors to be a thoroughly Protestant monarch.
Roger Ascham (1515/16-1568) penned his ‘Apologia pro Caena Dominica contra Missam & eius Praestigias’ (‘A Defense of the Lord’s Supper against the Mass and its Magic’) at Cambridge in 1547/8 during the first year of Edward VI’s reign. It was published in Ascham’s name some thirty years later (and about ten years after Ascham’s death) in 1577/8, together with his dedicatory preface to Robert Dudley and his other theological pieces, which are also in Latin...
Hallmark, 1983. Minor shelf/edge wear, else bright and clean. Approx. 20x28" Very Good+. There were at least two versions of this poster, one with "I Love Everybody) at the top and this one with "Guess Who's Coming to Dinner." This is clearly the preferred version. A scarce poster to find in good condition, especially in as find condition as seen here.
Offered by Lux Mentis Booksellers and found in "Poster Print Art."
Illustrated Catalog on Carlos Merida (1891–1984) -- Mexican painter, sculptor, writer and graphic designer -- available by request from mmbooks@comcast.net
“Utrecht, Henrik Khyrks le jeune” 1732. 12mo. Frontis., 66p. WOODCUT FRONTISPIECE OF THE LEAD CHARACTER HOLDING HIS RIGHT FOOT ABOVE HIS HEAD LIKE A DANCE MASTER. Early 19th-century blue wrappers, later printed spine label.
First Edition of this theatrical satire of the Convulsionaries, primarily women, who engaged in a mix of millenarianism, eroticism, torture and hysteria at the tomb of the Jansenist François de Pâris in the St. Médard churchyard in Paris, where they gathered to pray and receive miracles from the late 1720s into the 1740s. Some danced uncontrollably until they dropped from exhaustion. One of the principal leaders, abbé de Bescherand, exhibited extraordinary symptoms, including foaming at the mouth and frenetic leaping, this last depicted as a kind of dance in the woodcut frontispiece (often missing). In the play he is represented as Father Jump (abbé du Sault). To prevent further outrages, in January 1732 the crown temporarily closed the cemetery and posted guards to block access. Bougeant capitalized on the public’s fascination with the cult. A good uncut copy, old bookseller’s slip pasted on the front flyleaf.
Offered by Bruce McKittrick Rare Books, Inc. and found in "Short Stack 52."
“Prise de la Bastille par les Bourgeois et les braves Gardes Françaises de la bonne Ville de Paris, le 14 Juillet 1789. Dédiée à la Nation.” (France, after July 14, 1789). Hand-colored engraved folding paper fan, printed on recto and verso on two adhered sheets, the recto with a full-width etched and engraved scene of the taking of the Bastille, colored in watercolors and white gouache, within stencil-printed decorative border, the verso with an engraved poem; mounted on original plain wooden sticks, the guards with narrow fillets of decorative bone along edges and at rivet, the unfolded leaf measuring approx.137 x 500 mm., total fan measurement 208 x 500 (10 3/4 x 20 in.).
Condition: a few small chips and old paper patches, mainly to the borders, one small patch within the engraved area, affecting only the background, slight wear along a few pleats, one or two small stains, 2 words slightly rubbed on verso, a guard relined.
A FINE EPHEMERAL SURVIVAL: a rare fan on a popular and dramatic theme, no doubt issued soon after the event depicted. Although by July 14 1789, the Bastille was nearly empty, and its historical reality was that of “the least cruel of all the [French] state prisons” (Marion, Dictionnaire des Institutions francaises, p. 40), its potency as a visually imposing symbol of tyranny was undiminished. The day of its storming by a crowd of about 1000 “bourgeois” was unfortunately one of intense bloodshed, with over 100 people, including 98 attackers, several soldiers and the garrison commander the Marquis de Launay, losing their lives. De Launay’s head and that of Jacques de Flesselles, “Prévôt des Marchands,” were later paraded on pikes.
Offered by Musinsky Rare Books and found in "La Révolution."
(London: Richard Bentley, 1871) 200 x 130 mm. (7 3/4 x 5”). Three volumes expanded to six. “SPECIAL COPY, extra illustrated in six volumes.” CHARMING OLIVE GREEN CRUSHED MOROCCO, GILT AND WITH PICTORIAL INLAY, BY BAYNTUN (stamp-signed on front turn-in), upper covers with leafy strapwork gilt frame, central inlay in multiple colors of morocco depicting one of the characters from the book, with gilt lettering beneath it, lower covers with gilt-rule frame, raised bands, spines gilt in compartments with strapwork and leaf ornament, gilt lettering, gilt-ruled turn-ins, marbled endpapers, all edges gilt. Housed together in a green cloth slipcase. WITH 537 PLATES, consisting of 27 folding plates (nine hand-colored), 124 hand-colored plates (19 of them from the Rowlandson “Dr. Syntax” series), and 386 black & white engravings, all but one of the plates with original tissue guard. Spines evenly sunned to a pleasing hazel brown, one leaf with neat repair to upper corner (away from text), occasional mild foxing to plates (usually marginal, never offensive), other trivial imperfections, but A VERY FINE SET, clean and fresh, with none of the offsetting that usually plagues extra-illustrated works, IN SPARKLING BINDINGS.
This is perhaps the ultimate copy of Jesse’s entertaining and informative tour of his beloved city and the characters who have inhabited it over the centuries: it was professionally “grangerized” with fine specimens of 96 relevant prints, all with tissue guards; it was beautifully bound by a leading firm in a style that perfectly complements the contents; and, despite these obvious benefits, it has seen very little use. John Heneage Jesse (1809-74) wrote a number of popular historical works, including royal biographies and court memoirs, that drew praise for their conscientious attention to fact and detail, if not for their originality or wit. Described by DNB as “a dedicated Londoner, [who] seldom ventured away from the metropolitan area,” Jesses leads us here through the districts of his home city, relating anecdotes, noting the locations of momentous events, and pointing out architectural treasures. The added portraits, scenes, and views help to bring his account to life, and the diligent use of tissue guards has prevented these illustrations from affecting the adjacent leaves in a detrimental way. Rowlandson’s famous caricatures from “Dr. Syntax,” portraying the amusing adventures of a country parson in the metropolis, comprise just one example of the half a thousand inserted plates here. The bindings from Bayntun of Bath depict some of the humble characters whose presence gives the capital so much of its flavor: those who sell their wares on the streets and do everyday jobs that keep the city running. The Bayntun firm, founded in Bath in 1894, is now the last of the great Victorian trade binderies still in family ownership. Our binding probably dates from the first quarter of the 20th century, when the workshop was known for imaginative designs that involved the augmenting of gilt decoration with inlaid pictorial designs.
Offered by Phillip J. Pirages Fine Books and found in "Catalogue 76" (item #100).
Original Scrapbook on nancy Astor, the First Female MP Elected in Britain
An original scrapbook compiled by a follower of Nancy Astor, the first female Member of Parliament to take her seat in the United Kingdom. Materials within dated 1934-1936.
Quarto (6⅛ inches by 7¾ inches). [180] pp. Newspaper clippings, posters, and other campaign promotional items laid in or pasted down on the first [90] pp., except for on a few blank pages. The remaining pages of the scrapbook are blank. Some of the items are in color and many of the newspaper clippings include photographs. Also with a separate photograph (3” by 4¼”) of Nancy Astor on a dock laid in between pages 2 and 3. Notebook in cloth-backed maroon boards. Some light rubbing to boards. Blue speckled edges. Some toning to materials throughout and to pages of notebook, but overall a very good, one-of-a-kind item.
Nancy Witcher Astor (1879-1964) was born in Danville, Virginia, but moved to England with her husband Waldorf Astor at the age of twenty-six. In 1919, Nancy Astor became the first woman in the United Kingdom to take her seat as a Member of Parliament. The materials in the present item chronicle Astor’s successful campaign in the general election of 1935 and offer context into the social and political climate of the United Kingdom at the time. Many of the campaign materials included here are targeted towards women, especially mothers, and portray Astor as a hero for educational reform (pp. [20-21]) and a “champion of the nursery” (p. [16]). The materials also offer insight into the Conservative Party’s rhetoric against socialism, especially in regard to economic improvement since the Conservative Party regained control of the House of Commons from the Labor Party in 1931. One flyer reads: “The Socialist Party’s policy means dumping, depression, disaster,” (p. [8]). Overall, this scrapbook is a fascinating perspective on the public face of Nancy Astor and contemporary attitudes toward her and her campai
Compton, CA: Compton Police Officers Association, 1964. 8.5 x 11 inches, 72 pp, with illustrations and ads. Three-hole punched, police department stamp on front cover, one gathering loose front staples; very good. Fourth annual edition of this periodical, which was used to raise funds for the Officers Relief Fund and to inform the public of "some of our problems and functions."
Within a year, there would be riots--founded in a long history of friction between African-American residents and the police--in neighboring Watts, and by 1970, Compton would have the highest crime rate in California. This publication starts with a positive story showcasing of a newly completed police building, and includes articles about successful police operations and public safety tips. But hints of the policecommunity tension to come are also present. An article titled "'Defenders of the Peace' in Community and Human Relations" asks citizens to support the efforts of the police, complaining that "unjust charges are sometimes made against the police. Charges made or rumored by persons who do not have all the facts. When this happens, police morale is jeopardized and the development of an esprit de corps is made difficult." Another, titled "Take the Handcuffs Off Our Police," argues that by overzealous interpretation of constitutional rights "we are increasingly throttling our law enforcement officers with judge-made rulings that stagger common sense." And an editorial proclaims that "now, more than ever before in our history, one is either for law enforcement or he's against it. He's either for mob rule--or he's for the law. He's either for America--or he's against America. Let's begin to make our laws say what they mean and mean what they say--and let everybody know it." No holdings (of any issue) located in OCLC.
Paris: Gallimard, 1949\. First edition. Original publisher's cloth bindings with titles to spine and pictorial illustrations of Mario Prassinos to boards. Pegasus motif endpapers. Gentle rubbing to extremities of spines; gentle bumps to corners. Front board of volume II mildly bowed. In all, a pleasing pair of this important philosophical work, which was released in a limited edition of 2,105 copies, including the present set which is one of 2,000 numbered copies on Alfama Marais paper. One of the preeminent French existentialist philosophers, working alongside other intellectual greats such as Jean-Paul Sartre and Albert Camus, Simone de Beauvoir made her greatest contributions in the fields of ethics, feminism, and politics. She is perhaps best known for the present work, The Second Sex, which argues that women have been historically relegated to a second class as men's 'Other,' and that this has led to systemic oppression. "Her revolutionary magnum opus, it was published in two volumes and immediately found both an eager audience and harsh critics. The Second Sex was so controversial that the Vatican put it on the Index of Prohibited Books...Striking for its breadth of research and the profundity of its central insights, it remains to this day one of the foundational texts in philosophy, feminism, and women's studies" (Encyclopedia of Philosophy). Near Fine.
Remember, you can always browse and download the latest catalogs published by ABAA members on ABAA.org by visiting the following link: https://www.abaa.org/catalog/... (You can also access this page by selecting 'Booksellers' from the top menu, scroll to the bottom of the page to 'Member Catalogs', and click on 'View All'.)
Our members list new acquisitions and recently cataloged items almost every day of the year. Below, you'll find a few highlights from these recent additions...
by CAIDIN, MARTIN; M. SCOTT CARPENTER, GORDON COOPER, JOHN GLENN, GUS GRISSOM, WALTER M SCHIRRA, ALAN SHEPARD AND DONALD SLAYTON
New York: E. P. Dutton & Company, 1960. First edition of this introduction to Project Mercury. Octavo, original cloth, illustrated with drawings by Fred L. Wolf and photographs. Signed by all seven of NASA's original Project Mercury astronauts on the half-title page, using their full signatures. Signed by Walter M Schirra Jr. (signed twice), Virgil I. Grissom, M. Scott Carpenter, Donald K. Slayton, John H. Glenn, Jr., and Leroy G. Cooper Jr. and Alan B Shepard Jr. Near fine in a near fine dust jacket. Books with all of the Project Mercury's signatures are rare, especially with full signatures. "The first seven American astronauts were an admirable group of individuals chosen to sit at the apex of a pyramid of human effort... They chose to lead by following the opportunity that chance, circumstance, technology and history had prepared for them" (Swenson, Grimwood & Alexander). NASA introduced the seven astronauts in Washington on April 9, 1959. Although the agency viewed Project Mercury's purpose as an experiment to determine whether humans could survive space travel, the seven men immediately became national heroes and were compared by TIME magazine to "Columbus, Magellan, Daniel Boone, and the Wright brothers" (TIME 1959).
Paris: (Cordier for) Le Fuel, 1822. 18mo (123 x 80 mm). [iv], 175 pp. Double column. Additional engraved title/wrapper with hand-colored fashion emblem (a parasol draped with shawls, necklaces and a flowered hat) and 15 engraved plates, on thicker paper, all stencil- and hand-colored under the publisher's direction, one (of corals) also color-printed; tissue guards. Small closed tear in first gem plate, else a fine copy. Bound at end are six leaves on thicker paper containing [12] pages, one per month, blank except for the engraved name of the month and hand-colored vignette (with traces of old pencil scribbles); and a smaller format foldout calendar for 1822, with the imprint of Lefuel,the months in columns each topped by a woodcut astrological vignette. Publisher's blind-stamped brown calf "cathedral" binding, the same block used on both covers, backstrip with blind-stamped ornamentation above and below the title, gilt edges, yellow endleaves, blind-stamped matching leather slipcase, lower cover of binding with silk tab for removing from the slipcase (a bit of scuffing). Etched bookplate of Robert de Beauvillain tipped to front endleaf.*** Only Edition of an unusual and still useful illustrated dictionary of objects, materials and concepts, most of interest to women and many relating to fashion. Covering both luxury goods and common objects and materials, the dictionary contains over 800 entries, many including the names and addresses of relevant Parisian suppliers, making it a far-ranging encyclopedia of feminine material culture in Restoration France. This is a special de luxe copy in a reliure à la cathédrale, with an extra fold-out calendar and hand-colored ornamented cahier for notes for each month of the year. From Abaca (a type of hemp or linen from the Philippines, of which the white plants were used to make a very fine cloth while the gray were used for cocardes) and Acier (steel being used at this time not only for buckles, belts, clasps etc., but also to make jewelry, a dozen examples being illustrated in plate 1), to Zéphir (a shawl made of net) and Zibeline (the animal whose nearly black fur is highly prized), the dictionary includes terms of apparel, footwear, and accessories, a vast number of textiles and related terms (materials, weaves, and treatments), furs and skins, common materials with a variety of applications (e.g., sandalwood, various vinegars and oils), objects used for personal grooming (sponges, tweezers, brushes, mirrors, etc.), many perfumes and eaux de toilette, gems and precious metals, furnishings and furniture, and even prostheses, including a long description of artificial eyes and where to purchase them. A few entries contain mini-treatises on social custom: the seven-column entry for Deuils, for example, discusses the proper length and appropriate mourning dress for various degrees of consanguinity. Some contain surprises - thus the entry on Marriage, far from listing bridal gowns and suppliers, tells a simple story of a painter and the changing perspective of a groom, before and after marriage. The language of flowers gets a special entry (which advertises a relevant publication, the Dictionnaire du Langage des fleurs ou de leurs emblèmes, of which I locate no edition). Besides steel jewelry, the finely colored plates show rings and earrings, pocketbooks and wallets, necklaces, specimens of coral, fans, a splendid bouquet, brightly colored garters, bejeweled combs, 24 precious stones (on two plates), an elaborate feather headdress, a pretty assemblage of ribbons, and several large handbags (sacs-gibecières, two plates). Perrot was a geographer who wrote and edited numerous works. Mazeret was an almost equally prolific writer for hire. The publisher Valentin Lefuel, active from 1792 to the late 1820s, specialized in the publication of almanacs, keepsakes, and children's books. He was also a binder, and he offered his publications in a variety of different bindings, including "gauffred calf," here in the "cathedral" style, inspired by gothic architecture, which enjoyed a vogue in France and England during the Romantic era. (I have not previously seen an example of this kind of binding on an almanac or almanac-like popular imprint.) Copies are held by the Brooklyn Public Library, Morgan Library, Metropolitan Museum of Art and Smith College (the last two purchased from us); outside the US OCLC lists only the Bibliothèque nationale de France, to which the Catalogue Collectif de France adds a copy at Rouen. Colas, Bibliographie générale du costume et de la mode 2023; Grand-Carteret, Les almanachs français 3476. Cf. S. Malavieille, Reliures et cartonnages d'éditeur en France au XIXe siècle, p. 24 (on Lefuel).
London: Neville Spearman, 1957. First British Edition. Fine/Fine. First British edition. Fine in a Fine dust jacket with almost imperceptible streaks to rear panel only faintly visible in raked light. A fantastic copy of a book normally found in much lesser condition.
Paris: Les Jouets et Jeux Français, 1895. A board game for up to six players, following the eighty-day journey of Phileas Phogg across the globe. Each day is represented by a square on the board, centering around a globe. Some squares show notable characters, such as Phogg, Francis Cromarty, and Miss Aouda, while others show ships, animals, and landmarks from destinations as far as Calcutta, Hong Kong, and San Francisco. Some squares have particular associated functions, which are outlined in the rules on the underside of the box lid. The course of play proceeds through a series of transactions using the fifteen tokens provided, with one player acting as Phogg's valet, Passepartout, who takes on the role of banker. The tokens are housed in a cloth bag. Six painted metal figures act as gamepieces, housed in a smaller box, with splits to corners of lid. Paper cup holding two dice, along with tokens and game pieces, contained in separate compartments in the box. Some soiling to back of game board. All elements stored in box with lush pictorial lid, some signs of repair, else a near fine and remarkably intact set.
Paris, France: Obelisk Press, 1935. Book. Very good condition. Paperback. Fourth edition. Octavo (8vo). 271 pages of text. Original paperback binding with minor shelfwear and soiling, and minor vertical creasing to the spine. Pearson A-37 [unrecorded variant] with all points identical to A-37 with these exceptions: 1) Does not have the statement "Banned in England May 1935" printed on the front cover; 2) the front flap contains the price 50 francs; 3) the front flap edition statement differs slightly in that it states "This is the only existing edition of James | Hanley's most famous work, recently sup- | pressed in England."; 4) rear flap price for the 11 titles listed at "50 francs each". One page edge with a tiny black mark in the extreme margin, but the text is clean and unmarked. Fourth edition, variant of the first impression. Protected in custom-fitted archival mylar.
Green cloth with white and black titles and decorations, slipcase, 16 by 22.7 cm, xxii 190 pp., illus. Fine, unread copy in near fine slipcase. "The days from May 24 to May 28, 1940 altered the course of the history of this century, as the members of the British War Cabinet debated whether to negotiate with Hitler or to continue what became known as the Second World War. The decisive importance of these five days is the focus of John Lukacs's magisterial book. Lukacs takes us hour by hour into the critical unfolding of events at 10 Downing Street, where Churchill and the members of his cabinet were painfully considering their war responsibilities. We see how the military disasters taking place on the Continent—particularly the plight of the nearly 400,000 British soldiers bottled up in Dunkirk—affected Churchill's fragile political situation, for he had been prime minister only a fortnight and was regarded as impetuous and hotheaded even by many of his own party. Lukacs also investigates the mood of the British people, drawing on newspaper and Mass-Observation reports that show how the citizenry, though only partly informed about the dangers that faced them, nevertheless began to support Churchill's determination to stand fast. Other historians have dealt with Churchill's difficulties during this period, using the partial revelations of certain memoirs and private and public papers. But Lukacs is the first to convey the drama and importance of these days, and he does so in a compelling narrative that combines deep knowledge with high literary style."
San Francisco: Stolen Paper Editions, 1966. Second printing. Paperback. Very Good. Wide stapled illustrated wrappers. Second printing of Kandel's controversial volume of sexually explicit poems that was banned and seized by the police when first published. A very good copy with some wear to covers. Six pages, printed on rectos only.
New York: McLoughlin Brothers, 1906. First Edition. Very good in heavy paper, printed wraps over a replacement sewn binding. A quarto measuring 12 1/8 by 9 7/8 inches with archival tape repairs along the length of the fold of the spine and with similar repairs to several of the page folds. The sewn binding has been restored professionally. Unpaginated, but containing 14 pages illustrated with 8 full color lithographic plates (counting the covers) and line drawings throughout. Identified on the front panel as "158". Copyright dates of 1899 appear on the front cover and 1906 on the rear cover. The illustrator is not indicated. Clement Moore's poem comprises the first six pages which includes three full color plates. The remaining pages of text and plates contain the poem Santa Claus And His Works written by George P. Webster. (Very similar to Marshall 133).
London: John Evans, [ca. 1810?]. 8vo (16.7 cm, 6.57"). 8 pp. Apocalyptic warning, written by a Scottish missionary (1766–1840) known for his Travels in South Africa. This printing, apparently the first, is scarce; WorldCat locates three U.S. institutional holdings of a later "Evans and Son" imprint, but none of this "John Evans, No. 42" printing. The large title-page wood-engraving illustrates the dividing of the wicked from the righteous.
Provenance: From the chapbook collection of American collector Albert A. Howard, sans indicia. Removed from a nonce volume; page edges gently browned. The workmanlike printingis somewhat uneven, and the title-page vignette shows a few small ink spots from the press. Uncommon and interesting.
Philadelphia: J.B. Lippincot, 1935. First Edition, First Printing. Hardcover. Octavo, 342 pages; VG/none; bound in publisher's brown stamped orange cloth, mild wear to extremities; bookplate to front pastedown; front gutter beginning to show webbing; small bookstore sticker to rear pastedown; shelved case 1.
Prague: Peace and Socialism Publishers, 1965. First Edition. Paperback. Exposé of the apartheid system, with contents dealing with the politics of cheap labour, apartheid in practice, the confidence trick of apartheid, international action and the collaborators, and the people's struggle. Slim octavo (22cm); pictorial wrappers, stapled; 38,[2]pp. Light wear to wrappers, touch of dustiness to rear wrapper, else Near Fine.
Boston: Houghton Mifflin Company, 1942. First edition, first printing. Hardcover. Very good/Very good. 8vo. Green cloth printed in back on the spine and upper board. The cloth has slight aging to the boards and spine, some offsetting on the endpapers and pastedowns,a penciled ownership name and another blindstamped on the half title and the title, but it is still a very good copy. The dustwrapper is rubbed at the folds and rough along the edges including a couple of short marginal closed tears. It shows the first state points: $3.00 on the flap, and on the box on the rear panel, and with the war bond ad on the rear flap. The author was an English girl raised in British East Africa, conversant in native languages and customs, a horsewoman and a pilot when airplanes were unique in that part of Africa. Accompanied by her biography: Mary S. Lovell, STRAIGHT ON TILL MORNING, New York, St. Martin's Press, 1987. First US edition. A fine copy in a fine, clipped dustwrapper.
New with no dust jacket. 1984. Serigraph. 29 1/2 x 41 1/2 inch serigraph on Arches 140 pound moulded paper. Print is numbered (76 of 100) but not signed. In this superb example, the bold design and restrained size of the diamonds strikes an elegant balance with the striped field. The result is an icon of the 19th century Navajo Third Phase Chief Blanket weaving. This serigraph is the result 65 to 100 screen applications on Arches handmade paper. In speaking with the artist, he explained how he perfected his printing craft by adding layer after layer until he felt he had the richness and depth he was after. He was particularly proud of achieving the three-dimensional feel to his serigraphs. Each ripple and fold in the blanket is tangible and unique. One can actually 'feel' the multiple layers of ink on these masterpieces. During the second half of the 19th century, the primary market for Navajo blankets shifted from other Native American tribes to Anglo-Americans. While Native Americans had preferred Navajo Blankets featuring simple arrangements of horizontal stripes, Anglo Americans found the relative simplicity of first and second phase chief's blankets uninspiring, Anglo Americans also preferred bordered compositions to unbordered compositions, probably because most Oriental carpets featured bordered compositions. In response to the Anglo American preferences, Navajo weavers introduced the concentric diamond to their chief's blankets. The chief's blanket's traditional, horizontally striped field was decorated by the arrangement of a full central diamond surrounded by eight partial diamonds. This gave the chief's blanket a focal point, and the suggestion of a border. Almost overnight, the diamond pattern (or “third phase" pattern, as it is more commonly known) became extremely popular among Anglo American tourists, settlers, military personnel and merchants throughout the Americana west. ; Serigraph; 24" x 36" .
London: Harrison, Bookseller to the Queen, 1860. First edition. Early state. Original charcoal medium-fine bead-cloth, stamped in gilt and blind. Yellow advertisement endpapers. Spine and ends discreetly restored (often found thus, as noted by Skretkowicz) and hinges strengthened. Light wear at corners and a few negligible marks to cloth Very faint dampstain to front pastedown, some leaves from gathering B holding at bottom cord only (pages 5-12), occasional notations but overall clean internally. A pleasing copy of this landmark work on nursing, with an intimate association, from the estate of author and politician Richard Monkton Milnes, 1st Baron Houghton (1809-1885), Nightingale's favourite, persistent, but ultimately rejected suitor. Nightingale's landmark treatise on nursing, which introduced new and rigorous standards for sanitary and hygienic treatment of patients in hospitals. It is a work that altered how hospitals approached patient care, saving countless lives from infection. It also helped transform nursing from a volunteer role to a more respected and formalized career path for women. The owner of this copy, Richard Monkton Milnes, "was a family friend from Nightingale's childhood, and her most serious suitor. She turned him down finally after a long courtship, not without some regrets ... Milnes and Nightingale remained friends for life and she made a friend also of his wife" (McDonald). One of Nightingale's most vocal supporters, Milnes was prominent in the fund-raising to honour her work in the Crimean War and supported the establishment of the Nightingale Fund; he served on its Council until ill health forced him to quit, when he was succeeded by his son. Nightingale and Milnes would continue a lively correspondence, predominately on social and political themes. "Nightingale was godmother to one of his daughters [Florence Ellen], who indeed was named after her. The daughters were invited to visit and Nightingale sent them books" (McDonald.). A typed letter from Christie's is tipped-in at the rear of this copy, signed by Inken Handane of the Book Department, confirming it as from the library of a direct descendant of Milnes and sold in their 28 November 1997 sale (part of lot 140). The letter is further annotated in pencil to explicate the connection between Nightingale and Milnes, and also bears the small library label of the historian Hugh Small, author of Florence Nightingale: Avenging Angel (1998). Originally published six months before the opening of the Nightingale School at St Thomas's Hospital in London in June 1860, Notes on Nursing was not intended to be a textbook per se but as a book of hints for those nursing in the hospital ward and in the domestic sick room. Nightingale provides practical descriptions of the nurse's duties in supplying her patient's needs, and "indicated a new and more responsible role for nurses, one that required proper training and medical knowledge" (Hook & Norman, p. 260). Given the considerable number of different states of each inner and outer forme in every sheet, the idea of attempting to establish with certainty any specific 'issue' of Notes on Nursing beyond the first is utterly impractical" (pp. 29-30). This copy corresponds with Skretkowicz's group 11 of the 32 that he distinguishes (in either the a or b subcategory, with the combination of Binding 3, Endpapers 3, and the translation notice). While the earliest endpapers are blank, those subsequent bear printed advertisements, with at least eight distinct settings. The pale yellow endpapers of the present copy are in an early state: in the second setting of type, in the first state. Textually, it has the three main characteristics of group 11 as listed by Skretkowicz, and all of the typographical errors mentioned by Bishop & Goldie. Grolier, One Hundred Books Famous in Medicine, 71. Hook & Norman 1600. Osler 7737. Skretkowicz 24-46. PMM 343.
by TUCKER, GILBERT NORMAN, PH.D. (CANTAB.); ILLUSTRATED [ILLUSTRATOR]
King's Printer The Minister of National Defence, 1952-01-01. Hardcover. Very Good/Good. 2 Volume Set. Both dust jackets have minor wear. Both are clean, both have good bindings, no marks or notations.
Paris: Martinet, 1821. Galerie des Grotesques [GONDELIER, Jean-Baptiste]. [Galerie des Grotesques]. [Paris]: [Chez] Martinet, [1821]. Oblong folio (16 x 10 1/2 inches; 406 x 267 mm.). Seven leaves, titled and numbered in manuscript, each with three hand colored etched plates making a total of twenty-one images. Contemporary quarter green calf over floral patterned black boards.
The plates - each one lettered and numbered in manuscript "Galerie des Grotesques" No. 1. Les Rivaux; Partie d'écarté; Les effets du lavement, et la tentation (The Rivals; Discarded party; The effects of enema, and temptation) No. 2. Le maitre de danse, et le Coëffeur; Les joeurs de tonneau; Le remède inévitable (The dance master, and the hairdresser; The barrel joists; The inevitable cure) No. 3. Le bon gout; Cérémonie nuptiale; Le Dentiste (The right taste; Bridal ceremony; The Dentist) No. 4. Les conscrits; La sauteuse; Le bon ménage (The Conscripts; The jumpers; The good housekeeping) No. 5. Lecture des Tourneaux; Le cocher di Fiacre en dèfaut; Le Charlatan (Reading the turns; The coachman of Fiacre in defect; The Charlatan) No. 7. La Rosière; Le Pédicure; Les suites d'une Ribotte (La Rosière; The Pedicure; The aftermath of a Ribotte) No. 6. Partie d'Anes; Le Plaidoyer; Le Boston (Part of Anes; The Plea; Le Boston) Excessively Rare. OCLC locates just one suite (with only six plates) in libraries and institutions worldwide at Kunstbiblio Staatliche Museen Zu Berlin (Germany). GONDELIER, Jean-Baptiste (fl. 1821-1827). Gondelier was an engraver and a papermaker. As early as 1820, he was editor of a singer dedicated to Béranger, Le Constitution. He wanted to do city work but he also printed satirical prints, constituting the Gallery of the Grotesques. In 1826-1827 he collaborated in the writing of several plays performed at the Vaudeville theatre. Perhaps it was for this reason that he abandoned his lithograph patent and then applied for a letter printer's patent obtained in 1828. These 'Grotesque' caricatures appear to be based on the Woodward three-row strip genre typified by Grotesque Borders and Pigmy Revels, published by Ackermann and Fores, respectively, in 1799 and 1800. Fores continued to issue the Pigmy Revels strips in a folding panorama format, as well as in a spooled boxwood drum, well into the 1820s. "The relationship between Martinet-published works and Woodward's caricatures is commented on in an essay by Alberto Milano entitled "Change of Use, Change of Public, Change of Meaning: Printed Images Traveling Through Europe," appearing in a book edited by Evanghelia Stead, Reading Books and Prints as Cultural Objects (Cham, Switzerland: Palgrave MacMillan, 2018) at pp. 150-51. I am attaching scanned images of the relevant pages as Scans 1, 2, and 3. As you will note, the author of the essay suggests that Martinet "transferred Woodward's caricatures in a series of larger prints entitled Les Passions," but I am skeptical. The only two examples of those prints I have found -- at the British Museum -- do not relate to any Woodward satire of which I am aware. (For ease of reference, I am attaching the British Museum write-ups as BM-1 and BM-2.)" (William Gordon - author of the William A. Gordon Library of British Caricature)
England: Brown Watson, 1986. Paper Covered Boards. As New. 4to. Very hard-to-find reprint of Kubasta's Tip + Top and the Moon Rocket, originally published in 1964. In terrific shape; doesn't appear to have ever been read. All six popups and associated animations work great. Almost no cover wear. Number 10 on Tillman's list of the 100 best popups.
Lunenberg: Limited Editions Club, 1980. Hardcover. Orig. decorated gray pebble grained cloth stamped in black and silver. Fine in fine black slipcase spine lettered in silver. Fred Me. 224 pages. 22.5 x 17.5 cm. Illustrated with fourteen color gauches by Fred Meyer, designed by Frederick Stinehour, printed at the Stinehour Press. Limited edition, copy 1267 of 2000 signed by Fred Meyer. Printed in Bodoni, cast by the Bauer foundry in Germany. Laid-in the LEC Monthly letter. NEWMAN & WICHE 516. Bright, very fresh copy.
(Clifton, New Jersey): AB Bookman Publications, 1994. Softcover. Near Fine. First edition. Quarto. 2,163-2,274pp. Stapled wrappers, near fine. This issue contains Thomas Frognall Dibdin and Bibliomania, Kepler As Author, Printer and Publisher.
London: Darton, 1811. 32mo. 16pp., + 16 inserted plates. Each engraved image depicts the titular good boy engaged in less desirable activities, such as throwing stones, feeding scraps to the family pet, and drawing on the walls. Each is accompanied by a pithy couplet drawn from the soliloquy. The author includes an introductory note, in which he defends himself from the accusation that the verses give children naughty ideas that they would never have thought of themselves, and provides the suggestion that the reader insert his or her own name at the final line and face the potential ruin of the rhyme with bravery. Bound in tan wrappers with illustration to both covers. Expected but minor edgewear, faintest foxing, else near fine. A rare survival, with only two institutional copies listed in OCLC.
1955. London: William Heinemann Ltd, (1955). Original dark blue cloth lettered in gilt, with dust jacket. First Edition of this novella about a man who devises a scheme to win big at Monte Carlo -- but his obsession causes him to lose his girl (whom he planned to marry there) in the process; with an acquaintance's help he gains the girl back, but only by losing all the money he had won -- hence "Loser Takes All." The following year appeared the British film with the same title (screenplay also by Greene) -- starring Glynis Johns, Rossano Brazzi, and Robert Morley. This is a very good copy (wear on some edges of the boards, minor fading, foxing on the top edge). The dust jacket is just about fine (a couple of short closed tears); because the jacket is in better condition than the volume, one may assume that it was "married" to this book. This is a presentation copy signed by Greene, with the inked title page inscription "For Clive | Graham Greene"; at a corner of the front paste-down is the penciled signature "Clive Hirschhorn | Johannesburg, March 1985". For over 30 years, the South African Clive Hirschhorn was a major London theatre and film critic for the Sunday Express; he also wrote biographies of Hollywood stars like Gene Kelly and of the Hollywood studios Warner Brothers, Universal, and Columbia. He was also a major collector of modern first editions (his collection, including 28 Graham Greene titles, sold at Bloomsbury in October 2012). Additionally, the front free endpaper bears the undated ink signature of Anthony Woodward, a professor of English at the University of Wiltwatersrand in Johannesburg (Hirschhorn's alma mater); among Woodward's writings is "Graham Greene: The War Against Boredom" (Cape Town 1971, Cassis B7112). Quite a nice circle of associations.
Burlington (VT): Printed by Smith & Harrington, 1836. 4to. 275 x 225 mm., [10 ¾ x 9 inches]. vi. 46 pp. Lithographic title-page and 13 full-page lithographic plates. Original cloth, paper label on spine; cloth discolored and shows some remnants of water staining, spine and tips expertly repaired with tissue, spine label chipped; tide marks to preliminary leaves, frontispiece and title-page, plates 12 and 13 and rear end leaves. With fault a good copy. First edition. Illustrated with fourteen finely drawn and printed lithographs designed by the author and printed by the Pendleton's Lithographic Company, Boston. "John Pendleton, Lithographer. Born in New York State. While traveling in France, he became interested in lithography and studied the art under the best masters in Paris. On returning to America, he settled in Boston with his brother, a copperplate printer, and they established a lithographic establishment in 1825." John Henry Hopkins was an Irish immigrant, home schooled by his mother, who became a lawyer, musician, ordained minister, bishop and author of over thirty publications. He studied gothic architecture during his time in Pittsburg where he was charged with supervising the construction of Trinity Church. Dismayed with the unsightly designs of most churches in America he decided to compile his information as a guide to the elements of style and design characteristics of the gothic. He became of the most notable experts in the field and he published this work, one of the first of its kind in America, for the benefit of local ministers charged with the building of churches in the gothic style. Hitchcock American Architectural Books, 606. Fielding, Dictionary of American Painters, Sculptors and Engravers, p. 278. Peters, American on Stone, pp. 312-323. Allibone, Critical Dictionary of English Literature and British and American Authors I, p. 885.
Chicago: A. C. McClurg & Co., 1919. Octavo, pp. [1-8] 1-319 [320: blank], five inserted plates with illustrations by J. Allen St. John and twelve full-page St. John illustrations in the text, original orange cloth, front and spine panels stamped in black. First edition, first printing, first binding with publisher's imprint on spine panel set on three lines. A series of twelve stories, "The New Stories of Tarzan," all first published monthly in BLUE BOOK, September 1916-August 1917. The stories, containing some of Burroughs's best writing, were collected in JUNGLE TALES OF TARZAN. A total of 63,000 copies of the book were printed. There were multiple printings, probably four, all dated 1919. Bleiler, Science-Fiction: The Early Years 319. Bleiler (1978), p. 35. Reginald 02286. Heins JT-1. Private owner's bookplates affixed to front paste-down and free endpaper. Top and fore-edge of text block a bit tanned, a bright, nearly fine copy in bright, very good four-color pictorial dust jacket (reproducing painting by J. Allen St. John on front panel) with restoration at corners and spine ends. The jacket presents well overall.
1551. A Collection of Texts from the Corpus Juris Civilis in Handsome Uniform Contemporary Paneled Pigskin Bindings Justinian I [483-565 CE], Emperor of the East. Accorso, Francisco (Accursius) [c.1182-c.1260], Glossator. Gaius [Active 130-180 CE]. Institutionum D. Iustiniani Sacratissimi Imperatoris Libri Quatuor: Ad Vetustissimorum Simul et Emendatissimorum Exemplarium Fidem Summa Diligentia Recogniti, Emendati. Cum Scholiis Accursii. Adiecimus Pluribus Locis Annotationes ex Doctissimorum Hominum Commentariis, Ex Quibus non Parum Lucis ac Dignitatis his Iuris Civilis Elementis Accedit. Accessit Corpus Legum, Antea non Impressum, Ac Caii Institutionum Libri Duo. Lyon: Apud Hugonem a Porta, 1553. Pp. [24], 290, [2] pp. Large woodcut image of Justinian surrounded by his court. Main text in parallel columns with linear gloss. [Bound with] Justinian I, Emperor of the East. Accorso, Francisco (Accursius), Glossator. Volumen hoc Complectitur (Sic Enim Peculiari Vocabulo Vocant) Novellas Constitutiones Iustiniani Principis Post Repetitam Codicis Praelectionem Aeditas: Authentica Vulgo Appellant. Tres Item Posteriores Libros Codicis; Feudorum seu Beneficiorum Duos; Constitutiones Friderichi Secundi Imperatoris; Extravagantes duas Henrici Septimi Imperatoris; & Tractatum De Pace Constantiae. Omnia ad Vetustissimorum Simul & Emendatissimorum Exemplarium Fidem Recognita, Emendata. Accesserunt nunc Primum, & Nunquam Antehac Aediti, Iustiniani Novellarum Constitutionum Libri Duo, Cum Multis Annotationibus ex Doctissimorum Hominum Commentariis, Quae non Parum Lucis ac Dignitatis Huic Volumini Afferunt. Lyon: Apud Hugonem a Porta, 1553. [xvi], 276, 148, 99, [1] pp. Woodcut table of descents (in the form of a tree). Main text in parallel columns with linear gloss. [With] Justinian I, Emperor of the East. Accorso, Francisco (Accursius), Glossator. Infortiatum, Pandectarum Iuris Civilis Tomus Secundus: Quartae Partis Reliquum, Itemque Quintam Digestorum Partem, Ac Sextae Partis: Libros Continens, Ex Pandectis Florentinis Ita in Universum Recognitus ac Emendatus, Ut Nihil Praeterea, Quod ad Puram Eorum Librorum Lectionem Attinet, Desiderari Possit. Lyon: Apud Hugonem a Porta, 1556. [xxxvi], 923, [1] pp. Main text in parallel columns with linear gloss. [And] Justinian I, Emperor o.
Westminster: Archibald Constable, 1899. Seventh edition. hardcover. Very good.. A very good early (7th) edition, signed and dated by the author Bram Stoker on the front free endpaper. Housed in a custom-made collector's slipcase
Davis, California: Composer/Performer Edition, 1974. 11 volumes bound in ten (issues 7 and 8 bound in one). Complete; all issued. Oblong folio. 10-3/4" x 14". Original stiff decorative wrappers in colour. Spiral bound. Unpaginated, but with approximately 100 pages to each volume. Lavishly illustrated with musical scores and striking photographs and graphics in both colour and black and white. With supplementary material bound in, some quite unusual, including such things as magnetic audiotape and synthetic fur, screenprintings on transparencies, etc. Each issue with approximately 10 articles written by the major figures in avant garde music of the time, including Dietrich Albrecht, Charles Amirkhanian, Eric Andersen, Robert Ashley, Larry Austin, David Behrman, Mario Bertoncini, Joseph Beuys, Anthony Branxton, Eugen Brikcius, Jacques Brodier, Earle Brown, Allan Bryant, Boudewijn Buckinx, Harold Budd, Jim Burns, John Cage, Cornelius Cardew, Giuseppe Chiari, Paul Chihara, Barney Childs, Christo, Jani Christou, Philip Corner, Lowell Cross, Alvin Curran, John Dinwiddie, Peter Donath, Manfred Eaton, Robert Erickson, Morton Feldman, Robert Filliou, Fluxus, Lukas Foss, David Freund, Ken Friedman, Kira Gale, Peter Garland, Gentle Fire, Tony Gnazzo, Victor Grauer, Joel Gutsche, Gyula Gulyas, Olaf Hanel, Sven Hansell, John Hassell, Dick Higgins, Lejaren Hiller, Stu Horn, Nelson Howe, Jerry Hunt, Toshi Ichiyanagi, Image Bank, Zdzislaw Jurkiewicz, Udo Kasemets, Per Kirkeby, Paul Klerr, Milan Knizak, Jaroslaw Kozlowski, Carson Jeffries, Bengt Emil Johnson, Will Johnson, Ben Johnston, Alan Kaprow, Ed Kobrin, Alcides Lanza, Douglas Leedy, Daniel Lentz, Anna Lockwood, Arrigo Lora-Totino, Alvin Lucier, Mary Lucier, Stanley Lunetta, Eva Lurati, Stuart Marshall, Richard Martin, Harvey Matusow, Tom Marioni, Ken Maue, Dora Maurer, Maria Michalowska, John Mizelle, Robet Moran, Gordon Mumma, Keith Muscutt, Naked Software, Max Neuhaus, Nam June Paik, the New Percussion Quartet, Jocy de Oliveira, Pauline Oliveros, Harry Partch, Jon Phetteplace, the Portsmouth Sinfonia, David Reck, Steve Reich, Jock Reynolds, John Paul Rhinehart, Mark Riener, Roger Reynolds, David Rosenboom, Frederic Rzewski, Zorka Saglova, J. Murray Schafer, the Scratch Orchestra, Gerald Shapiro, Nicholas Slonimsky, Barry Spinello, Stanley Marsh 3, Andrew Stiller, Karlheinz Stockhausen, Allen Strange, Alvin Sumsion, Endre Tot, David tudor, Bertram Turetzky, Jiri Valoch, Wolf Vostell, Don Walker, Arthur Woodbury, and Christian Wolff. With 6 accompanying 10-inch LPS: - Robert Ashley The Wolfman; Dave Behrman Wave Train - Larry Austin Accidents; Allan Bryant Pitch Out - Alvin Lucier I Am Sitting in a Room; Arthur Woodbury Velox and Mark Riener Phlegethon - Larry Austin Caritas; Stanley Lunetta moosack machine - Lowell Cross Video II; Arrigo Lora-Totino english phonemes - Alvin Curran Magic Carpet; Anna Lockwood Tiger Balm Slightly worn. In very good condition overall. A complete run of this exciting independent periodical devoted entirely to the music of the 20th century avant garde, an outgrowth of the musical experimentalism in the late 1950s and early 60s at the University of California, Davis and Mills College in Oakland, California. In an effort to expand the traditional definition of music and formal concert performance, Source documents many of the most important "new music" trends of the period including improvised and indeterminate music, minimalism, Fluxus, performance art, graphic scores, electronic music, performance art, concrete and sound poetry, intermedia, British Systems music, video/laser light shows, new electronic, video, and communications technologies, etc. A landmark publication of great importance to the study of avant garde music of the mid-20th century, rarely found complete.
Cambridge: np, 1963. First edition. Fine. C.S. LEWIS GIVES PRACTICAL (AND SOMEWHAT HUMOROUS) ADVICE TO A STUDENT SELECTING A THESIS TOPIC, BEFORE REVEALINGLY SUGGESTING ONE OF HIS FAVORITE WORKS - DOROTHY SAYERS'S THE MAN BORN TO BE KING - AS A SUBJECT WORTHY OF STUDY. Written to a student, John T. Tukey of Rhode Island and dated July 6, 1963, the letter reads in full: As from Magdalene College, Cambridge 6 July 63 I always dissuade students from making a living author the subject of their thesis. When they do, however hard they work, the chosen author and his intimates will know a lot more about the subject that they can find out. Dead authors know a lot about their own work which we don't but fortunately they can't tell it. It has happened before now that those who were examining a thesis on my work have written to ask me whether some interpretation offered by the candidate is correct. This puts me in a v. awkward dilemma. If I refuse to answer they know that my answer would have been no. The candidate's work is thus unfairly subjected to a check which would not have been applied if he had written on a dead author. I suggest you choose Dorothy Sayers' cycle of plays on the life and death of Christ (title, The Man Born to be King). Whether it wd. come under the faculty of Theology or that of Literature depends, I suppose, on how you treat it. Yours sincerely [signed] C.S. Lewis Background - C.S. Lewis, Dorothy Sayers, and The Man Born to Be King: C.S. Lewis and the writer Dorothy Sayers quickly became good friends after the latter wrote him a "fan" letter praising his recently-published Screwtape Letters. It was not a particular surprise they developed a friendship for both had similar views on literature, scholarship, and theology (especially sharing the desire to explain and explore Christianity for their literary audiences). Sayers's The Man Born to Be King, a somewhat controversial re-telling of the life of Jesus, originally appeared as a radio drama airing from 1941-1942 before being published in book form in 1943. Lewis was immediately impressed with the work, writing to Sayers on May 30, 1943 (in one of his earliest letters to her), "I've finished The Man Born to be King and think it a complete success... I shed real tears (hot ones) in places: since Mauriac's Vie de Jesus nothing has moved me so much... I expect to read it times without number again...." Over the years, Lewis's admiration for the work only grew. He professed to reading it "in every Holy Week since it first appeared" and noted in 1949 that he thought "Man Born to be King has edified us in this country more than anything for a long time" (Lewis, Collected Letters, II, 989). Sayers died in 1957 - six years before this letter - and it is fitting that of all the books he could have recommended to the student Tukey, he selected The Man Born to Be King, a book he greatly admired and a book that had remained dear to his heart. Cambridge: 6 July 1963. One sheet, 5 1/4 x 7 inches, written in ink on both sides, signed "C.S. Lewis". With original mailing envelope with postmark. Generally fine condition with expected center mailing fold and a few light spots. Housed in custom presentation folder.
Salem, OH: Homestead Print, n.d., ca. 1850. First Edition. Unused handbill announcing anti-slavery meetings held by the Western Anti-Slavery Society, a splinter group from the Ohio State Anti-Slavery Society. This branch was led by the abolitionist Adam Brooke, a member of the utopian community the Marlboro Association; and, to a lesser extent, Parker Pillsbury, who attended and occasionally spoke at the annual anniversary meetings. The Society, Garrisonian in its rejection of the Church, stated that "We are not merely warring against the extension of new slave territory, nor against any fugitive slave law constitutional or unconstitutional; nor for the writ of habeas corpus, or the right of trial by jury for recaptured slaves, but we are waging eternal war against the doctrine that man can ever under any possibility of circumstances, hold property in man" (cf. William M. Wiecek, "The Sources of Anti-Slavery Constitutionalism in America, 1760-1848" (1977), p. 252). The group reached its peak in 1847 when William Lloyd Garrison and Frederick Douglass both spoke at the annual anniversary meeting, which drew several thousand attendees. However, the group always struggled with funding and was defunct by 1861. The present broadside reminds the reader that "Three million of your fellow beings are in chains--the Church and Government sustains the horrible system of oppression. Turn Out! And learn your duty to yourselves, the slave and God. Emancipation or Dissolution, and a Free Northern Republic!" 4 located in OCLC, none in Ohio. Original unused letterpress broadside flyer (40x27.5cm.); a few closed tears expertly mended, stock uniformly toned, else a Very Good, quite fresh copy.
Brussels: Les Lèvres Nues, 1968-1975. Quartos (30 × 23 cm). Issued in uncut loose sheets; approximately 8 to 32 pp. per issue (unnumbered). Illustrations throughout, mostly black-and-white, with some color reproductions tipped in. Most issues printed on laid paper, some on coated stock. Very good or better. A fine complete run of this important post-war Belgian surrealist journal, composed of 135 issues in 98 fascicules, with several double and triple numbers. Issued monthly and edited by Marcel Mariën, the journal features contributions by major Belgian surrealists, including Goemans, Nougé, Scutenaire, Colinet, Dumont, Magritte, Joostens, Lecomte, Tom Gutt, Wergifosse, Bossut, Souris and Bourgoignie, among others. Most issues focus on a unique work by a single author or artist, and are illustrated throughout with reproductions of works by Man Ray, Magritte, Picabia, Mariën, Bossut, Ernst, Graverol, Jamagne, Ubac and Van de Wouver, and others. Especially noteworthy are Magritte's contributions, which are often illustrated by him. Issues 81-95 constitute one volume containing "Lettres surrealistes (1924-1940)" edited and annotated by Mariën. Issue no. 95 contains "Filchings for Annoyed Birds" by Paul Colinet (in English). Most issues feature a distinctive title. Nos. 15, 30, 40, 55, 65, 80, 100, 107, 110, 120, 130, 134 issued as a "nouvelle serie" interspersed throughout the run, under the title "Les Lèvres Nues" and numbered 1-12. The last issue (no. 135) contains a cumulative index to the entire series. All issues uniformly hand-numbered "vingt-deux" (22) of unspecified print runs, which ranged from 50 to 250 copies. Given the low print run of the earliest issues, presumably only fifty complete sets exist.
4to (200x145 mm). Collation: [π]4 †4 A-T4 V2 X4 Y2 Z4 [χ]2. Half-title, engraved frontispiece, [12], 176, [4: errata corrige] pp. and [4] folding plates engraved by Francesco Nigro and Francesco La Barbera after Gerardo Astorino and Vincenzo La Barbera. Richly gilt modern morocco binding, original sprinkled edges. Minor restorations to the outer margin of the first leaves without loss, small worm track in the gutter of a few leaves not affecting the text, tears repaired along the folding of one plate, all in all a very good copy.
EXTREMELY RARE ORIGINAL EDITION of this festival account attributed to Filippo Paruta, but edited by his son Simplicio, who also signs the dedication to the Senate of Palermo, and published posthumously under the name of his other son Onofrio.
In the note to the reader Onofrio provides a detailed list of the works (orations, occasional writings, inscriptions for ephemeral architectures, etc.) of his father Filippo, who was the secretary to the Palermo Senate and the major responsible for the iconographic program realized on the occasion of the 1625 festivity.
At the beginning of the 1620s the viceroy Emanuele Filiberto of Savoy rebuild the Accademia dei Riaccesi, which gathered in the Royal Palace, and entrusted the scholar and mathematician Carlo Maria Ventimiglia with the direction of the academy. Around his figure gravitated many of the artists and scholars who designed the program and the solemn procession of the relics of St. Rosalia, held in June of 1625 as a sign of gratitude for deliverance from plague. Among them were the painters and architects Gerardo Astorino and Vincenzo La Barbera, the engraver Francesco Negro, the scholar Martino La Farina, who conceived the allegorical arch of the Genoese nation, and, above all, Filippo Paruta, who was linked to Ventimiglia also by a common passion for numismatics and antiquities. Paruta was involved in all literary activities related to celebratory events since the end of the sixteenth century. In 1625 he inspired the triumphal arch that the Senate erected in Piazza Villena and was responsible for the account of the festivities, which however was actually published only after his death in 1651.
The constitution of such a large and complex team to be entrusted with the creation of the apparatuses testifies of the importance of that event that officially marked the beginning of the cult of St. Rosalia. The solemnity of 1625 had no immediate follow-up and only in 1649 the feast of St. Rosalia was formalized with all those peculiarities that would characterize the following decades. In 1625, in addition to the impressive processions and solemn ceremonies to which all local communities, religious and civil, took part, two magnificent horse rides were organized; one, in particular, took place at the conclusion of the festivities, after the solemn mass in the cathedral. Then followed fireworks, organized by the German nation, tournaments and jousts. At the very end the nobility walked in gala dresses along Via Colonna (cf. M. Sofia di Fede, La festa barocca a Palermo: città, architetture, istituzioni, in: "Espacio, Tiempo y Forma", series VII, t. 18-19, 2005-2006, pp. 49-75; see also M. Vitella, Il primo Festino, in: M.C. Di Natale, "S. Rosaliae patriae servatrici", Palermo, 1994; and V. Petrarca, Genesi di una tradizione urbana. Il culto di S. Rosalia a Palermo in età spagnola, Palermo, 1986, p. 82).
Catalogo unico, IT\ICCU\PALE\004559; S.P. Michel, Répertoire des ouvrages imprimés en langue italienne au XVIIe siècle conservés dans les bibliothèques de France, Paris, 1976, VI, p. 80; Biblioteca centrale della Regione siciliana "Alberto Bombace", Sanctae Rosaliae Dicata, Bibliografia cronologica su Santa Rosalia, Settembre 2004, pp. 12-13; G.M. Mira, Bibliografia siciliana, Palermo, 1881, II, p. 186; A. Mongitore, Bibliotheca sicula sive de scriptoribus siculis, Palermo, 1707-1714, I, p. 293 and II, p. 174; M. Cornelles, V. Manuel et al., eds., La fiesta barroca. Los reinos de Nápoles y Sicilia (1535-1713), Palermo, 2014, ad indicem.
Glasgow:: Brown, Son & Ferguson, (1948)., 1948. Third impression. Two volumes. 25 cm. xiv, 518; xv, 448 pp. Frontispieces, illustrations, plans (some folding); spine gilt rubbed, corner bumped. Blind and gilt-stamped blue cloth, map endpapers. Very good copies.
London: [plates dated] 1825 [but published 1826]. Folio, 320 x 254 mm, engraved title and 21 plates. Proofs on India paper mounted on handmade paper, some leaves (2, 5, 6, 11, 14, 17, 18) watermarked J. Whatman Turkey Mill 1825. Gilt-ruled green morocco over thick boards, fleurons at the outer corners, double-rule inner frame enclosing a bloom roll, gilt-ruled spine, sewing bands with gilt red morocco onlays, thick dark blue endleaves, all edges gilt, by Riviere: a brilliant set with no foxing at all, interleaved with blanks at the time of binding with no offsetting. Lower cover of the binding at some time tied up with string with ensuing indentation. § First edition, limited to 150 proof sets (65 sets were also printed on French paper, and 100 sets on drawing paper with the word ‘proof’ removed). This is one of finest sets of the proofs I have ever seen, and far outshines the other two original printings and the later re-issue. The India paper set is the best printing of these famous plates which comprise Blake’s major single achievement as a printmaker after the illuminated books. Illustrations of the Book of Job was Blake’s last completed prophetic book: the text, a series of biblical quotations, is above and below each image. “It was produced while Blake was still working on Jerusalem, his most obscure book; yet the illustrations are Blake’s most lucid; and they are the supreme example of his reading the Bible in its spiritual sense” (S. Foster Damon, A Blake Dictionary, p. 217). “The modest size of the central panels does not prevent them from ranking with the supreme masterpieces of graphic art” (Ray, Illustrator and the Book in England #8). Note: as always, the first plate after the title-page is misdated 1828.
Used; Like New/Used; Like New. Poster for a March 28, 1966 appearance by the Civil Rights leader together with singer Harry Belafonte at the Palais des Sports in Paris. Organized by the Comité de Soutien Franco-Américain pour l'Intégration Raciale, the event featured a speech by King and music from Harry Belafonte and French singer Hugues Aufray, sponsored by Suze Liqueur. Two-color poster, with folding creases, one tear to the right edge, minimal wear and toning; overall very good. Sight size 14.5 x 22.5 inches (37 x 57 cm), archivally matted and framed to an overall size of 20.5 x 26.5 inches.In March 1966, King and Belafonte went to Europe for fundraising appearances on behalf of the Southern Christian Leadership Conference, starting with the Palais des Sports in Paris on the 28th, and closing in Sweden on the 31st. This poster for the French appearance is emblazoned with the logo of a sponsor, Suze Liqueur, and also cites the French-American Committee for Racial Integration as the organizing body. The opening act for the evening was the popular French folksinger Hugues Aufray doing a set of Bob Dylan covers, followed by a set by Belafonte. Dr. King closed out the evening with a speech on civil rights, touching on the war in Vietnam and American support for South African apartheid. The tour raised more than $100,000, but drew the wrath of the American ambassador to France for airing American problems overseas. See Ross, Hollywood Left and Right, p. 220. We have traced no other copies of this poster at auction or elsewhere.
Stockholm: Libraryman, 2010. First Edition. First Edition. One of 15 unnumbered copies with a chromogenic print SIGNED by director Hal Hartley affixed to the last leaf. A collection of selected film still photographs from the noted independent filmmaker's oeuvre, beginning with his 1988 debut "The Unbelievable Truth" up to the 2011 film "Meanwhile", with stills from "Amateur" (1994), "Flirt" (1995), and "Henry Fool" (1997), and others. 81 color plates. Fine in glossy perfect bound wrappers, with no dust jacket as issued.
London: Herbert Jenkins Limited, 1938. First English Edition. [Jasen 58A in a later dust jacket]. Preceded by the first American Doubleday, Doran edition, published in Oct. 8, 1937. This edition was published on Feb. 11 1938. 12mo., red cloth, stamped in black, 312 pages, plus eight-page catalog; in later "2/6 net" price on spine [whereas the earliest dust jacket is priced at "7/6 net." on the spine]. Very Good (little soil covers; contents clean & tight but for a tiny spot fore-edge; neat ink name front endpaper); some edgewear (few small chips & tears- some with internal mends with archival tape) d/j.
Kansas City: H. Alfred Fowler, 1912. First edition. First edition. Original decorative card paper wrappers. The rare "Eragny Press" number (Volume I, Number 3) which features notes on bookplates by Esther and Lucien Pissarro, by J. M. Andreini, including three superb color printed specimens of book plates by the Pissarros, printed in colors on china paper and tipped-in. A scarce and very attractive rendering. There are also two other features in the number. Near fine.
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Venice: Repario and Cesano, 1551. vellum. 393 pages. Engraved title page. Full vellum binding with red leather spine label. Thick 12mo [4.5x6.5cm]. Vellum shows soiling, edgewear and some stains. Front hinge cracked but binding sound. Spine label dulled and chipped. Most of the inside paste down pulled out leaving residue and border. Some rippling to rear pastedown. Title page foxed, otherwise clean with mild toning. Good. Item #76851
Boccacio's first major work, preceding the DeCameron. A retelling of the 12th Century French romance. In Italian.
New York: Scribner’s, 1942. First edition, first printing. Inscribed by Chidester to Irma Wyckoff, secretary to Maxwell Perkins: “With best wishes to Miss Wyckoff, Sincerely, Ann Chidester”. Additionally laid in to this copy are a typed letter signed and typed postcard signed, also to Irma Wyckoff. Publisher’s pale blue-green cloth; in original blue dust jacket with an illustration by Cleon. Near fine book; in very good unclipped dust jacket with some wear and shallow nicks to corners, a few small closed tears to head of spine, 1” closed tear to top edge of rear panel near the spine, a few small tears to bottom of rear panel, front panel bright and fresh. Overall, a pleasant copy, with an interesting association. Young Pandora is Ann Chidester’s first novel. It is autobiographical in nature, featuring a young girl from the Midwest who falls in love, travels, and begins a writing career. Chidester wrote five novels and many short stories, focusing on women’s issues and the plight of the poor. She was close friends with her publisher at Scribner’s, Maxwell Perkins, who famously published F. Scott Fitzgerald, Ernest Hemingway, and Thomas Wolfe. This copy of Young Pandora was inscribed by Chidester to Irma Wykoff, Perkins’ devoted secretary. Also included are a typed letter and postcard. In them, she discusses their mutual acquaintance Marian, an editor at Mademoiselle, and Chidester’s recent move to Taos, NM. She also talks about the new book she is writing, Mable Dodge Luhan’s literary colony, and refers to Perkins as “my friend, Mr. God.”
Offered by B&B Rare Books and found in "ABAA Virtual Book Fair List."
London: John Murray, 1912. First English edition. 6 maps and charts (4 folding), one diagram of the journey, and 99 photographic plates. xxxv, , 392; x, 449 pp. 2 vols. 8vo. Original maroon cloth lettered in gilt, decorated with the Norwegian flag on front covers and spines, top edge gilt, others uncut, contemporary gift inscription. Flags on spines a little rubbed, frontispiece loose, otherwise a near fine copy. Taurus 71; Rosove 9.
After hearing of Cook's and Peary's claim of the North Pole in 1909, Amundsen changed his plan and instead decided to head for Antarctica in 1910. Setting off in the Fram, he and his men arrived at the eastern edge of Ross Ice Shelf at a large inlet called the Bay of Whales on 14 January 1911. Amundsen spent the winter mapping his route and preparing depots for food and provisions along the way and finally left for the South Pole on 19 October 1911 with four other men, four sledges and 52 dogs. They arrived at the Pole on 14 December 1911, 35 days before Robert Falcon Scott and his party.
OCCASIONAL LIST 22: A Miscellany: Original Art Work; Small Archive of Major English Watercolourist; Interesting Theatrical Pieces; Manuscript Material, Etc., Etc. -- available on request from fgrare@fgrarebooks.com...
Has the following lists available: California, Texas, Kansas, Missouri, Minnesota, Iowa, Nebraska, Oregon, Louisiana, Colorado, Ohio and New York. Will email to interested parties. Contact info@ginsbook.com to request...
Boston: published for the Author by Estes & Lauriat, [1884-] 1885. Quarto. (11 3/4 x 8 7/8 inches). Uncoloured lithographic map, 22 hand-coloured lithographic plates (18 of birds, 1 of a nest and eggs, 3 of details of heads of birds).
Contemporary half morocco and marbled paper covered boards, spine gilt with raised bands, marbled endpapers. Provenance: W. L. Foster (booklabel).
A fine monograph on the birds of Haiti and San Domingo, from an edition limited to 300 copies.
An exhaustive account of all the birds of Haiti and St. Domingo known in the late 19th century. The advertisement for the work notes that the "edition will be absolutely limited to three hundred copies, and will be sold only to subscribers for the complete work. Price $5.00 per part." Included are representatives of 87 genus from 42 different families. Each entry includes the synonymy and description of the individual species, together with interesting more personalised notes by the author about where he encountered the birds, how many specimens he collected, etc. The fine plates are by various artists including eight by Joseph Smit. They include 18 plates of individual or pairs of birds (these are of a total of 17 different species as there are two plates of adults and a juvenile of the same species), 1 plate of a nest with eggs in it, and three plates with multiple images of bird's heads showing a total of 23 species.
1941. 31.5cm x 21cm. One typed sheet tipped in followed by 21 ll, [1 - blank] leaf (of which five of the leaves have manuscript and documents recto and verso; the other sixteen recto only). Contemporary plain paper wrappers, title in manuscript on the upper wrapper, light wear to the edges of the wrappers and some sunning. $1500.00 An incredible document from the German occupation of Paris during the Second World War. The Germans took control of Paris on June 14th, 1940. Already, food was scarce in France due to much of the work force having already left for war and the supply chains from France’s colonies greatly disrupted. This was made far worse when Germany occupied France. Immediately, the remaining French products were sent to Germany to support the German cause, and only what was left over, was made available to the French through a strict rationing system.
The current album relates to the rations available in Paris during the month of September, 1941. On the upper wrapper is written “3eme Bureau;” this likely refers to the rationing office of the 3rd arrondissement in Paris. The first leaf is a typescript index for the album (all leaves are present). The sheets are numbered 1-21 (with a few versos numbered with a “bis” number) and contain the original ration sheets that were being issued by the German occupation government during the war. The sheets are pasted in, and in most cases, small ration tags are cut out and mounted alongside. On each sheet, there is also manuscript information that explains the quantity of the given foodstuff that the ration is good for and how it is to be administered. For example, one ration tag is good for 325 grams of butter, another for 60 grams of cheese, and so on. The foods included are bread; meat and cold cuts; and matières grasses (i.e. oil; butter; cheese; beef fat; margarine; and lard). There is also a special coupon for workers which entitles them to greater amounts of food. On the verso of that coupon, it states “L’hiver qui s’aproche sera rude. Les effectifs des cuisines d’entr’aide vont croître. Vous aiderez le SECOURS NATIONAL à « tenir ». Et la misere reculera !” (The coming winter will be harsh. The number of service kitchens [i.e. soup kitchens] will increase. You will help SECOURS NATIONAL to “hold on.” And misery will recede!) Also laid in is a contemporary newspaper clip entitled “Le ravitaillement. Les rations alimentaires du mois de juillet” and an unused contemporary German postcard (printed in Berlin) that is a picture of German ration coupons.3 A remarkable glimpse into the conditions under which the Parisians had to live during the Second World War. In good condition and preserved in an archival folder.
N.p.: [Royal Crown Cola Company?], [1960s]. 11” x 28”. Thick cardboard. Very good plus: light edge and corner wear, bump near lower left corner.
Over two feet wide, this is an advertisement for Diet Rite cola featuring an African American family, probably intended as a store display. Although not the first diet soda, the launch of Diet Rite in 1958 (which was initially marketed to diabetics and
sold in drug stores) led to a significant expansion of the diet soft drink industry. We find no other examples.
Hallmark, 1983. Minor shelf/edge wear, else bright and clean. Approx. 20x28" Very Good+. There were at least two versions of this poster, one with "I Love Everybody) at the top and this one with "Guess Who's Coming to Dinner." This is clearly the preferred version. A scarce poster to find in good condition, especially in as find condition as seen here.
Offered by Lux Mentis Booksellers and found in "Poster Print Art."
Illustrated Catalog on Carlos Merida (1891–1984) -- Mexican painter, sculptor, writer and graphic designer -- available by request from mmbooks@comcast.net
“Utrecht, Henrik Khyrks le jeune” 1732. 12mo. Frontis., 66p. WOODCUT FRONTISPIECE OF THE LEAD CHARACTER HOLDING HIS RIGHT FOOT ABOVE HIS HEAD LIKE A DANCE MASTER. Early 19th-century blue wrappers, later printed spine label.
First Edition of this theatrical satire of the Convulsionaries, primarily women, who engaged in a mix of millenarianism, eroticism, torture and hysteria at the tomb of the Jansenist François de Pâris in the St. Médard churchyard in Paris, where they gathered to pray and receive miracles from the late 1720s into the 1740s. Some danced uncontrollably until they dropped from exhaustion. One of the principal leaders, abbé de Bescherand, exhibited extraordinary symptoms, including foaming at the mouth and frenetic leaping, this last depicted as a kind of dance in the woodcut frontispiece (often missing). In the play he is represented as Father Jump (abbé du Sault). To prevent further outrages, in January 1732 the crown temporarily closed the cemetery and posted guards to block access. Bougeant capitalized on the public’s fascination with the cult. A good uncut copy, old bookseller’s slip pasted on the front flyleaf.
Offered by Bruce McKittrick Rare Books, Inc. and found in "Short Stack 52."
“Prise de la Bastille par les Bourgeois et les braves Gardes Françaises de la bonne Ville de Paris, le 14 Juillet 1789. Dédiée à la Nation.” (France, after July 14, 1789). Hand-colored engraved folding paper fan, printed on recto and verso on two adhered sheets, the recto with a full-width etched and engraved scene of the taking of the Bastille, colored in watercolors and white gouache, within stencil-printed decorative border, the verso with an engraved poem; mounted on original plain wooden sticks, the guards with narrow fillets of decorative bone along edges and at rivet, the unfolded leaf measuring approx.137 x 500 mm., total fan measurement 208 x 500 (10 3/4 x 20 in.).
Condition: a few small chips and old paper patches, mainly to the borders, one small patch within the engraved area, affecting only the background, slight wear along a few pleats, one or two small stains, 2 words slightly rubbed on verso, a guard relined.
A FINE EPHEMERAL SURVIVAL: a rare fan on a popular and dramatic theme, no doubt issued soon after the event depicted. Although by July 14 1789, the Bastille was nearly empty, and its historical reality was that of “the least cruel of all the [French] state prisons” (Marion, Dictionnaire des Institutions francaises, p. 40), its potency as a visually imposing symbol of tyranny was undiminished. The day of its storming by a crowd of about 1000 “bourgeois” was unfortunately one of intense bloodshed, with over 100 people, including 98 attackers, several soldiers and the garrison commander the Marquis de Launay, losing their lives. De Launay’s head and that of Jacques de Flesselles, “Prévôt des Marchands,” were later paraded on pikes.
Offered by Musinsky Rare Books and found in "La Révolution."
(London: Richard Bentley, 1871) 200 x 130 mm. (7 3/4 x 5”). Three volumes expanded to six. “SPECIAL COPY, extra illustrated in six volumes.” CHARMING OLIVE GREEN CRUSHED MOROCCO, GILT AND WITH PICTORIAL INLAY, BY BAYNTUN (stamp-signed on front turn-in), upper covers with leafy strapwork gilt frame, central inlay in multiple colors of morocco depicting one of the characters from the book, with gilt lettering beneath it, lower covers with gilt-rule frame, raised bands, spines gilt in compartments with strapwork and leaf ornament, gilt lettering, gilt-ruled turn-ins, marbled endpapers, all edges gilt. Housed together in a green cloth slipcase. WITH 537 PLATES, consisting of 27 folding plates (nine hand-colored), 124 hand-colored plates (19 of them from the Rowlandson “Dr. Syntax” series), and 386 black & white engravings, all but one of the plates with original tissue guard. Spines evenly sunned to a pleasing hazel brown, one leaf with neat repair to upper corner (away from text), occasional mild foxing to plates (usually marginal, never offensive), other trivial imperfections, but A VERY FINE SET, clean and fresh, with none of the offsetting that usually plagues extra-illustrated works, IN SPARKLING BINDINGS.
This is perhaps the ultimate copy of Jesse’s entertaining and informative tour of his beloved city and the characters who have inhabited it over the centuries: it was professionally “grangerized” with fine specimens of 96 relevant prints, all with tissue guards; it was beautifully bound by a leading firm in a style that perfectly complements the contents; and, despite these obvious benefits, it has seen very little use. John Heneage Jesse (1809-74) wrote a number of popular historical works, including royal biographies and court memoirs, that drew praise for their conscientious attention to fact and detail, if not for their originality or wit. Described by DNB as “a dedicated Londoner, [who] seldom ventured away from the metropolitan area,” Jesses leads us here through the districts of his home city, relating anecdotes, noting the locations of momentous events, and pointing out architectural treasures. The added portraits, scenes, and views help to bring his account to life, and the diligent use of tissue guards has prevented these illustrations from affecting the adjacent leaves in a detrimental way. Rowlandson’s famous caricatures from “Dr. Syntax,” portraying the amusing adventures of a country parson in the metropolis, comprise just one example of the half a thousand inserted plates here. The bindings from Bayntun of Bath depict some of the humble characters whose presence gives the capital so much of its flavor: those who sell their wares on the streets and do everyday jobs that keep the city running. The Bayntun firm, founded in Bath in 1894, is now the last of the great Victorian trade binderies still in family ownership. Our binding probably dates from the first quarter of the 20th century, when the workshop was known for imaginative designs that involved the augmenting of gilt decoration with inlaid pictorial designs.
Offered by Phillip J. Pirages Fine Books and found in "Catalogue 76" (item #100).
Original Scrapbook on nancy Astor, the First Female MP Elected in Britain
An original scrapbook compiled by a follower of Nancy Astor, the first female Member of Parliament to take her seat in the United Kingdom. Materials within dated 1934-1936.
Quarto (6⅛ inches by 7¾ inches). [180] pp. Newspaper clippings, posters, and other campaign promotional items laid in or pasted down on the first [90] pp., except for on a few blank pages. The remaining pages of the scrapbook are blank. Some of the items are in color and many of the newspaper clippings include photographs. Also with a separate photograph (3” by 4¼”) of Nancy Astor on a dock laid in between pages 2 and 3. Notebook in cloth-backed maroon boards. Some light rubbing to boards. Blue speckled edges. Some toning to materials throughout and to pages of notebook, but overall a very good, one-of-a-kind item.
Nancy Witcher Astor (1879-1964) was born in Danville, Virginia, but moved to England with her husband Waldorf Astor at the age of twenty-six. In 1919, Nancy Astor became the first woman in the United Kingdom to take her seat as a Member of Parliament. The materials in the present item chronicle Astor’s successful campaign in the general election of 1935 and offer context into the social and political climate of the United Kingdom at the time. Many of the campaign materials included here are targeted towards women, especially mothers, and portray Astor as a hero for educational reform (pp. [20-21]) and a “champion of the nursery” (p. [16]). The materials also offer insight into the Conservative Party’s rhetoric against socialism, especially in regard to economic improvement since the Conservative Party regained control of the House of Commons from the Labor Party in 1931. One flyer reads: “The Socialist Party’s policy means dumping, depression, disaster,” (p. [8]). Overall, this scrapbook is a fascinating perspective on the public face of Nancy Astor and contemporary attitudes toward her and her campai
Compton, CA: Compton Police Officers Association, 1964. 8.5 x 11 inches, 72 pp, with illustrations and ads. Three-hole punched, police department stamp on front cover, one gathering loose front staples; very good. Fourth annual edition of this periodical, which was used to raise funds for the Officers Relief Fund and to inform the public of "some of our problems and functions."
Within a year, there would be riots--founded in a long history of friction between African-American residents and the police--in neighboring Watts, and by 1970, Compton would have the highest crime rate in California. This publication starts with a positive story showcasing of a newly completed police building, and includes articles about successful police operations and public safety tips. But hints of the policecommunity tension to come are also present. An article titled "'Defenders of the Peace' in Community and Human Relations" asks citizens to support the efforts of the police, complaining that "unjust charges are sometimes made against the police. Charges made or rumored by persons who do not have all the facts. When this happens, police morale is jeopardized and the development of an esprit de corps is made difficult." Another, titled "Take the Handcuffs Off Our Police," argues that by overzealous interpretation of constitutional rights "we are increasingly throttling our law enforcement officers with judge-made rulings that stagger common sense." And an editorial proclaims that "now, more than ever before in our history, one is either for law enforcement or he's against it. He's either for mob rule--or he's for the law. He's either for America--or he's against America. Let's begin to make our laws say what they mean and mean what they say--and let everybody know it." No holdings (of any issue) located in OCLC.
Paris: Gallimard, 1949\. First edition. Original publisher's cloth bindings with titles to spine and pictorial illustrations of Mario Prassinos to boards. Pegasus motif endpapers. Gentle rubbing to extremities of spines; gentle bumps to corners. Front board of volume II mildly bowed. In all, a pleasing pair of this important philosophical work, which was released in a limited edition of 2,105 copies, including the present set which is one of 2,000 numbered copies on Alfama Marais paper. One of the preeminent French existentialist philosophers, working alongside other intellectual greats such as Jean-Paul Sartre and Albert Camus, Simone de Beauvoir made her greatest contributions in the fields of ethics, feminism, and politics. She is perhaps best known for the present work, The Second Sex, which argues that women have been historically relegated to a second class as men's 'Other,' and that this has led to systemic oppression. "Her revolutionary magnum opus, it was published in two volumes and immediately found both an eager audience and harsh critics. The Second Sex was so controversial that the Vatican put it on the Index of Prohibited Books...Striking for its breadth of research and the profundity of its central insights, it remains to this day one of the foundational texts in philosophy, feminism, and women's studies" (Encyclopedia of Philosophy). Near Fine.
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London: J.M. Dent & Sons Ltd, 1966. Later edition. Bound ca. 1966 by [Bayntun Rivière] for Brentano's in full blue polished calf, covers with double gilt borders, spine with five raised bands, decoratively tooled in compartments, two red morocco gilt lettering labels, gilt board edges, gilt-turn- ins, all edges gilt, marbled end-papers. Small neat book-plate on front paste-down. Collating xii, 226, with eight full-page color plates and numerous black and white line drawings throughout the text. A Fine copy. A superlative copy of the classic - and quite novel - story of a horse, told in his own words, wherein he recounts his life as a well bred steed from early childhood in a pleasant meadow, through numerous owners - some kind and some cruel - until fate returns him to the meadow in which he was born. Though animal autobiographies had been published before for children, Black Beauty stands apart from those in that it offered social criticism of his various owners. Because of that, the book was read, appreciated and loved by adults as well as juveniles. It has never been out of print since its original publication, and it has been adapted to the screen on fourteen different occasions. Ultimately, Black Beauty's continual and lasting value is as one of the most influential arguments for the humane treatment of animals.
New York: Jonathan Cape & Harrison Smith. Very Good+ in Fair dj. 1931. First Edition. Hardcover. [nice solid clean copy, slight fading to cloth at ends of spine; the jacket is a bit on the tattered side, with numerous small chips, tears, etc.]. Very uncommon account of the early life of Victor Ilyitch Seroff (1902-1979), whom the author (Werner) met in Paris in the late 1920s, and found so fascinating that he "laid aside other projects and devoted himself to writing [Seroff's] story." Seroff was a young musician who had escaped from Russia in 1920 "on the last American oil tanker to leave [Batoum, his birthplace in the Caucasus] before the Bolsheviks took it over." The book is written in the first person (i.e. narrated by Seroff himself), who describes "his desperate and sometimes humorous effort to gain self-support and continue an artistic career in Constantinople, Vienna and in Paris" during the 1920s. Of particular interest is the last chapter, which presents "a new and penetrating study of the late Isadora Duncan, [including] a moving narrative of her last years and death." (Isadora had attended a piano recital in Paris where she was impressed by Seroff's playing, and he soon found himself drawn into her circle of intimates.) He later became a musical biographer of some note, writing books about Shostakovich, Prokofiev, Berlioz, Chopin, Liszt, Debussy, Ravel and others, as well as a biography of Isadora Duncan herself.
Strassburg: Johann Schott, 1532. Two volumes bound in one (the appendix added to vol.II), folio (287 x 188 mm; 11¼ x 17½ in.). Vol. I: Title within woodcut allegorical border, 4- and 5-part borders to several pages, woodcut arms of Strasbourg, ornamental and historiated initials, head- and tailpieces, 86 woodcuts of plants by Hans Weiditz; vol. II: Title within woodcut allegorical border, 4- part border on 2 pages, 49 woodcut illustrations by Weiditz, all colored in a contemporary hand. 18th-century mottled calf gilt, edges gilt. Rebacked preserving original gilt spine panels, repairs to corners, some slight drying; A4 in volume I bound after b4, lacking blanks b4 and G6 in the first volume and H4 and S6 in the second, small stain in lower margin of first title and first text leaf, some leaves lightly browned, occasional minor staining. Provenance: Johannes Beusler (early ownership inscription on title); Jean Charles Patin (inscription dated 1817 on front flyleaf noting that he is a native of Manneville and currently farming in Bézu-la-Forêt); purchased from William Schatzki, 1971. From the Collection of Arthur & Charlotte Vershbow. A finely colored copy. Referred to as "the first great mind in modern botany" (Hunt), Brunfels' most revolutionary contribution was his choice of artist accurately to portray these "living portraits of plants." The magnificent woodcuts executed by Weiditz were taken from watercolors drawn directly from nature and delineate botanical details well beyond their known function in the taxonomic literature of the time. The first volume was reprinted to be sold with the second, and this is how many sets are constituted. The appendix at the end of the second volume contains the first published writings of both Jerome Bock and Leonhardt Fuchs (see also item 32). After Brunfels's death, a third volume was published (1536-39) and was illustrated after different artists. Adams B-2924 and B-2925; Fairfax Murray German 462 (1530 edition); Garrison-Morton 1803; Grolier/Horblit 33a; Hunt 30 (mixed edition); Nissen BBI 257, Ib, IIa and 257, III; Norman 361; Stafleu &Cowan TL2 852 and 853; Pritzel 1283.
by DONEN, STANLEY (DIRECTOR); PETER STONE (SCREENWRITER); CARY GRANT, AUDREY HEPBURN, WALTER MATTHAU, JAMES COBURN (STARRING)
Paris: Films sans Frontieres, 1963. Vintage reference photograph of actors Cary Grant and Audrey Hepburn filming a scene on location on the banks of the Seine for the 1963 film. The greatest box office success of noted director Stanley Donen's career, owing to an excellent screenplay and what Donen's biographer Stephen M. Silverman refers to as the film's three stars: "Cary Grant, Audrey Hepburn, and Paris". Though very much influenced by Hitchcock's "North by Northwest," "Charade" is simultaneously lighter and more complex, with an even more entertaining tailspin of deception than its predecessor. Set and shot on location in Paris. 10 x 8 inches. Near Fine, lightly toned. Criterion 57. Penzler 101.
by CAIDIN, MARTIN; M. SCOTT CARPENTER, GORDON COOPER, JOHN GLENN, GUS GRISSOM, WALTER M SCHIRRA, ALAN SHEPARD AND DONALD SLAYTON
New York: E. P. Dutton & Company, 1960. First edition of this introduction to Project Mercury. Octavo, original cloth, illustrated with drawings by Fred L. Wolf and photographs. Signed by all seven of NASA's original Project Mercury astronauts on the half-title page, using their full signatures. Signed by Walter M Schirra Jr. (signed twice), Virgil I. Grissom, M. Scott Carpenter, Donald K. Slayton, John H. Glenn, Jr., and Leroy G. Cooper Jr. and Alan B Shepard Jr. Near fine in a near fine dust jacket. Books with all of the Project Mercury's signatures are rare, especially with full signatures. "The first seven American astronauts were an admirable group of individuals chosen to sit at the apex of a pyramid of human effort... They chose to lead by following the opportunity that chance, circumstance, technology and history had prepared for them" (Swenson, Grimwood & Alexander). NASA introduced the seven astronauts in Washington on April 9, 1959. Although the agency viewed Project Mercury's purpose as an experiment to determine whether humans could survive space travel, the seven men immediately became national heroes and were compared by TIME magazine to "Columbus, Magellan, Daniel Boone, and the Wright brothers" (TIME 1959).
Paris: (Cordier for) Le Fuel, 1822. 18mo (123 x 80 mm). [iv], 175 pp. Double column. Additional engraved title/wrapper with hand-colored fashion emblem (a parasol draped with shawls, necklaces and a flowered hat) and 15 engraved plates, on thicker paper, all stencil- and hand-colored under the publisher's direction, one (of corals) also color-printed; tissue guards. Small closed tear in first gem plate, else a fine copy. Bound at end are six leaves on thicker paper containing [12] pages, one per month, blank except for the engraved name of the month and hand-colored vignette (with traces of old pencil scribbles); and a smaller format foldout calendar for 1822, with the imprint of Lefuel,the months in columns each topped by a woodcut astrological vignette. Publisher's blind-stamped brown calf "cathedral" binding, the same block used on both covers, backstrip with blind-stamped ornamentation above and below the title, gilt edges, yellow endleaves, blind-stamped matching leather slipcase, lower cover of binding with silk tab for removing from the slipcase (a bit of scuffing). Etched bookplate of Robert de Beauvillain tipped to front endleaf.*** Only Edition of an unusual and still useful illustrated dictionary of objects, materials and concepts, most of interest to women and many relating to fashion. Covering both luxury goods and common objects and materials, the dictionary contains over 800 entries, many including the names and addresses of relevant Parisian suppliers, making it a far-ranging encyclopedia of feminine material culture in Restoration France. This is a special de luxe copy in a reliure à la cathédrale, with an extra fold-out calendar and hand-colored ornamented cahier for notes for each month of the year. From Abaca (a type of hemp or linen from the Philippines, of which the white plants were used to make a very fine cloth while the gray were used for cocardes) and Acier (steel being used at this time not only for buckles, belts, clasps etc., but also to make jewelry, a dozen examples being illustrated in plate 1), to Zéphir (a shawl made of net) and Zibeline (the animal whose nearly black fur is highly prized), the dictionary includes terms of apparel, footwear, and accessories, a vast number of textiles and related terms (materials, weaves, and treatments), furs and skins, common materials with a variety of applications (e.g., sandalwood, various vinegars and oils), objects used for personal grooming (sponges, tweezers, brushes, mirrors, etc.), many perfumes and eaux de toilette, gems and precious metals, furnishings and furniture, and even prostheses, including a long description of artificial eyes and where to purchase them. A few entries contain mini-treatises on social custom: the seven-column entry for Deuils, for example, discusses the proper length and appropriate mourning dress for various degrees of consanguinity. Some contain surprises - thus the entry on Marriage, far from listing bridal gowns and suppliers, tells a simple story of a painter and the changing perspective of a groom, before and after marriage. The language of flowers gets a special entry (which advertises a relevant publication, the Dictionnaire du Langage des fleurs ou de leurs emblèmes, of which I locate no edition). Besides steel jewelry, the finely colored plates show rings and earrings, pocketbooks and wallets, necklaces, specimens of coral, fans, a splendid bouquet, brightly colored garters, bejeweled combs, 24 precious stones (on two plates), an elaborate feather headdress, a pretty assemblage of ribbons, and several large handbags (sacs-gibecières, two plates). Perrot was a geographer who wrote and edited numerous works. Mazeret was an almost equally prolific writer for hire. The publisher Valentin Lefuel, active from 1792 to the late 1820s, specialized in the publication of almanacs, keepsakes, and children's books. He was also a binder, and he offered his publications in a variety of different bindings, including "gauffred calf," here in the "cathedral" style, inspired by gothic architecture, which enjoyed a vogue in France and England during the Romantic era. (I have not previously seen an example of this kind of binding on an almanac or almanac-like popular imprint.) Copies are held by the Brooklyn Public Library, Morgan Library, Metropolitan Museum of Art and Smith College (the last two purchased from us); outside the US OCLC lists only the Bibliothèque nationale de France, to which the Catalogue Collectif de France adds a copy at Rouen. Colas, Bibliographie générale du costume et de la mode 2023; Grand-Carteret, Les almanachs français 3476. Cf. S. Malavieille, Reliures et cartonnages d'éditeur en France au XIXe siècle, p. 24 (on Lefuel).
London: Neville Spearman, 1957. First British Edition. Fine/Fine. First British edition. Fine in a Fine dust jacket with almost imperceptible streaks to rear panel only faintly visible in raked light. A fantastic copy of a book normally found in much lesser condition.
Paris: Les Jouets et Jeux Français, 1895. A board game for up to six players, following the eighty-day journey of Phileas Phogg across the globe. Each day is represented by a square on the board, centering around a globe. Some squares show notable characters, such as Phogg, Francis Cromarty, and Miss Aouda, while others show ships, animals, and landmarks from destinations as far as Calcutta, Hong Kong, and San Francisco. Some squares have particular associated functions, which are outlined in the rules on the underside of the box lid. The course of play proceeds through a series of transactions using the fifteen tokens provided, with one player acting as Phogg's valet, Passepartout, who takes on the role of banker. The tokens are housed in a cloth bag. Six painted metal figures act as gamepieces, housed in a smaller box, with splits to corners of lid. Paper cup holding two dice, along with tokens and game pieces, contained in separate compartments in the box. Some soiling to back of game board. All elements stored in box with lush pictorial lid, some signs of repair, else a near fine and remarkably intact set.
Paris, France: Obelisk Press, 1935. Book. Very good condition. Paperback. Fourth edition. Octavo (8vo). 271 pages of text. Original paperback binding with minor shelfwear and soiling, and minor vertical creasing to the spine. Pearson A-37 [unrecorded variant] with all points identical to A-37 with these exceptions: 1) Does not have the statement "Banned in England May 1935" printed on the front cover; 2) the front flap contains the price 50 francs; 3) the front flap edition statement differs slightly in that it states "This is the only existing edition of James | Hanley's most famous work, recently sup- | pressed in England."; 4) rear flap price for the 11 titles listed at "50 francs each". One page edge with a tiny black mark in the extreme margin, but the text is clean and unmarked. Fourth edition, variant of the first impression. Protected in custom-fitted archival mylar.
Green cloth with white and black titles and decorations, slipcase, 16 by 22.7 cm, xxii 190 pp., illus. Fine, unread copy in near fine slipcase. "The days from May 24 to May 28, 1940 altered the course of the history of this century, as the members of the British War Cabinet debated whether to negotiate with Hitler or to continue what became known as the Second World War. The decisive importance of these five days is the focus of John Lukacs's magisterial book. Lukacs takes us hour by hour into the critical unfolding of events at 10 Downing Street, where Churchill and the members of his cabinet were painfully considering their war responsibilities. We see how the military disasters taking place on the Continent—particularly the plight of the nearly 400,000 British soldiers bottled up in Dunkirk—affected Churchill's fragile political situation, for he had been prime minister only a fortnight and was regarded as impetuous and hotheaded even by many of his own party. Lukacs also investigates the mood of the British people, drawing on newspaper and Mass-Observation reports that show how the citizenry, though only partly informed about the dangers that faced them, nevertheless began to support Churchill's determination to stand fast. Other historians have dealt with Churchill's difficulties during this period, using the partial revelations of certain memoirs and private and public papers. But Lukacs is the first to convey the drama and importance of these days, and he does so in a compelling narrative that combines deep knowledge with high literary style."
San Francisco: Stolen Paper Editions, 1966. Second printing. Paperback. Very Good. Wide stapled illustrated wrappers. Second printing of Kandel's controversial volume of sexually explicit poems that was banned and seized by the police when first published. A very good copy with some wear to covers. Six pages, printed on rectos only.
New York: McLoughlin Brothers, 1906. First Edition. Very good in heavy paper, printed wraps over a replacement sewn binding. A quarto measuring 12 1/8 by 9 7/8 inches with archival tape repairs along the length of the fold of the spine and with similar repairs to several of the page folds. The sewn binding has been restored professionally. Unpaginated, but containing 14 pages illustrated with 8 full color lithographic plates (counting the covers) and line drawings throughout. Identified on the front panel as "158". Copyright dates of 1899 appear on the front cover and 1906 on the rear cover. The illustrator is not indicated. Clement Moore's poem comprises the first six pages which includes three full color plates. The remaining pages of text and plates contain the poem Santa Claus And His Works written by George P. Webster. (Very similar to Marshall 133).
London: John Evans, [ca. 1810?]. 8vo (16.7 cm, 6.57"). 8 pp. Apocalyptic warning, written by a Scottish missionary (1766–1840) known for his Travels in South Africa. This printing, apparently the first, is scarce; WorldCat locates three U.S. institutional holdings of a later "Evans and Son" imprint, but none of this "John Evans, No. 42" printing. The large title-page wood-engraving illustrates the dividing of the wicked from the righteous.
Provenance: From the chapbook collection of American collector Albert A. Howard, sans indicia. Removed from a nonce volume; page edges gently browned. The workmanlike printingis somewhat uneven, and the title-page vignette shows a few small ink spots from the press. Uncommon and interesting.
Philadelphia: J.B. Lippincot, 1935. First Edition, First Printing. Hardcover. Octavo, 342 pages; VG/none; bound in publisher's brown stamped orange cloth, mild wear to extremities; bookplate to front pastedown; front gutter beginning to show webbing; small bookstore sticker to rear pastedown; shelved case 1.
Prague: Peace and Socialism Publishers, 1965. First Edition. Paperback. Exposé of the apartheid system, with contents dealing with the politics of cheap labour, apartheid in practice, the confidence trick of apartheid, international action and the collaborators, and the people's struggle. Slim octavo (22cm); pictorial wrappers, stapled; 38,[2]pp. Light wear to wrappers, touch of dustiness to rear wrapper, else Near Fine.
Boston: Houghton Mifflin Company, 1942. First edition, first printing. Hardcover. Very good/Very good. 8vo. Green cloth printed in back on the spine and upper board. The cloth has slight aging to the boards and spine, some offsetting on the endpapers and pastedowns,a penciled ownership name and another blindstamped on the half title and the title, but it is still a very good copy. The dustwrapper is rubbed at the folds and rough along the edges including a couple of short marginal closed tears. It shows the first state points: $3.00 on the flap, and on the box on the rear panel, and with the war bond ad on the rear flap. The author was an English girl raised in British East Africa, conversant in native languages and customs, a horsewoman and a pilot when airplanes were unique in that part of Africa. Accompanied by her biography: Mary S. Lovell, STRAIGHT ON TILL MORNING, New York, St. Martin's Press, 1987. First US edition. A fine copy in a fine, clipped dustwrapper.
New with no dust jacket. 1984. Serigraph. 29 1/2 x 41 1/2 inch serigraph on Arches 140 pound moulded paper. Print is numbered (76 of 100) but not signed. In this superb example, the bold design and restrained size of the diamonds strikes an elegant balance with the striped field. The result is an icon of the 19th century Navajo Third Phase Chief Blanket weaving. This serigraph is the result 65 to 100 screen applications on Arches handmade paper. In speaking with the artist, he explained how he perfected his printing craft by adding layer after layer until he felt he had the richness and depth he was after. He was particularly proud of achieving the three-dimensional feel to his serigraphs. Each ripple and fold in the blanket is tangible and unique. One can actually 'feel' the multiple layers of ink on these masterpieces. During the second half of the 19th century, the primary market for Navajo blankets shifted from other Native American tribes to Anglo-Americans. While Native Americans had preferred Navajo Blankets featuring simple arrangements of horizontal stripes, Anglo Americans found the relative simplicity of first and second phase chief's blankets uninspiring, Anglo Americans also preferred bordered compositions to unbordered compositions, probably because most Oriental carpets featured bordered compositions. In response to the Anglo American preferences, Navajo weavers introduced the concentric diamond to their chief's blankets. The chief's blanket's traditional, horizontally striped field was decorated by the arrangement of a full central diamond surrounded by eight partial diamonds. This gave the chief's blanket a focal point, and the suggestion of a border. Almost overnight, the diamond pattern (or “third phase" pattern, as it is more commonly known) became extremely popular among Anglo American tourists, settlers, military personnel and merchants throughout the Americana west. ; Serigraph; 24" x 36" .
by TUCKER, GILBERT NORMAN, PH.D. (CANTAB.); ILLUSTRATED [ILLUSTRATOR]
King's Printer The Minister of National Defence, 1952-01-01. Hardcover. Very Good/Good. 2 Volume Set. Both dust jackets have minor wear. Both are clean, both have good bindings, no marks or notations.
Paris: Martinet, 1821. Galerie des Grotesques [GONDELIER, Jean-Baptiste]. [Galerie des Grotesques]. [Paris]: [Chez] Martinet, [1821]. Oblong folio (16 x 10 1/2 inches; 406 x 267 mm.). Seven leaves, titled and numbered in manuscript, each with three hand colored etched plates making a total of twenty-one images. Contemporary quarter green calf over floral patterned black boards.
The plates - each one lettered and numbered in manuscript "Galerie des Grotesques" No. 1. Les Rivaux; Partie d'écarté; Les effets du lavement, et la tentation (The Rivals; Discarded party; The effects of enema, and temptation) No. 2. Le maitre de danse, et le Coëffeur; Les joeurs de tonneau; Le remède inévitable (The dance master, and the hairdresser; The barrel joists; The inevitable cure) No. 3. Le bon gout; Cérémonie nuptiale; Le Dentiste (The right taste; Bridal ceremony; The Dentist) No. 4. Les conscrits; La sauteuse; Le bon ménage (The Conscripts; The jumpers; The good housekeeping) No. 5. Lecture des Tourneaux; Le cocher di Fiacre en dèfaut; Le Charlatan (Reading the turns; The coachman of Fiacre in defect; The Charlatan) No. 7. La Rosière; Le Pédicure; Les suites d'une Ribotte (La Rosière; The Pedicure; The aftermath of a Ribotte) No. 6. Partie d'Anes; Le Plaidoyer; Le Boston (Part of Anes; The Plea; Le Boston) Excessively Rare. OCLC locates just one suite (with only six plates) in libraries and institutions worldwide at Kunstbiblio Staatliche Museen Zu Berlin (Germany). GONDELIER, Jean-Baptiste (fl. 1821-1827). Gondelier was an engraver and a papermaker. As early as 1820, he was editor of a singer dedicated to Béranger, Le Constitution. He wanted to do city work but he also printed satirical prints, constituting the Gallery of the Grotesques. In 1826-1827 he collaborated in the writing of several plays performed at the Vaudeville theatre. Perhaps it was for this reason that he abandoned his lithograph patent and then applied for a letter printer's patent obtained in 1828. These 'Grotesque' caricatures appear to be based on the Woodward three-row strip genre typified by Grotesque Borders and Pigmy Revels, published by Ackermann and Fores, respectively, in 1799 and 1800. Fores continued to issue the Pigmy Revels strips in a folding panorama format, as well as in a spooled boxwood drum, well into the 1820s. "The relationship between Martinet-published works and Woodward's caricatures is commented on in an essay by Alberto Milano entitled "Change of Use, Change of Public, Change of Meaning: Printed Images Traveling Through Europe," appearing in a book edited by Evanghelia Stead, Reading Books and Prints as Cultural Objects (Cham, Switzerland: Palgrave MacMillan, 2018) at pp. 150-51. I am attaching scanned images of the relevant pages as Scans 1, 2, and 3. As you will note, the author of the essay suggests that Martinet "transferred Woodward's caricatures in a series of larger prints entitled Les Passions," but I am skeptical. The only two examples of those prints I have found -- at the British Museum -- do not relate to any Woodward satire of which I am aware. (For ease of reference, I am attaching the British Museum write-ups as BM-1 and BM-2.)" (William Gordon - author of the William A. Gordon Library of British Caricature)
England: Brown Watson, 1986. Paper Covered Boards. As New. 4to. Very hard-to-find reprint of Kubasta's Tip + Top and the Moon Rocket, originally published in 1964. In terrific shape; doesn't appear to have ever been read. All six popups and associated animations work great. Almost no cover wear. Number 10 on Tillman's list of the 100 best popups.
Lunenberg: Limited Editions Club, 1980. Hardcover. Orig. decorated gray pebble grained cloth stamped in black and silver. Fine in fine black slipcase spine lettered in silver. Fred Me. 224 pages. 22.5 x 17.5 cm. Illustrated with fourteen color gauches by Fred Meyer, designed by Frederick Stinehour, printed at the Stinehour Press. Limited edition, copy 1267 of 2000 signed by Fred Meyer. Printed in Bodoni, cast by the Bauer foundry in Germany. Laid-in the LEC Monthly letter. NEWMAN & WICHE 516. Bright, very fresh copy.
(Clifton, New Jersey): AB Bookman Publications, 1994. Softcover. Near Fine. First edition. Quarto. 2,163-2,274pp. Stapled wrappers, near fine. This issue contains Thomas Frognall Dibdin and Bibliomania, Kepler As Author, Printer and Publisher.
London: Darton, 1811. 32mo. 16pp., + 16 inserted plates. Each engraved image depicts the titular good boy engaged in less desirable activities, such as throwing stones, feeding scraps to the family pet, and drawing on the walls. Each is accompanied by a pithy couplet drawn from the soliloquy. The author includes an introductory note, in which he defends himself from the accusation that the verses give children naughty ideas that they would never have thought of themselves, and provides the suggestion that the reader insert his or her own name at the final line and face the potential ruin of the rhyme with bravery. Bound in tan wrappers with illustration to both covers. Expected but minor edgewear, faintest foxing, else near fine. A rare survival, with only two institutional copies listed in OCLC.
1955. London: William Heinemann Ltd, (1955). Original dark blue cloth lettered in gilt, with dust jacket. First Edition of this novella about a man who devises a scheme to win big at Monte Carlo -- but his obsession causes him to lose his girl (whom he planned to marry there) in the process; with an acquaintance's help he gains the girl back, but only by losing all the money he had won -- hence "Loser Takes All." The following year appeared the British film with the same title (screenplay also by Greene) -- starring Glynis Johns, Rossano Brazzi, and Robert Morley. This is a very good copy (wear on some edges of the boards, minor fading, foxing on the top edge). The dust jacket is just about fine (a couple of short closed tears); because the jacket is in better condition than the volume, one may assume that it was "married" to this book. This is a presentation copy signed by Greene, with the inked title page inscription "For Clive | Graham Greene"; at a corner of the front paste-down is the penciled signature "Clive Hirschhorn | Johannesburg, March 1985". For over 30 years, the South African Clive Hirschhorn was a major London theatre and film critic for the Sunday Express; he also wrote biographies of Hollywood stars like Gene Kelly and of the Hollywood studios Warner Brothers, Universal, and Columbia. He was also a major collector of modern first editions (his collection, including 28 Graham Greene titles, sold at Bloomsbury in October 2012). Additionally, the front free endpaper bears the undated ink signature of Anthony Woodward, a professor of English at the University of Wiltwatersrand in Johannesburg (Hirschhorn's alma mater); among Woodward's writings is "Graham Greene: The War Against Boredom" (Cape Town 1971, Cassis B7112). Quite a nice circle of associations.
Burlington (VT): Printed by Smith & Harrington, 1836. 4to. 275 x 225 mm., [10 ¾ x 9 inches]. vi. 46 pp. Lithographic title-page and 13 full-page lithographic plates. Original cloth, paper label on spine; cloth discolored and shows some remnants of water staining, spine and tips expertly repaired with tissue, spine label chipped; tide marks to preliminary leaves, frontispiece and title-page, plates 12 and 13 and rear end leaves. With fault a good copy. First edition. Illustrated with fourteen finely drawn and printed lithographs designed by the author and printed by the Pendleton's Lithographic Company, Boston. "John Pendleton, Lithographer. Born in New York State. While traveling in France, he became interested in lithography and studied the art under the best masters in Paris. On returning to America, he settled in Boston with his brother, a copperplate printer, and they established a lithographic establishment in 1825." John Henry Hopkins was an Irish immigrant, home schooled by his mother, who became a lawyer, musician, ordained minister, bishop and author of over thirty publications. He studied gothic architecture during his time in Pittsburg where he was charged with supervising the construction of Trinity Church. Dismayed with the unsightly designs of most churches in America he decided to compile his information as a guide to the elements of style and design characteristics of the gothic. He became of the most notable experts in the field and he published this work, one of the first of its kind in America, for the benefit of local ministers charged with the building of churches in the gothic style. Hitchcock American Architectural Books, 606. Fielding, Dictionary of American Painters, Sculptors and Engravers, p. 278. Peters, American on Stone, pp. 312-323. Allibone, Critical Dictionary of English Literature and British and American Authors I, p. 885.
Chicago: A. C. McClurg & Co., 1919. Octavo, pp. [1-8] 1-319 [320: blank], five inserted plates with illustrations by J. Allen St. John and twelve full-page St. John illustrations in the text, original orange cloth, front and spine panels stamped in black. First edition, first printing, first binding with publisher's imprint on spine panel set on three lines. A series of twelve stories, "The New Stories of Tarzan," all first published monthly in BLUE BOOK, September 1916-August 1917. The stories, containing some of Burroughs's best writing, were collected in JUNGLE TALES OF TARZAN. A total of 63,000 copies of the book were printed. There were multiple printings, probably four, all dated 1919. Bleiler, Science-Fiction: The Early Years 319. Bleiler (1978), p. 35. Reginald 02286. Heins JT-1. Private owner's bookplates affixed to front paste-down and free endpaper. Top and fore-edge of text block a bit tanned, a bright, nearly fine copy in bright, very good four-color pictorial dust jacket (reproducing painting by J. Allen St. John on front panel) with restoration at corners and spine ends. The jacket presents well overall.
1551. A Collection of Texts from the Corpus Juris Civilis in Handsome Uniform Contemporary Paneled Pigskin Bindings Justinian I [483-565 CE], Emperor of the East. Accorso, Francisco (Accursius) [c.1182-c.1260], Glossator. Gaius [Active 130-180 CE]. Institutionum D. Iustiniani Sacratissimi Imperatoris Libri Quatuor: Ad Vetustissimorum Simul et Emendatissimorum Exemplarium Fidem Summa Diligentia Recogniti, Emendati. Cum Scholiis Accursii. Adiecimus Pluribus Locis Annotationes ex Doctissimorum Hominum Commentariis, Ex Quibus non Parum Lucis ac Dignitatis his Iuris Civilis Elementis Accedit. Accessit Corpus Legum, Antea non Impressum, Ac Caii Institutionum Libri Duo. Lyon: Apud Hugonem a Porta, 1553. Pp. [24], 290, [2] pp. Large woodcut image of Justinian surrounded by his court. Main text in parallel columns with linear gloss. [Bound with] Justinian I, Emperor of the East. Accorso, Francisco (Accursius), Glossator. Volumen hoc Complectitur (Sic Enim Peculiari Vocabulo Vocant) Novellas Constitutiones Iustiniani Principis Post Repetitam Codicis Praelectionem Aeditas: Authentica Vulgo Appellant. Tres Item Posteriores Libros Codicis; Feudorum seu Beneficiorum Duos; Constitutiones Friderichi Secundi Imperatoris; Extravagantes duas Henrici Septimi Imperatoris; & Tractatum De Pace Constantiae. Omnia ad Vetustissimorum Simul & Emendatissimorum Exemplarium Fidem Recognita, Emendata. Accesserunt nunc Primum, & Nunquam Antehac Aediti, Iustiniani Novellarum Constitutionum Libri Duo, Cum Multis Annotationibus ex Doctissimorum Hominum Commentariis, Quae non Parum Lucis ac Dignitatis Huic Volumini Afferunt. Lyon: Apud Hugonem a Porta, 1553. [xvi], 276, 148, 99, [1] pp. Woodcut table of descents (in the form of a tree). Main text in parallel columns with linear gloss. [With] Justinian I, Emperor of the East. Accorso, Francisco (Accursius), Glossator. Infortiatum, Pandectarum Iuris Civilis Tomus Secundus: Quartae Partis Reliquum, Itemque Quintam Digestorum Partem, Ac Sextae Partis: Libros Continens, Ex Pandectis Florentinis Ita in Universum Recognitus ac Emendatus, Ut Nihil Praeterea, Quod ad Puram Eorum Librorum Lectionem Attinet, Desiderari Possit. Lyon: Apud Hugonem a Porta, 1556. [xxxvi], 923, [1] pp. Main text in parallel columns with linear gloss. [And] Justinian I, Emperor o.
Westminster: Archibald Constable, 1899. Seventh edition. hardcover. Very good.. A very good early (7th) edition, signed and dated by the author Bram Stoker on the front free endpaper. Housed in a custom-made collector's slipcase
Davis, California: Composer/Performer Edition, 1974. 11 volumes bound in ten (issues 7 and 8 bound in one). Complete; all issued. Oblong folio. 10-3/4" x 14". Original stiff decorative wrappers in colour. Spiral bound. Unpaginated, but with approximately 100 pages to each volume. Lavishly illustrated with musical scores and striking photographs and graphics in both colour and black and white. With supplementary material bound in, some quite unusual, including such things as magnetic audiotape and synthetic fur, screenprintings on transparencies, etc. Each issue with approximately 10 articles written by the major figures in avant garde music of the time, including Dietrich Albrecht, Charles Amirkhanian, Eric Andersen, Robert Ashley, Larry Austin, David Behrman, Mario Bertoncini, Joseph Beuys, Anthony Branxton, Eugen Brikcius, Jacques Brodier, Earle Brown, Allan Bryant, Boudewijn Buckinx, Harold Budd, Jim Burns, John Cage, Cornelius Cardew, Giuseppe Chiari, Paul Chihara, Barney Childs, Christo, Jani Christou, Philip Corner, Lowell Cross, Alvin Curran, John Dinwiddie, Peter Donath, Manfred Eaton, Robert Erickson, Morton Feldman, Robert Filliou, Fluxus, Lukas Foss, David Freund, Ken Friedman, Kira Gale, Peter Garland, Gentle Fire, Tony Gnazzo, Victor Grauer, Joel Gutsche, Gyula Gulyas, Olaf Hanel, Sven Hansell, John Hassell, Dick Higgins, Lejaren Hiller, Stu Horn, Nelson Howe, Jerry Hunt, Toshi Ichiyanagi, Image Bank, Zdzislaw Jurkiewicz, Udo Kasemets, Per Kirkeby, Paul Klerr, Milan Knizak, Jaroslaw Kozlowski, Carson Jeffries, Bengt Emil Johnson, Will Johnson, Ben Johnston, Alan Kaprow, Ed Kobrin, Alcides Lanza, Douglas Leedy, Daniel Lentz, Anna Lockwood, Arrigo Lora-Totino, Alvin Lucier, Mary Lucier, Stanley Lunetta, Eva Lurati, Stuart Marshall, Richard Martin, Harvey Matusow, Tom Marioni, Ken Maue, Dora Maurer, Maria Michalowska, John Mizelle, Robet Moran, Gordon Mumma, Keith Muscutt, Naked Software, Max Neuhaus, Nam June Paik, the New Percussion Quartet, Jocy de Oliveira, Pauline Oliveros, Harry Partch, Jon Phetteplace, the Portsmouth Sinfonia, David Reck, Steve Reich, Jock Reynolds, John Paul Rhinehart, Mark Riener, Roger Reynolds, David Rosenboom, Frederic Rzewski, Zorka Saglova, J. Murray Schafer, the Scratch Orchestra, Gerald Shapiro, Nicholas Slonimsky, Barry Spinello, Stanley Marsh 3, Andrew Stiller, Karlheinz Stockhausen, Allen Strange, Alvin Sumsion, Endre Tot, David tudor, Bertram Turetzky, Jiri Valoch, Wolf Vostell, Don Walker, Arthur Woodbury, and Christian Wolff. With 6 accompanying 10-inch LPS: - Robert Ashley The Wolfman; Dave Behrman Wave Train - Larry Austin Accidents; Allan Bryant Pitch Out - Alvin Lucier I Am Sitting in a Room; Arthur Woodbury Velox and Mark Riener Phlegethon - Larry Austin Caritas; Stanley Lunetta moosack machine - Lowell Cross Video II; Arrigo Lora-Totino english phonemes - Alvin Curran Magic Carpet; Anna Lockwood Tiger Balm Slightly worn. In very good condition overall. A complete run of this exciting independent periodical devoted entirely to the music of the 20th century avant garde, an outgrowth of the musical experimentalism in the late 1950s and early 60s at the University of California, Davis and Mills College in Oakland, California. In an effort to expand the traditional definition of music and formal concert performance, Source documents many of the most important "new music" trends of the period including improvised and indeterminate music, minimalism, Fluxus, performance art, graphic scores, electronic music, performance art, concrete and sound poetry, intermedia, British Systems music, video/laser light shows, new electronic, video, and communications technologies, etc. A landmark publication of great importance to the study of avant garde music of the mid-20th century, rarely found complete.
Cambridge: np, 1963. First edition. Fine. C.S. LEWIS GIVES PRACTICAL (AND SOMEWHAT HUMOROUS) ADVICE TO A STUDENT SELECTING A THESIS TOPIC, BEFORE REVEALINGLY SUGGESTING ONE OF HIS FAVORITE WORKS - DOROTHY SAYERS'S THE MAN BORN TO BE KING - AS A SUBJECT WORTHY OF STUDY. Written to a student, John T. Tukey of Rhode Island and dated July 6, 1963, the letter reads in full: As from Magdalene College, Cambridge 6 July 63 I always dissuade students from making a living author the subject of their thesis. When they do, however hard they work, the chosen author and his intimates will know a lot more about the subject that they can find out. Dead authors know a lot about their own work which we don't but fortunately they can't tell it. It has happened before now that those who were examining a thesis on my work have written to ask me whether some interpretation offered by the candidate is correct. This puts me in a v. awkward dilemma. If I refuse to answer they know that my answer would have been no. The candidate's work is thus unfairly subjected to a check which would not have been applied if he had written on a dead author. I suggest you choose Dorothy Sayers' cycle of plays on the life and death of Christ (title, The Man Born to be King). Whether it wd. come under the faculty of Theology or that of Literature depends, I suppose, on how you treat it. Yours sincerely [signed] C.S. Lewis Background - C.S. Lewis, Dorothy Sayers, and The Man Born to Be King: C.S. Lewis and the writer Dorothy Sayers quickly became good friends after the latter wrote him a "fan" letter praising his recently-published Screwtape Letters. It was not a particular surprise they developed a friendship for both had similar views on literature, scholarship, and theology (especially sharing the desire to explain and explore Christianity for their literary audiences). Sayers's The Man Born to Be King, a somewhat controversial re-telling of the life of Jesus, originally appeared as a radio drama airing from 1941-1942 before being published in book form in 1943. Lewis was immediately impressed with the work, writing to Sayers on May 30, 1943 (in one of his earliest letters to her), "I've finished The Man Born to be King and think it a complete success... I shed real tears (hot ones) in places: since Mauriac's Vie de Jesus nothing has moved me so much... I expect to read it times without number again...." Over the years, Lewis's admiration for the work only grew. He professed to reading it "in every Holy Week since it first appeared" and noted in 1949 that he thought "Man Born to be King has edified us in this country more than anything for a long time" (Lewis, Collected Letters, II, 989). Sayers died in 1957 - six years before this letter - and it is fitting that of all the books he could have recommended to the student Tukey, he selected The Man Born to Be King, a book he greatly admired and a book that had remained dear to his heart. Cambridge: 6 July 1963. One sheet, 5 1/4 x 7 inches, written in ink on both sides, signed "C.S. Lewis". With original mailing envelope with postmark. Generally fine condition with expected center mailing fold and a few light spots. Housed in custom presentation folder.
Salem, OH: Homestead Print, n.d., ca. 1850. First Edition. Unused handbill announcing anti-slavery meetings held by the Western Anti-Slavery Society, a splinter group from the Ohio State Anti-Slavery Society. This branch was led by the abolitionist Adam Brooke, a member of the utopian community the Marlboro Association; and, to a lesser extent, Parker Pillsbury, who attended and occasionally spoke at the annual anniversary meetings. The Society, Garrisonian in its rejection of the Church, stated that "We are not merely warring against the extension of new slave territory, nor against any fugitive slave law constitutional or unconstitutional; nor for the writ of habeas corpus, or the right of trial by jury for recaptured slaves, but we are waging eternal war against the doctrine that man can ever under any possibility of circumstances, hold property in man" (cf. William M. Wiecek, "The Sources of Anti-Slavery Constitutionalism in America, 1760-1848" (1977), p. 252). The group reached its peak in 1847 when William Lloyd Garrison and Frederick Douglass both spoke at the annual anniversary meeting, which drew several thousand attendees. However, the group always struggled with funding and was defunct by 1861. The present broadside reminds the reader that "Three million of your fellow beings are in chains--the Church and Government sustains the horrible system of oppression. Turn Out! And learn your duty to yourselves, the slave and God. Emancipation or Dissolution, and a Free Northern Republic!" 4 located in OCLC, none in Ohio. Original unused letterpress broadside flyer (40x27.5cm.); a few closed tears expertly mended, stock uniformly toned, else a Very Good, quite fresh copy.
Brussels: Les Lèvres Nues, 1968-1975. Quartos (30 × 23 cm). Issued in uncut loose sheets; approximately 8 to 32 pp. per issue (unnumbered). Illustrations throughout, mostly black-and-white, with some color reproductions tipped in. Most issues printed on laid paper, some on coated stock. Very good or better. A fine complete run of this important post-war Belgian surrealist journal, composed of 135 issues in 98 fascicules, with several double and triple numbers. Issued monthly and edited by Marcel Mariën, the journal features contributions by major Belgian surrealists, including Goemans, Nougé, Scutenaire, Colinet, Dumont, Magritte, Joostens, Lecomte, Tom Gutt, Wergifosse, Bossut, Souris and Bourgoignie, among others. Most issues focus on a unique work by a single author or artist, and are illustrated throughout with reproductions of works by Man Ray, Magritte, Picabia, Mariën, Bossut, Ernst, Graverol, Jamagne, Ubac and Van de Wouver, and others. Especially noteworthy are Magritte's contributions, which are often illustrated by him. Issues 81-95 constitute one volume containing "Lettres surrealistes (1924-1940)" edited and annotated by Mariën. Issue no. 95 contains "Filchings for Annoyed Birds" by Paul Colinet (in English). Most issues feature a distinctive title. Nos. 15, 30, 40, 55, 65, 80, 100, 107, 110, 120, 130, 134 issued as a "nouvelle serie" interspersed throughout the run, under the title "Les Lèvres Nues" and numbered 1-12. The last issue (no. 135) contains a cumulative index to the entire series. All issues uniformly hand-numbered "vingt-deux" (22) of unspecified print runs, which ranged from 50 to 250 copies. Given the low print run of the earliest issues, presumably only fifty complete sets exist.
4to (200x145 mm). Collation: [π]4 †4 A-T4 V2 X4 Y2 Z4 [χ]2. Half-title, engraved frontispiece, [12], 176, [4: errata corrige] pp. and [4] folding plates engraved by Francesco Nigro and Francesco La Barbera after Gerardo Astorino and Vincenzo La Barbera. Richly gilt modern morocco binding, original sprinkled edges. Minor restorations to the outer margin of the first leaves without loss, small worm track in the gutter of a few leaves not affecting the text, tears repaired along the folding of one plate, all in all a very good copy.
EXTREMELY RARE ORIGINAL EDITION of this festival account attributed to Filippo Paruta, but edited by his son Simplicio, who also signs the dedication to the Senate of Palermo, and published posthumously under the name of his other son Onofrio.
In the note to the reader Onofrio provides a detailed list of the works (orations, occasional writings, inscriptions for ephemeral architectures, etc.) of his father Filippo, who was the secretary to the Palermo Senate and the major responsible for the iconographic program realized on the occasion of the 1625 festivity.
At the beginning of the 1620s the viceroy Emanuele Filiberto of Savoy rebuild the Accademia dei Riaccesi, which gathered in the Royal Palace, and entrusted the scholar and mathematician Carlo Maria Ventimiglia with the direction of the academy. Around his figure gravitated many of the artists and scholars who designed the program and the solemn procession of the relics of St. Rosalia, held in June of 1625 as a sign of gratitude for deliverance from plague. Among them were the painters and architects Gerardo Astorino and Vincenzo La Barbera, the engraver Francesco Negro, the scholar Martino La Farina, who conceived the allegorical arch of the Genoese nation, and, above all, Filippo Paruta, who was linked to Ventimiglia also by a common passion for numismatics and antiquities. Paruta was involved in all literary activities related to celebratory events since the end of the sixteenth century. In 1625 he inspired the triumphal arch that the Senate erected in Piazza Villena and was responsible for the account of the festivities, which however was actually published only after his death in 1651.
The constitution of such a large and complex team to be entrusted with the creation of the apparatuses testifies of the importance of that event that officially marked the beginning of the cult of St. Rosalia. The solemnity of 1625 had no immediate follow-up and only in 1649 the feast of St. Rosalia was formalized with all those peculiarities that would characterize the following decades. In 1625, in addition to the impressive processions and solemn ceremonies to which all local communities, religious and civil, took part, two magnificent horse rides were organized; one, in particular, took place at the conclusion of the festivities, after the solemn mass in the cathedral. Then followed fireworks, organized by the German nation, tournaments and jousts. At the very end the nobility walked in gala dresses along Via Colonna (cf. M. Sofia di Fede, La festa barocca a Palermo: città, architetture, istituzioni, in: "Espacio, Tiempo y Forma", series VII, t. 18-19, 2005-2006, pp. 49-75; see also M. Vitella, Il primo Festino, in: M.C. Di Natale, "S. Rosaliae patriae servatrici", Palermo, 1994; and V. Petrarca, Genesi di una tradizione urbana. Il culto di S. Rosalia a Palermo in età spagnola, Palermo, 1986, p. 82).
Catalogo unico, IT\ICCU\PALE\004559; S.P. Michel, Répertoire des ouvrages imprimés en langue italienne au XVIIe siècle conservés dans les bibliothèques de France, Paris, 1976, VI, p. 80; Biblioteca centrale della Regione siciliana "Alberto Bombace", Sanctae Rosaliae Dicata, Bibliografia cronologica su Santa Rosalia, Settembre 2004, pp. 12-13; G.M. Mira, Bibliografia siciliana, Palermo, 1881, II, p. 186; A. Mongitore, Bibliotheca sicula sive de scriptoribus siculis, Palermo, 1707-1714, I, p. 293 and II, p. 174; M. Cornelles, V. Manuel et al., eds., La fiesta barroca. Los reinos de Nápoles y Sicilia (1535-1713), Palermo, 2014, ad indicem.
Glasgow:: Brown, Son & Ferguson, (1948)., 1948. Third impression. Two volumes. 25 cm. xiv, 518; xv, 448 pp. Frontispieces, illustrations, plans (some folding); spine gilt rubbed, corner bumped. Blind and gilt-stamped blue cloth, map endpapers. Very good copies.
London: [plates dated] 1825 [but published 1826]. Folio, 320 x 254 mm, engraved title and 21 plates. Proofs on India paper mounted on handmade paper, some leaves (2, 5, 6, 11, 14, 17, 18) watermarked J. Whatman Turkey Mill 1825. Gilt-ruled green morocco over thick boards, fleurons at the outer corners, double-rule inner frame enclosing a bloom roll, gilt-ruled spine, sewing bands with gilt red morocco onlays, thick dark blue endleaves, all edges gilt, by Riviere: a brilliant set with no foxing at all, interleaved with blanks at the time of binding with no offsetting. Lower cover of the binding at some time tied up with string with ensuing indentation. § First edition, limited to 150 proof sets (65 sets were also printed on French paper, and 100 sets on drawing paper with the word ‘proof’ removed). This is one of finest sets of the proofs I have ever seen, and far outshines the other two original printings and the later re-issue. The India paper set is the best printing of these famous plates which comprise Blake’s major single achievement as a printmaker after the illuminated books. Illustrations of the Book of Job was Blake’s last completed prophetic book: the text, a series of biblical quotations, is above and below each image. “It was produced while Blake was still working on Jerusalem, his most obscure book; yet the illustrations are Blake’s most lucid; and they are the supreme example of his reading the Bible in its spiritual sense” (S. Foster Damon, A Blake Dictionary, p. 217). “The modest size of the central panels does not prevent them from ranking with the supreme masterpieces of graphic art” (Ray, Illustrator and the Book in England #8). Note: as always, the first plate after the title-page is misdated 1828.
Used; Like New/Used; Like New. Poster for a March 28, 1966 appearance by the Civil Rights leader together with singer Harry Belafonte at the Palais des Sports in Paris. Organized by the Comité de Soutien Franco-Américain pour l'Intégration Raciale, the event featured a speech by King and music from Harry Belafonte and French singer Hugues Aufray, sponsored by Suze Liqueur. Two-color poster, with folding creases, one tear to the right edge, minimal wear and toning; overall very good. Sight size 14.5 x 22.5 inches (37 x 57 cm), archivally matted and framed to an overall size of 20.5 x 26.5 inches.In March 1966, King and Belafonte went to Europe for fundraising appearances on behalf of the Southern Christian Leadership Conference, starting with the Palais des Sports in Paris on the 28th, and closing in Sweden on the 31st. This poster for the French appearance is emblazoned with the logo of a sponsor, Suze Liqueur, and also cites the French-American Committee for Racial Integration as the organizing body. The opening act for the evening was the popular French folksinger Hugues Aufray doing a set of Bob Dylan covers, followed by a set by Belafonte. Dr. King closed out the evening with a speech on civil rights, touching on the war in Vietnam and American support for South African apartheid. The tour raised more than $100,000, but drew the wrath of the American ambassador to France for airing American problems overseas. See Ross, Hollywood Left and Right, p. 220. We have traced no other copies of this poster at auction or elsewhere.
London: Herbert Jenkins Limited, 1938. First English Edition. [Jasen 58A in a later dust jacket]. Preceded by the first American Doubleday, Doran edition, published in Oct. 8, 1937. This edition was published on Feb. 11 1938. 12mo., red cloth, stamped in black, 312 pages, plus eight-page catalog; in later "2/6 net" price on spine [whereas the earliest dust jacket is priced at "7/6 net." on the spine]. Very Good (little soil covers; contents clean & tight but for a tiny spot fore-edge; neat ink name front endpaper); some edgewear (few small chips & tears- some with internal mends with archival tape) d/j.
Kansas City: H. Alfred Fowler, 1912. First edition. First edition. Original decorative card paper wrappers. The rare "Eragny Press" number (Volume I, Number 3) which features notes on bookplates by Esther and Lucien Pissarro, by J. M. Andreini, including three superb color printed specimens of book plates by the Pissarros, printed in colors on china paper and tipped-in. A scarce and very attractive rendering. There are also two other features in the number. Near fine.
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PEORIA, ILLINOIS: 1930S-40S. Large black striped album binding titled "Exquisitely", with decorative image of a stag pasted to front cover, 46 photographs, several pieces of ephemera, and numerous pictorial clippings. The album was assembled by Gene Casad, window trimmer in the display department at the Block and Kuhl Co department store in Peoria, Illinois, according to a card pasted to the front pastedown, which is followed by the title "Display World" cut out of a magazine. The album contains many photographs of Casad's window displays, as well as several shots of store displays, followed by many pictorial clippings taken from magazines also depicting department store window displays of women's fashions, handbags, shoes, appliances, furniture, etc. These were possibly used by Casad for reference and inspiration. The photos and clippings are backed by leaves of colored construction paper or decorative wallpaper, likely pasted into the album by Casad himself. Thus the album, with these collage elements as well as its vertically striped, jet black front cover, serves as a tribute to the Art Deco style of the department stores themselves. Album leaves warped and soiled, covers soiled.
London: John Murray, 1912. First English edition. 6 maps and charts (4 folding), one diagram of the journey, and 99 photographic plates. xxxv, , 392; x, 449 pp. 2 vols. 8vo. Original maroon cloth lettered in gilt, decorated with the Norwegian flag on front covers and spines, top edge gilt, others uncut, contemporary gift inscription. Flags on spines a little rubbed, frontispiece loose, otherwise a near fine copy. Taurus 71; Rosove 9.
After hearing of Cook's and Peary's claim of the North Pole in 1909, Amundsen changed his plan and instead decided to head for Antarctica in 1910. Setting off in the Fram, he and his men arrived at the eastern edge of Ross Ice Shelf at a large inlet called the Bay of Whales on 14 January 1911. Amundsen spent the winter mapping his route and preparing depots for food and provisions along the way and finally left for the South Pole on 19 October 1911 with four other men, four sledges and 52 dogs. They arrived at the Pole on 14 December 1911, 35 days before Robert Falcon Scott and his party.
United Kingdom. c1890. A collection of three woodworking design books featuring pen and ink stencils and applied cuts for layouts. Each of the covers of the books have titles pasted onto them. The titles are: Original Designs Book, Designs for Woodcrafting, and Designs for Chip Carving.
The 'Design for Chip Carving' book appears to have a souvenir blank notebook published by the art department of 'Pure Boots Drug Company' that was then repurposed. The Chip Carving book also features both pasted in printed applied cuts and pen and ink stencils. The stencils are hand drawn of a variety of different filigree - mainly with floral elements- and animals. There are three animal stencils, the first is a flock of birds, the second has dragon flies and goldfish, and the third images features two owls sitting on a branch with two bats flying around the moon. The printed applied cuts feature more traditional geometric designs, as well as some floral designs. These designs were for picture frames, mirrors, brushes, furniture, shelves, and various boxes (ex. cigar box). Two of the books are completely filled, one, Chip Carving, is half filled.
Measures 11" x 8 ½”(largest), 9 ½”x 6 ½”(smallest). The two smaller books have 24 pp each and the larger about 40pp.
Offered by Eclectibles and found in "E-list #74" (item #13).
OCCASIONAL LIST 22: A Miscellany: Original Art Work; Small Archive of Major English Watercolourist; Interesting Theatrical Pieces; Manuscript Material, Etc., Etc. -- available on request from fgrare@fgrarebooks.com...
Has the following lists available: California, Texas, Kansas, Missouri, Minnesota, Iowa, Nebraska, Oregon, Louisiana, Colorado, Ohio and New York. Will email to interested parties. Contact info@ginsbook.com to request...
Antverpiæ ex officina Plantiniana, M. DCVI. Second edition. This copy is bound in full contemporary blind stamped calf over wooden boards with two working clasps. Quarto ‡4, ‡‡4, A-Z4, a-z4, Aa-Ee4.+ 100 Numbered Plates. With a special engraved title pages which is an allegorical depiction of Christ carrying the cross, surrounded by ten artists at easels painting scenes from his life (as well as a few questionable profane subjects). The vovelle : Allows the reader to find their way through the Gospels. The centers of the engraving and the volvelle (through which a string passes) are reinforced with small paper roundels printed with the monograms of Christ. The numbers are keyed to an "Indiculus orbitae" that follows (Bb1r-Bb2r). There a number, having been selected, is provided with a phrase from various Latin authors (listed on Bb2v), and a reference to one of the hundred sections that comprise the main text. It is suggested in Bibliotheca Belgica that this game may have been intended as a pious alternative to such superstitious books as Thuys der fortvnen.
Veridicus Christianus emphasizes the Society of Jesus' investment in thinking in, though, and about visual images that exemplify the supreme mystery of God. Published as a tool of devotion and meditations, it features one hundred chapters that encompass a wide range of topics for reflection. Each chapter incorporates an extensive commentary that interprets the emblematic image David too follows the order in which we apprehend things with our senses, beginning with a visual representation at the head of each chapter. Then comes the explication. The symboli explicatio was considered necessary because cultivated readers would be more susceptible to a reasoned argument than a picture. The text is divided into 100 chapters, each with an allegorical engraving incorporating letters keyed to the explanatory text and with marginal references. Each of the 100 numbered plates has a single line of Latin at the head giving the subject, with two-line explanatory verses below the allegorical engraving in Latin (roman letter), Dutch (civilité) and French (italic) First plate (following [2 daggers]4) is added title leaf for the ill., which were also published separately; see Bibliotheca Belgica. The added title reads: Icones ad Veridicvm Christianvm P. Ioannis David e Societate Iesv At the end is Device with compasses and the motto "constantia et labore" on Ee4r . This book is notoriously found defective in one way or another, this copy is perfect and complete.
Carved woodblock, with text on obverse & reverse sides, containing four leaves from the fourth volume of what we believe is the ca. 1728-30 Kyoto edition, published by the Nishimura dynasty, of Bakyo taizen [Complete Collection of Equine Classics]. Woodblock (217 x 805 x 20 mm.), including carved handles.
A fine woodblock from the fourth volume (“Winter”), pages 17-20, of an early Japanese edition of this adaptation of one of the three major publications during the Ming dynasty on veterinary medicine, the Yuan Heng Liao Ma Chi [Collation of Horse Ailments] by Yu Ben Yuan and Yu Ben Heng (there is some considerable controversy regarding authorship; see Buell, May, & Ramey’s “Chinese Horse Medicine: Texts and Illustrations” in Lo & Barrett, eds., Imagining Chinese Medicine [2018], p. 316). The first Chinese edition appeared in 1608 and is considered by the above-mentioned authors to be “an extraordinarily rich work.” Nishimura was a publisher in Kyoto and a specialist in books about medicine and veterinary medicine. The text is carved in Chinese with Japanese reading marks. The fourth and final volume is devoted to rules on how to feed and water horses correctly, with many recipes. In fine condition. The handles have some worming.
N.p.: [Royal Crown Cola Company?], [1960s]. 11” x 28”. Thick cardboard. Very good plus: light edge and corner wear, bump near lower left corner.
Over two feet wide, this is an advertisement for Diet Rite cola featuring an African American family, probably intended as a store display. Although not the first diet soda, the launch of Diet Rite in 1958 (which was initially marketed to diabetics and
sold in drug stores) led to a significant expansion of the diet soft drink industry. We find no other examples.
London: Printed by S. Roycroft for Henry Twyford, 1680. [viii], 260, [12] pp. Octavo (6-1/2" x 4"). Later three-quarter calf over marbled boards, rebacked retaining spine, which has gilt ornaments and later lettering piece, endpapers renewed. Some rubbing to boards and extremities, corners bumped and lightly worn. Light browning and occasional light foxing to text. Early owner underlining to title page, which has some edgewear, interior otherwise clean. An appealing copy.
*Only edition. This book was the first digest of the London's laws and guide to its courts after the revisions of the city laws from 1647 and 1658. A useful work that gathered a great deal of disparate information, it is a valuable resource today for students of seventeenth-century London and its legal system.
Wittenberg: Cranach and Döring, 1524. Quarto: 21 x 15 cm. [20] pp. A4, B2, C4
First edition of Luther’s response to the growing danger posed by the radical preacher Thomas Münzer, who was ultimately executed the following year for leading the violent, open revolt that came to be known as the Peasants’ War.
In 1523, Thomas Münzer, formerly the leader of the radical “Zwickau Prophets” began to radicalize the area of Allstedt, where he was then pastor, preaching that the ungodly were to be eliminated and the elect would establish a kingdom of Christ on earth and threatening the political rulers of the area with rebellion.
Illustrated Catalog on Carlos Merida (1891–1984) -- Mexican painter, sculptor, writer and graphic designer -- available by request from mmbooks@comcast.net
“Prise de la Bastille par les Bourgeois et les braves Gardes Françaises de la bonne Ville de Paris, le 14 Juillet 1789. Dédiée à la Nation.” (France, after July 14, 1789). Hand-colored engraved folding paper fan, printed on recto and verso on two adhered sheets, the recto with a full-width etched and engraved scene of the taking of the Bastille, colored in watercolors and white gouache, within stencil-printed decorative border, the verso with an engraved poem; mounted on original plain wooden sticks, the guards with narrow fillets of decorative bone along edges and at rivet, the unfolded leaf measuring approx.137 x 500 mm., total fan measurement 208 x 500 (10 3/4 x 20 in.).
Condition: a few small chips and old paper patches, mainly to the borders, one small patch within the engraved area, affecting only the background, slight wear along a few pleats, one or two small stains, 2 words slightly rubbed on verso, a guard relined.
A FINE EPHEMERAL SURVIVAL: a rare fan on a popular and dramatic theme, no doubt issued soon after the event depicted. Although by July 14 1789, the Bastille was nearly empty, and its historical reality was that of “the least cruel of all the [French] state prisons” (Marion, Dictionnaire des Institutions francaises, p. 40), its potency as a visually imposing symbol of tyranny was undiminished. The day of its storming by a crowd of about 1000 “bourgeois” was unfortunately one of intense bloodshed, with over 100 people, including 98 attackers, several soldiers and the garrison commander the Marquis de Launay, losing their lives. De Launay’s head and that of Jacques de Flesselles, “Prévôt des Marchands,” were later paraded on pikes.
Offered by Musinsky Rare Books and found in "La Révolution."
Compton, CA: Compton Police Officers Association, 1964. 8.5 x 11 inches, 72 pp, with illustrations and ads. Three-hole punched, police department stamp on front cover, one gathering loose front staples; very good. Fourth annual edition of this periodical, which was used to raise funds for the Officers Relief Fund and to inform the public of "some of our problems and functions."
Within a year, there would be riots--founded in a long history of friction between African-American residents and the police--in neighboring Watts, and by 1970, Compton would have the highest crime rate in California. This publication starts with a positive story showcasing of a newly completed police building, and includes articles about successful police operations and public safety tips. But hints of the policecommunity tension to come are also present. An article titled "'Defenders of the Peace' in Community and Human Relations" asks citizens to support the efforts of the police, complaining that "unjust charges are sometimes made against the police. Charges made or rumored by persons who do not have all the facts. When this happens, police morale is jeopardized and the development of an esprit de corps is made difficult." Another, titled "Take the Handcuffs Off Our Police," argues that by overzealous interpretation of constitutional rights "we are increasingly throttling our law enforcement officers with judge-made rulings that stagger common sense." And an editorial proclaims that "now, more than ever before in our history, one is either for law enforcement or he's against it. He's either for mob rule--or he's for the law. He's either for America--or he's against America. Let's begin to make our laws say what they mean and mean what they say--and let everybody know it." No holdings (of any issue) located in OCLC.
Paris: Gallimard, 1949\. First edition. Original publisher's cloth bindings with titles to spine and pictorial illustrations of Mario Prassinos to boards. Pegasus motif endpapers. Gentle rubbing to extremities of spines; gentle bumps to corners. Front board of volume II mildly bowed. In all, a pleasing pair of this important philosophical work, which was released in a limited edition of 2,105 copies, including the present set which is one of 2,000 numbered copies on Alfama Marais paper. One of the preeminent French existentialist philosophers, working alongside other intellectual greats such as Jean-Paul Sartre and Albert Camus, Simone de Beauvoir made her greatest contributions in the fields of ethics, feminism, and politics. She is perhaps best known for the present work, The Second Sex, which argues that women have been historically relegated to a second class as men's 'Other,' and that this has led to systemic oppression. "Her revolutionary magnum opus, it was published in two volumes and immediately found both an eager audience and harsh critics. The Second Sex was so controversial that the Vatican put it on the Index of Prohibited Books...Striking for its breadth of research and the profundity of its central insights, it remains to this day one of the foundational texts in philosophy, feminism, and women's studies" (Encyclopedia of Philosophy). Near Fine.
4to. 11.5 x 12 in. [12 pp (unpaginated).] triptych, printed on colour-tinted paper stock, which opens into oblong folio 34.5 x 24 in. dealer poster. Colour-illustrated throughout. Self-printed colour-illustrated softcovers, slight shelfwear, and very slight toning, NF copy. First edition of this very scarce dealer’s brochure & poster for the 1955 Cadillac Series 60 models which after 1954 featured lower sleeker bodies, new grille inserts, and inverted gull wing front bumpers and tapered bumper guards. The 1955 featured a redesigned grille, new rub-rail moldings, Florentine curve rear window, and the Coupe de Ville featuring a golden script nameplate. The Cadillac Eldorado sport convertible featured wide chrome belt trim, new rear fender design, and twin round taillights halfway up the fenders. No copies located in Worldcat.
Offered by Zephyr Used & Rare Books and found in "Travel & More" (item #10).
Remember, you can always browse and download the latest catalogs published by ABAA members on ABAA.org by visiting the following link: https://www.abaa.org/catalog/... (You can also access this page by selecting 'Booksellers' from the top menu, scroll to the bottom of the page to 'Member Catalogs', and click on 'View All'.)
Our members list new acquisitions and recently cataloged items almost every day of the year. Below, you'll find a few highlights from these recent additions...
New York: Chappell & Co., Inc, 1936. Ephemera no binding. Very good. Jerome KERN, music.. 12" x 9"; 5, [1]pp; color pictorial front wrapper; ad for Selections From "Swing Time" on rear wrapper; very good. Fred Astaire and Ginger Rogers in "Swing Time" An RKO Radio Picture, A Pandro S. Berman Production.
by FORD, HENRY [PRESIDENT]; E.G. LIEBOLD [VICE-PRESIDENT AND TREASURER]; W.J. CAMERON [EDITOR]
Dearborn, MI: The Dearborn Publishing Company, 1927. Very Good. 90 issues of automaker Henry Ford's nationally prominent periodical, a place for him to showcase his views, most notably his explicit anti-semitism, prohibitionism, antiwar sentiments, and social conservatism-- specifically the hatred of jazz music. This collection begins when the weekly newspaper was at its peak circulation in mid-1925 (the second highest circulation paper in the country), and follows its progress to the very last issue at the close of 1927. Little-known is that the production values, layout, and presentation of the paper at this time were quite competent and "mainstream," even as Ford's more arcane obsessions such as British-Israelism (a 19th century subculture that began as philo-semitism and wound up as its opposite, today referred to as Christian Identity) crop up in the paper. Vol. 25 Nos. 31-33, 35-36, 38-41, 45-50, 52; Vol. 26 Nos. 1-4, 6, 7 [2 different issues w/ same number, Dec. 5th & 12th], 9-11, 12 [2 issues, Jan 9th and 23rd], 13, 18-20, 24-28, 30-35, 37-41, 46, 48-52; Vol. 27 Nos. 1, 4-11, 12 [2 different issues, Jan. 8th & 22nd], 16, 18, 19, 26, 27, 30, 32-34, 36, 43, 44, 46-50, 52; Vol. 28 4-7, 9, 11. Overall Very Good with stamped address of former owner on rear cover or sometimes as label on front cover, some foxing and soiling to wraps, slight vertical reading creasing to many issues that is most notable at front wrap. Occasional heavy foxing to wraps. One issue missing an illustration. Dampstain to corner of Vol. 25 No. 45. Tear to front wrap of Vol. 25, No. 41. Contributors include poet Vachel Lindsay, Carl Sandburg, Hilaire Belloc, V.S. Pritchett, Hamlin Garland, Hugh Walpole, and Homer Croy. Articles include "Why Flappers Flap," "Why the Movies Move Us Not," and "Are We a Shylock Nation?
MEDEA / SIGNED FULL COLOR FOLD OUT ILLUSTRATION inserted between pages 54 & 55 of the Phantasia Press first edition, 1985, fine and most suitable framing. SIGNED in silver ink by Kelly Freas on the lower left corner. One of only 25 copies, none ever used and thus unfolded. Scarce-------or soon to be so.
Philadelphia/ Columbus, Ohio: Bradley Garretson & Co./ Wm. Garretson & Co. , 1882. Ornately bound in full deeply embossed calf with ornate gilt decorations front and back covers, lavishly gilt decorated back, moire silk end papers, all edges gilt. Illustrated with 8 color maps, engravings on steel and wood, chromo-lithographs of scriptural natural history, botany and zoology. Family Portraits section at rear with 6 period photoraphs of family members, uncaptioned. Presentation Page from Oral T. Hall to John A Hall ( possibly Ball)? Near Fine, light rubbing to leather. small tear bottom edge front end page. A presentation Bible of the day in wonderful condition.
A large and heavy book, will require additional postage charges for priority and international mail shipping. Please inquire before ordering. Free media mail shipping. Later Printing. Calf. Near Fine/No Jacket, As Issued. Thick Folio.
Boston and New York: Houghton, Mifflin and Company, 1904. Book. Illus. by Amelia M. Watson. Very Good. Hardcover.
An Illustrated set of one of Thoreau's most enjoyable works containing delicate and lovely, small color drawings by Amelia M. Watson in the margins throughout the text. Handsome and collectible.
Half green Morocco with marbled boards and matching endpages. Top edge gilt. Silk place ribbons. Bindings are tight and square. Text clean, light even toning. Moderate shelf handling wear. Small 8vo; 7.75 inches tall; 173 pages, 208 pages, including the index.
Iver Johnson's Arms and Cycle Works. Fitchburg, Mass. 1897. First edition, 32 pages. 19.5 cm. Illustrated covers. " 1871-1897 Ye further Hystorie of ye Ancient House of Iver Johnson " prefaces this bicycle trade catalogue for truss frame bicycles, which features their models 33, 35, 36, 37, D and E in double-page illustrated advertisements. Slight soiling, one page corner missing, otherwise good, printed on heavy glossy paper. One copy was found at the Harvard Business School's Baker Library.
New York: HarperCollins, 1995. First printing of the 35th Anniversary edition of the author's Pulitzer Prize-winning novel. Octavo, original half cloth. Signed by Harper Lee on the half-title page. Fine in a fine dust jacket. Jacket design by Suzanne Noli. To Kill a Mockingbird became an immediate bestseller and won the 1961 Pulitzer Prize for Fiction. The New Yorker declared it "skilled, unpretentious, and totally ingenious". It has gone on to become of the best-loved classics of all time and has been translated into more than forty languages selling more than forty million copies worldwide. Made into the Academy Award-winning film, directed by Robert Mulligan, starring Gregory Peck. It went on to win three Oscars: Best Actor for Gregory Peck, Best Art Direction-Set Decoration, Black-and-White, and Best Screenplay for Horton Foote. It was nominated for five more Oscars including Best Actress in a Supporting Role for Mary Badham, the actress who played Scout. In 1995, the film was listed in the National Film Registry. In 2003, the American Film Institute named Atticus Finch the greatest movie hero of the 20th century. In 2007 the film ranked twenty-fifth on the AFI's 10th anniversary list of the greatest American movies of all time. It was named the best novel of the twentieth century by librarians across the country (Library Journal).
Carlisle, Pennsylvania: Self-published, 1912. First Edition. Hardcover. Good. Octavo. vii, frontispiece photograph of Warner, 142 pages, [1]. Illustrated. Illustrated brown cloth hardcover. Title in black on the front cover. Cloth binding is creased on the front cover. Front paste down sheet is also creased. Previous owner inscription on the front paste down. No right front flyleaf (if bound in?) Glenn "Pop" Warner was the Athletic Director at the Carlisle Indian School. Jim Thorpe, Native American, attended the school in early 1900's and played football for Pop Warner.
[Seattle]: [Industrial Workers of the World], 1920. Small leaflet, approximately 4x3.9 inches, corner crease with a couple small chips. Text is the same on both sides, though one side has a union bug at the bottom. Our House was a cafe that marketed itself in advertisements as "Popular With Our Boys in Blue.
London: J.M. Dent & Sons Ltd, 1966. Later edition. Bound ca. 1966 by [Bayntun Rivière] for Brentano's in full blue polished calf, covers with double gilt borders, spine with five raised bands, decoratively tooled in compartments, two red morocco gilt lettering labels, gilt board edges, gilt-turn- ins, all edges gilt, marbled end-papers. Small neat book-plate on front paste-down. Collating xii, 226, with eight full-page color plates and numerous black and white line drawings throughout the text. A Fine copy. A superlative copy of the classic - and quite novel - story of a horse, told in his own words, wherein he recounts his life as a well bred steed from early childhood in a pleasant meadow, through numerous owners - some kind and some cruel - until fate returns him to the meadow in which he was born. Though animal autobiographies had been published before for children, Black Beauty stands apart from those in that it offered social criticism of his various owners. Because of that, the book was read, appreciated and loved by adults as well as juveniles. It has never been out of print since its original publication, and it has been adapted to the screen on fourteen different occasions. Ultimately, Black Beauty's continual and lasting value is as one of the most influential arguments for the humane treatment of animals.
New York: Jonathan Cape & Harrison Smith. Very Good+ in Fair dj. 1931. First Edition. Hardcover. [nice solid clean copy, slight fading to cloth at ends of spine; the jacket is a bit on the tattered side, with numerous small chips, tears, etc.]. Very uncommon account of the early life of Victor Ilyitch Seroff (1902-1979), whom the author (Werner) met in Paris in the late 1920s, and found so fascinating that he "laid aside other projects and devoted himself to writing [Seroff's] story." Seroff was a young musician who had escaped from Russia in 1920 "on the last American oil tanker to leave [Batoum, his birthplace in the Caucasus] before the Bolsheviks took it over." The book is written in the first person (i.e. narrated by Seroff himself), who describes "his desperate and sometimes humorous effort to gain self-support and continue an artistic career in Constantinople, Vienna and in Paris" during the 1920s. Of particular interest is the last chapter, which presents "a new and penetrating study of the late Isadora Duncan, [including] a moving narrative of her last years and death." (Isadora had attended a piano recital in Paris where she was impressed by Seroff's playing, and he soon found himself drawn into her circle of intimates.) He later became a musical biographer of some note, writing books about Shostakovich, Prokofiev, Berlioz, Chopin, Liszt, Debussy, Ravel and others, as well as a biography of Isadora Duncan herself.
Strassburg: Johann Schott, 1532. Two volumes bound in one (the appendix added to vol.II), folio (287 x 188 mm; 11¼ x 17½ in.). Vol. I: Title within woodcut allegorical border, 4- and 5-part borders to several pages, woodcut arms of Strasbourg, ornamental and historiated initials, head- and tailpieces, 86 woodcuts of plants by Hans Weiditz; vol. II: Title within woodcut allegorical border, 4- part border on 2 pages, 49 woodcut illustrations by Weiditz, all colored in a contemporary hand. 18th-century mottled calf gilt, edges gilt. Rebacked preserving original gilt spine panels, repairs to corners, some slight drying; A4 in volume I bound after b4, lacking blanks b4 and G6 in the first volume and H4 and S6 in the second, small stain in lower margin of first title and first text leaf, some leaves lightly browned, occasional minor staining. Provenance: Johannes Beusler (early ownership inscription on title); Jean Charles Patin (inscription dated 1817 on front flyleaf noting that he is a native of Manneville and currently farming in Bézu-la-Forêt); purchased from William Schatzki, 1971. From the Collection of Arthur & Charlotte Vershbow. A finely colored copy. Referred to as "the first great mind in modern botany" (Hunt), Brunfels' most revolutionary contribution was his choice of artist accurately to portray these "living portraits of plants." The magnificent woodcuts executed by Weiditz were taken from watercolors drawn directly from nature and delineate botanical details well beyond their known function in the taxonomic literature of the time. The first volume was reprinted to be sold with the second, and this is how many sets are constituted. The appendix at the end of the second volume contains the first published writings of both Jerome Bock and Leonhardt Fuchs (see also item 32). After Brunfels's death, a third volume was published (1536-39) and was illustrated after different artists. Adams B-2924 and B-2925; Fairfax Murray German 462 (1530 edition); Garrison-Morton 1803; Grolier/Horblit 33a; Hunt 30 (mixed edition); Nissen BBI 257, Ib, IIa and 257, III; Norman 361; Stafleu &Cowan TL2 852 and 853; Pritzel 1283.
by DONEN, STANLEY (DIRECTOR); PETER STONE (SCREENWRITER); CARY GRANT, AUDREY HEPBURN, WALTER MATTHAU, JAMES COBURN (STARRING)
Paris: Films sans Frontieres, 1963. Vintage reference photograph of actors Cary Grant and Audrey Hepburn filming a scene on location on the banks of the Seine for the 1963 film. The greatest box office success of noted director Stanley Donen's career, owing to an excellent screenplay and what Donen's biographer Stephen M. Silverman refers to as the film's three stars: "Cary Grant, Audrey Hepburn, and Paris". Though very much influenced by Hitchcock's "North by Northwest," "Charade" is simultaneously lighter and more complex, with an even more entertaining tailspin of deception than its predecessor. Set and shot on location in Paris. 10 x 8 inches. Near Fine, lightly toned. Criterion 57. Penzler 101.
Paris: (Cordier for) Le Fuel, 1822. 18mo (123 x 80 mm). [iv], 175 pp. Double column. Additional engraved title/wrapper with hand-colored fashion emblem (a parasol draped with shawls, necklaces and a flowered hat) and 15 engraved plates, on thicker paper, all stencil- and hand-colored under the publisher's direction, one (of corals) also color-printed; tissue guards. Small closed tear in first gem plate, else a fine copy. Bound at end are six leaves on thicker paper containing [12] pages, one per month, blank except for the engraved name of the month and hand-colored vignette (with traces of old pencil scribbles); and a smaller format foldout calendar for 1822, with the imprint of Lefuel,the months in columns each topped by a woodcut astrological vignette. Publisher's blind-stamped brown calf "cathedral" binding, the same block used on both covers, backstrip with blind-stamped ornamentation above and below the title, gilt edges, yellow endleaves, blind-stamped matching leather slipcase, lower cover of binding with silk tab for removing from the slipcase (a bit of scuffing). Etched bookplate of Robert de Beauvillain tipped to front endleaf.*** Only Edition of an unusual and still useful illustrated dictionary of objects, materials and concepts, most of interest to women and many relating to fashion. Covering both luxury goods and common objects and materials, the dictionary contains over 800 entries, many including the names and addresses of relevant Parisian suppliers, making it a far-ranging encyclopedia of feminine material culture in Restoration France. This is a special de luxe copy in a reliure à la cathédrale, with an extra fold-out calendar and hand-colored ornamented cahier for notes for each month of the year. From Abaca (a type of hemp or linen from the Philippines, of which the white plants were used to make a very fine cloth while the gray were used for cocardes) and Acier (steel being used at this time not only for buckles, belts, clasps etc., but also to make jewelry, a dozen examples being illustrated in plate 1), to Zéphir (a shawl made of net) and Zibeline (the animal whose nearly black fur is highly prized), the dictionary includes terms of apparel, footwear, and accessories, a vast number of textiles and related terms (materials, weaves, and treatments), furs and skins, common materials with a variety of applications (e.g., sandalwood, various vinegars and oils), objects used for personal grooming (sponges, tweezers, brushes, mirrors, etc.), many perfumes and eaux de toilette, gems and precious metals, furnishings and furniture, and even prostheses, including a long description of artificial eyes and where to purchase them. A few entries contain mini-treatises on social custom: the seven-column entry for Deuils, for example, discusses the proper length and appropriate mourning dress for various degrees of consanguinity. Some contain surprises - thus the entry on Marriage, far from listing bridal gowns and suppliers, tells a simple story of a painter and the changing perspective of a groom, before and after marriage. The language of flowers gets a special entry (which advertises a relevant publication, the Dictionnaire du Langage des fleurs ou de leurs emblèmes, of which I locate no edition). Besides steel jewelry, the finely colored plates show rings and earrings, pocketbooks and wallets, necklaces, specimens of coral, fans, a splendid bouquet, brightly colored garters, bejeweled combs, 24 precious stones (on two plates), an elaborate feather headdress, a pretty assemblage of ribbons, and several large handbags (sacs-gibecières, two plates). Perrot was a geographer who wrote and edited numerous works. Mazeret was an almost equally prolific writer for hire. The publisher Valentin Lefuel, active from 1792 to the late 1820s, specialized in the publication of almanacs, keepsakes, and children's books. He was also a binder, and he offered his publications in a variety of different bindings, including "gauffred calf," here in the "cathedral" style, inspired by gothic architecture, which enjoyed a vogue in France and England during the Romantic era. (I have not previously seen an example of this kind of binding on an almanac or almanac-like popular imprint.) Copies are held by the Brooklyn Public Library, Morgan Library, Metropolitan Museum of Art and Smith College (the last two purchased from us); outside the US OCLC lists only the Bibliothèque nationale de France, to which the Catalogue Collectif de France adds a copy at Rouen. Colas, Bibliographie générale du costume et de la mode 2023; Grand-Carteret, Les almanachs français 3476. Cf. S. Malavieille, Reliures et cartonnages d'éditeur en France au XIXe siècle, p. 24 (on Lefuel).
Paris: Les Jouets et Jeux Français, 1895. A board game for up to six players, following the eighty-day journey of Phileas Phogg across the globe. Each day is represented by a square on the board, centering around a globe. Some squares show notable characters, such as Phogg, Francis Cromarty, and Miss Aouda, while others show ships, animals, and landmarks from destinations as far as Calcutta, Hong Kong, and San Francisco. Some squares have particular associated functions, which are outlined in the rules on the underside of the box lid. The course of play proceeds through a series of transactions using the fifteen tokens provided, with one player acting as Phogg's valet, Passepartout, who takes on the role of banker. The tokens are housed in a cloth bag. Six painted metal figures act as gamepieces, housed in a smaller box, with splits to corners of lid. Paper cup holding two dice, along with tokens and game pieces, contained in separate compartments in the box. Some soiling to back of game board. All elements stored in box with lush pictorial lid, some signs of repair, else a near fine and remarkably intact set.
Paris, France: Obelisk Press, 1935. Book. Very good condition. Paperback. Fourth edition. Octavo (8vo). 271 pages of text. Original paperback binding with minor shelfwear and soiling, and minor vertical creasing to the spine. Pearson A-37 [unrecorded variant] with all points identical to A-37 with these exceptions: 1) Does not have the statement "Banned in England May 1935" printed on the front cover; 2) the front flap contains the price 50 francs; 3) the front flap edition statement differs slightly in that it states "This is the only existing edition of James | Hanley's most famous work, recently sup- | pressed in England."; 4) rear flap price for the 11 titles listed at "50 francs each". One page edge with a tiny black mark in the extreme margin, but the text is clean and unmarked. Fourth edition, variant of the first impression. Protected in custom-fitted archival mylar.
Green cloth with white and black titles and decorations, slipcase, 16 by 22.7 cm, xxii 190 pp., illus. Fine, unread copy in near fine slipcase. "The days from May 24 to May 28, 1940 altered the course of the history of this century, as the members of the British War Cabinet debated whether to negotiate with Hitler or to continue what became known as the Second World War. The decisive importance of these five days is the focus of John Lukacs's magisterial book. Lukacs takes us hour by hour into the critical unfolding of events at 10 Downing Street, where Churchill and the members of his cabinet were painfully considering their war responsibilities. We see how the military disasters taking place on the Continent—particularly the plight of the nearly 400,000 British soldiers bottled up in Dunkirk—affected Churchill's fragile political situation, for he had been prime minister only a fortnight and was regarded as impetuous and hotheaded even by many of his own party. Lukacs also investigates the mood of the British people, drawing on newspaper and Mass-Observation reports that show how the citizenry, though only partly informed about the dangers that faced them, nevertheless began to support Churchill's determination to stand fast. Other historians have dealt with Churchill's difficulties during this period, using the partial revelations of certain memoirs and private and public papers. But Lukacs is the first to convey the drama and importance of these days, and he does so in a compelling narrative that combines deep knowledge with high literary style."
San Francisco: Stolen Paper Editions, 1966. Second printing. Paperback. Very Good. Wide stapled illustrated wrappers. Second printing of Kandel's controversial volume of sexually explicit poems that was banned and seized by the police when first published. A very good copy with some wear to covers. Six pages, printed on rectos only.
New York: McLoughlin Brothers, 1906. First Edition. Very good in heavy paper, printed wraps over a replacement sewn binding. A quarto measuring 12 1/8 by 9 7/8 inches with archival tape repairs along the length of the fold of the spine and with similar repairs to several of the page folds. The sewn binding has been restored professionally. Unpaginated, but containing 14 pages illustrated with 8 full color lithographic plates (counting the covers) and line drawings throughout. Identified on the front panel as "158". Copyright dates of 1899 appear on the front cover and 1906 on the rear cover. The illustrator is not indicated. Clement Moore's poem comprises the first six pages which includes three full color plates. The remaining pages of text and plates contain the poem Santa Claus And His Works written by George P. Webster. (Very similar to Marshall 133).
London: John Evans, [ca. 1810?]. 8vo (16.7 cm, 6.57"). 8 pp. Apocalyptic warning, written by a Scottish missionary (1766–1840) known for his Travels in South Africa. This printing, apparently the first, is scarce; WorldCat locates three U.S. institutional holdings of a later "Evans and Son" imprint, but none of this "John Evans, No. 42" printing. The large title-page wood-engraving illustrates the dividing of the wicked from the righteous.
Provenance: From the chapbook collection of American collector Albert A. Howard, sans indicia. Removed from a nonce volume; page edges gently browned. The workmanlike printingis somewhat uneven, and the title-page vignette shows a few small ink spots from the press. Uncommon and interesting.
Philadelphia: J.B. Lippincot, 1935. First Edition, First Printing. Hardcover. Octavo, 342 pages; VG/none; bound in publisher's brown stamped orange cloth, mild wear to extremities; bookplate to front pastedown; front gutter beginning to show webbing; small bookstore sticker to rear pastedown; shelved case 1.
Prague: Peace and Socialism Publishers, 1965. First Edition. Paperback. Exposé of the apartheid system, with contents dealing with the politics of cheap labour, apartheid in practice, the confidence trick of apartheid, international action and the collaborators, and the people's struggle. Slim octavo (22cm); pictorial wrappers, stapled; 38,[2]pp. Light wear to wrappers, touch of dustiness to rear wrapper, else Near Fine.
Boston: Houghton Mifflin Company, 1942. First edition, first printing. Hardcover. Very good/Very good. 8vo. Green cloth printed in back on the spine and upper board. The cloth has slight aging to the boards and spine, some offsetting on the endpapers and pastedowns,a penciled ownership name and another blindstamped on the half title and the title, but it is still a very good copy. The dustwrapper is rubbed at the folds and rough along the edges including a couple of short marginal closed tears. It shows the first state points: $3.00 on the flap, and on the box on the rear panel, and with the war bond ad on the rear flap. The author was an English girl raised in British East Africa, conversant in native languages and customs, a horsewoman and a pilot when airplanes were unique in that part of Africa. Accompanied by her biography: Mary S. Lovell, STRAIGHT ON TILL MORNING, New York, St. Martin's Press, 1987. First US edition. A fine copy in a fine, clipped dustwrapper.
New with no dust jacket. 1984. Serigraph. 29 1/2 x 41 1/2 inch serigraph on Arches 140 pound moulded paper. Print is numbered (76 of 100) but not signed. In this superb example, the bold design and restrained size of the diamonds strikes an elegant balance with the striped field. The result is an icon of the 19th century Navajo Third Phase Chief Blanket weaving. This serigraph is the result 65 to 100 screen applications on Arches handmade paper. In speaking with the artist, he explained how he perfected his printing craft by adding layer after layer until he felt he had the richness and depth he was after. He was particularly proud of achieving the three-dimensional feel to his serigraphs. Each ripple and fold in the blanket is tangible and unique. One can actually 'feel' the multiple layers of ink on these masterpieces. During the second half of the 19th century, the primary market for Navajo blankets shifted from other Native American tribes to Anglo-Americans. While Native Americans had preferred Navajo Blankets featuring simple arrangements of horizontal stripes, Anglo Americans found the relative simplicity of first and second phase chief's blankets uninspiring, Anglo Americans also preferred bordered compositions to unbordered compositions, probably because most Oriental carpets featured bordered compositions. In response to the Anglo American preferences, Navajo weavers introduced the concentric diamond to their chief's blankets. The chief's blanket's traditional, horizontally striped field was decorated by the arrangement of a full central diamond surrounded by eight partial diamonds. This gave the chief's blanket a focal point, and the suggestion of a border. Almost overnight, the diamond pattern (or “third phase" pattern, as it is more commonly known) became extremely popular among Anglo American tourists, settlers, military personnel and merchants throughout the Americana west. ; Serigraph; 24" x 36" .
by TUCKER, GILBERT NORMAN, PH.D. (CANTAB.); ILLUSTRATED [ILLUSTRATOR]
King's Printer The Minister of National Defence, 1952-01-01. Hardcover. Very Good/Good. 2 Volume Set. Both dust jackets have minor wear. Both are clean, both have good bindings, no marks or notations.
Paris: Martinet, 1821. Galerie des Grotesques [GONDELIER, Jean-Baptiste]. [Galerie des Grotesques]. [Paris]: [Chez] Martinet, [1821]. Oblong folio (16 x 10 1/2 inches; 406 x 267 mm.). Seven leaves, titled and numbered in manuscript, each with three hand colored etched plates making a total of twenty-one images. Contemporary quarter green calf over floral patterned black boards.
The plates - each one lettered and numbered in manuscript "Galerie des Grotesques" No. 1. Les Rivaux; Partie d'écarté; Les effets du lavement, et la tentation (The Rivals; Discarded party; The effects of enema, and temptation) No. 2. Le maitre de danse, et le Coëffeur; Les joeurs de tonneau; Le remède inévitable (The dance master, and the hairdresser; The barrel joists; The inevitable cure) No. 3. Le bon gout; Cérémonie nuptiale; Le Dentiste (The right taste; Bridal ceremony; The Dentist) No. 4. Les conscrits; La sauteuse; Le bon ménage (The Conscripts; The jumpers; The good housekeeping) No. 5. Lecture des Tourneaux; Le cocher di Fiacre en dèfaut; Le Charlatan (Reading the turns; The coachman of Fiacre in defect; The Charlatan) No. 7. La Rosière; Le Pédicure; Les suites d'une Ribotte (La Rosière; The Pedicure; The aftermath of a Ribotte) No. 6. Partie d'Anes; Le Plaidoyer; Le Boston (Part of Anes; The Plea; Le Boston) Excessively Rare. OCLC locates just one suite (with only six plates) in libraries and institutions worldwide at Kunstbiblio Staatliche Museen Zu Berlin (Germany). GONDELIER, Jean-Baptiste (fl. 1821-1827). Gondelier was an engraver and a papermaker. As early as 1820, he was editor of a singer dedicated to Béranger, Le Constitution. He wanted to do city work but he also printed satirical prints, constituting the Gallery of the Grotesques. In 1826-1827 he collaborated in the writing of several plays performed at the Vaudeville theatre. Perhaps it was for this reason that he abandoned his lithograph patent and then applied for a letter printer's patent obtained in 1828. These 'Grotesque' caricatures appear to be based on the Woodward three-row strip genre typified by Grotesque Borders and Pigmy Revels, published by Ackermann and Fores, respectively, in 1799 and 1800. Fores continued to issue the Pigmy Revels strips in a folding panorama format, as well as in a spooled boxwood drum, well into the 1820s. "The relationship between Martinet-published works and Woodward's caricatures is commented on in an essay by Alberto Milano entitled "Change of Use, Change of Public, Change of Meaning: Printed Images Traveling Through Europe," appearing in a book edited by Evanghelia Stead, Reading Books and Prints as Cultural Objects (Cham, Switzerland: Palgrave MacMillan, 2018) at pp. 150-51. I am attaching scanned images of the relevant pages as Scans 1, 2, and 3. As you will note, the author of the essay suggests that Martinet "transferred Woodward's caricatures in a series of larger prints entitled Les Passions," but I am skeptical. The only two examples of those prints I have found -- at the British Museum -- do not relate to any Woodward satire of which I am aware. (For ease of reference, I am attaching the British Museum write-ups as BM-1 and BM-2.)" (William Gordon - author of the William A. Gordon Library of British Caricature)
England: Brown Watson, 1986. Paper Covered Boards. As New. 4to. Very hard-to-find reprint of Kubasta's Tip + Top and the Moon Rocket, originally published in 1964. In terrific shape; doesn't appear to have ever been read. All six popups and associated animations work great. Almost no cover wear. Number 10 on Tillman's list of the 100 best popups.
Lunenberg: Limited Editions Club, 1980. Hardcover. Orig. decorated gray pebble grained cloth stamped in black and silver. Fine in fine black slipcase spine lettered in silver. Fred Me. 224 pages. 22.5 x 17.5 cm. Illustrated with fourteen color gauches by Fred Meyer, designed by Frederick Stinehour, printed at the Stinehour Press. Limited edition, copy 1267 of 2000 signed by Fred Meyer. Printed in Bodoni, cast by the Bauer foundry in Germany. Laid-in the LEC Monthly letter. NEWMAN & WICHE 516. Bright, very fresh copy.
(Clifton, New Jersey): AB Bookman Publications, 1994. Softcover. Near Fine. First edition. Quarto. 2,163-2,274pp. Stapled wrappers, near fine. This issue contains Thomas Frognall Dibdin and Bibliomania, Kepler As Author, Printer and Publisher.
London: Darton, 1811. 32mo. 16pp., + 16 inserted plates. Each engraved image depicts the titular good boy engaged in less desirable activities, such as throwing stones, feeding scraps to the family pet, and drawing on the walls. Each is accompanied by a pithy couplet drawn from the soliloquy. The author includes an introductory note, in which he defends himself from the accusation that the verses give children naughty ideas that they would never have thought of themselves, and provides the suggestion that the reader insert his or her own name at the final line and face the potential ruin of the rhyme with bravery. Bound in tan wrappers with illustration to both covers. Expected but minor edgewear, faintest foxing, else near fine. A rare survival, with only two institutional copies listed in OCLC.
1955. London: William Heinemann Ltd, (1955). Original dark blue cloth lettered in gilt, with dust jacket. First Edition of this novella about a man who devises a scheme to win big at Monte Carlo -- but his obsession causes him to lose his girl (whom he planned to marry there) in the process; with an acquaintance's help he gains the girl back, but only by losing all the money he had won -- hence "Loser Takes All." The following year appeared the British film with the same title (screenplay also by Greene) -- starring Glynis Johns, Rossano Brazzi, and Robert Morley. This is a very good copy (wear on some edges of the boards, minor fading, foxing on the top edge). The dust jacket is just about fine (a couple of short closed tears); because the jacket is in better condition than the volume, one may assume that it was "married" to this book. This is a presentation copy signed by Greene, with the inked title page inscription "For Clive | Graham Greene"; at a corner of the front paste-down is the penciled signature "Clive Hirschhorn | Johannesburg, March 1985". For over 30 years, the South African Clive Hirschhorn was a major London theatre and film critic for the Sunday Express; he also wrote biographies of Hollywood stars like Gene Kelly and of the Hollywood studios Warner Brothers, Universal, and Columbia. He was also a major collector of modern first editions (his collection, including 28 Graham Greene titles, sold at Bloomsbury in October 2012). Additionally, the front free endpaper bears the undated ink signature of Anthony Woodward, a professor of English at the University of Wiltwatersrand in Johannesburg (Hirschhorn's alma mater); among Woodward's writings is "Graham Greene: The War Against Boredom" (Cape Town 1971, Cassis B7112). Quite a nice circle of associations.
Burlington (VT): Printed by Smith & Harrington, 1836. 4to. 275 x 225 mm., [10 ¾ x 9 inches]. vi. 46 pp. Lithographic title-page and 13 full-page lithographic plates. Original cloth, paper label on spine; cloth discolored and shows some remnants of water staining, spine and tips expertly repaired with tissue, spine label chipped; tide marks to preliminary leaves, frontispiece and title-page, plates 12 and 13 and rear end leaves. With fault a good copy. First edition. Illustrated with fourteen finely drawn and printed lithographs designed by the author and printed by the Pendleton's Lithographic Company, Boston. "John Pendleton, Lithographer. Born in New York State. While traveling in France, he became interested in lithography and studied the art under the best masters in Paris. On returning to America, he settled in Boston with his brother, a copperplate printer, and they established a lithographic establishment in 1825." John Henry Hopkins was an Irish immigrant, home schooled by his mother, who became a lawyer, musician, ordained minister, bishop and author of over thirty publications. He studied gothic architecture during his time in Pittsburg where he was charged with supervising the construction of Trinity Church. Dismayed with the unsightly designs of most churches in America he decided to compile his information as a guide to the elements of style and design characteristics of the gothic. He became of the most notable experts in the field and he published this work, one of the first of its kind in America, for the benefit of local ministers charged with the building of churches in the gothic style. Hitchcock American Architectural Books, 606. Fielding, Dictionary of American Painters, Sculptors and Engravers, p. 278. Peters, American on Stone, pp. 312-323. Allibone, Critical Dictionary of English Literature and British and American Authors I, p. 885.
Chicago: A. C. McClurg & Co., 1919. Octavo, pp. [1-8] 1-319 [320: blank], five inserted plates with illustrations by J. Allen St. John and twelve full-page St. John illustrations in the text, original orange cloth, front and spine panels stamped in black. First edition, first printing, first binding with publisher's imprint on spine panel set on three lines. A series of twelve stories, "The New Stories of Tarzan," all first published monthly in BLUE BOOK, September 1916-August 1917. The stories, containing some of Burroughs's best writing, were collected in JUNGLE TALES OF TARZAN. A total of 63,000 copies of the book were printed. There were multiple printings, probably four, all dated 1919. Bleiler, Science-Fiction: The Early Years 319. Bleiler (1978), p. 35. Reginald 02286. Heins JT-1. Private owner's bookplates affixed to front paste-down and free endpaper. Top and fore-edge of text block a bit tanned, a bright, nearly fine copy in bright, very good four-color pictorial dust jacket (reproducing painting by J. Allen St. John on front panel) with restoration at corners and spine ends. The jacket presents well overall.
1551. A Collection of Texts from the Corpus Juris Civilis in Handsome Uniform Contemporary Paneled Pigskin Bindings Justinian I [483-565 CE], Emperor of the East. Accorso, Francisco (Accursius) [c.1182-c.1260], Glossator. Gaius [Active 130-180 CE]. Institutionum D. Iustiniani Sacratissimi Imperatoris Libri Quatuor: Ad Vetustissimorum Simul et Emendatissimorum Exemplarium Fidem Summa Diligentia Recogniti, Emendati. Cum Scholiis Accursii. Adiecimus Pluribus Locis Annotationes ex Doctissimorum Hominum Commentariis, Ex Quibus non Parum Lucis ac Dignitatis his Iuris Civilis Elementis Accedit. Accessit Corpus Legum, Antea non Impressum, Ac Caii Institutionum Libri Duo. Lyon: Apud Hugonem a Porta, 1553. Pp. [24], 290, [2] pp. Large woodcut image of Justinian surrounded by his court. Main text in parallel columns with linear gloss. [Bound with] Justinian I, Emperor of the East. Accorso, Francisco (Accursius), Glossator. Volumen hoc Complectitur (Sic Enim Peculiari Vocabulo Vocant) Novellas Constitutiones Iustiniani Principis Post Repetitam Codicis Praelectionem Aeditas: Authentica Vulgo Appellant. Tres Item Posteriores Libros Codicis; Feudorum seu Beneficiorum Duos; Constitutiones Friderichi Secundi Imperatoris; Extravagantes duas Henrici Septimi Imperatoris; & Tractatum De Pace Constantiae. Omnia ad Vetustissimorum Simul & Emendatissimorum Exemplarium Fidem Recognita, Emendata. Accesserunt nunc Primum, & Nunquam Antehac Aediti, Iustiniani Novellarum Constitutionum Libri Duo, Cum Multis Annotationibus ex Doctissimorum Hominum Commentariis, Quae non Parum Lucis ac Dignitatis Huic Volumini Afferunt. Lyon: Apud Hugonem a Porta, 1553. [xvi], 276, 148, 99, [1] pp. Woodcut table of descents (in the form of a tree). Main text in parallel columns with linear gloss. [With] Justinian I, Emperor of the East. Accorso, Francisco (Accursius), Glossator. Infortiatum, Pandectarum Iuris Civilis Tomus Secundus: Quartae Partis Reliquum, Itemque Quintam Digestorum Partem, Ac Sextae Partis: Libros Continens, Ex Pandectis Florentinis Ita in Universum Recognitus ac Emendatus, Ut Nihil Praeterea, Quod ad Puram Eorum Librorum Lectionem Attinet, Desiderari Possit. Lyon: Apud Hugonem a Porta, 1556. [xxxvi], 923, [1] pp. Main text in parallel columns with linear gloss. [And] Justinian I, Emperor o.
Westminster: Archibald Constable, 1899. Seventh edition. hardcover. Very good.. A very good early (7th) edition, signed and dated by the author Bram Stoker on the front free endpaper. Housed in a custom-made collector's slipcase
Davis, California: Composer/Performer Edition, 1974. 11 volumes bound in ten (issues 7 and 8 bound in one). Complete; all issued. Oblong folio. 10-3/4" x 14". Original stiff decorative wrappers in colour. Spiral bound. Unpaginated, but with approximately 100 pages to each volume. Lavishly illustrated with musical scores and striking photographs and graphics in both colour and black and white. With supplementary material bound in, some quite unusual, including such things as magnetic audiotape and synthetic fur, screenprintings on transparencies, etc. Each issue with approximately 10 articles written by the major figures in avant garde music of the time, including Dietrich Albrecht, Charles Amirkhanian, Eric Andersen, Robert Ashley, Larry Austin, David Behrman, Mario Bertoncini, Joseph Beuys, Anthony Branxton, Eugen Brikcius, Jacques Brodier, Earle Brown, Allan Bryant, Boudewijn Buckinx, Harold Budd, Jim Burns, John Cage, Cornelius Cardew, Giuseppe Chiari, Paul Chihara, Barney Childs, Christo, Jani Christou, Philip Corner, Lowell Cross, Alvin Curran, John Dinwiddie, Peter Donath, Manfred Eaton, Robert Erickson, Morton Feldman, Robert Filliou, Fluxus, Lukas Foss, David Freund, Ken Friedman, Kira Gale, Peter Garland, Gentle Fire, Tony Gnazzo, Victor Grauer, Joel Gutsche, Gyula Gulyas, Olaf Hanel, Sven Hansell, John Hassell, Dick Higgins, Lejaren Hiller, Stu Horn, Nelson Howe, Jerry Hunt, Toshi Ichiyanagi, Image Bank, Zdzislaw Jurkiewicz, Udo Kasemets, Per Kirkeby, Paul Klerr, Milan Knizak, Jaroslaw Kozlowski, Carson Jeffries, Bengt Emil Johnson, Will Johnson, Ben Johnston, Alan Kaprow, Ed Kobrin, Alcides Lanza, Douglas Leedy, Daniel Lentz, Anna Lockwood, Arrigo Lora-Totino, Alvin Lucier, Mary Lucier, Stanley Lunetta, Eva Lurati, Stuart Marshall, Richard Martin, Harvey Matusow, Tom Marioni, Ken Maue, Dora Maurer, Maria Michalowska, John Mizelle, Robet Moran, Gordon Mumma, Keith Muscutt, Naked Software, Max Neuhaus, Nam June Paik, the New Percussion Quartet, Jocy de Oliveira, Pauline Oliveros, Harry Partch, Jon Phetteplace, the Portsmouth Sinfonia, David Reck, Steve Reich, Jock Reynolds, John Paul Rhinehart, Mark Riener, Roger Reynolds, David Rosenboom, Frederic Rzewski, Zorka Saglova, J. Murray Schafer, the Scratch Orchestra, Gerald Shapiro, Nicholas Slonimsky, Barry Spinello, Stanley Marsh 3, Andrew Stiller, Karlheinz Stockhausen, Allen Strange, Alvin Sumsion, Endre Tot, David tudor, Bertram Turetzky, Jiri Valoch, Wolf Vostell, Don Walker, Arthur Woodbury, and Christian Wolff. With 6 accompanying 10-inch LPS: - Robert Ashley The Wolfman; Dave Behrman Wave Train - Larry Austin Accidents; Allan Bryant Pitch Out - Alvin Lucier I Am Sitting in a Room; Arthur Woodbury Velox and Mark Riener Phlegethon - Larry Austin Caritas; Stanley Lunetta moosack machine - Lowell Cross Video II; Arrigo Lora-Totino english phonemes - Alvin Curran Magic Carpet; Anna Lockwood Tiger Balm Slightly worn. In very good condition overall. A complete run of this exciting independent periodical devoted entirely to the music of the 20th century avant garde, an outgrowth of the musical experimentalism in the late 1950s and early 60s at the University of California, Davis and Mills College in Oakland, California. In an effort to expand the traditional definition of music and formal concert performance, Source documents many of the most important "new music" trends of the period including improvised and indeterminate music, minimalism, Fluxus, performance art, graphic scores, electronic music, performance art, concrete and sound poetry, intermedia, British Systems music, video/laser light shows, new electronic, video, and communications technologies, etc. A landmark publication of great importance to the study of avant garde music of the mid-20th century, rarely found complete.
Cambridge: np, 1963. First edition. Fine. C.S. LEWIS GIVES PRACTICAL (AND SOMEWHAT HUMOROUS) ADVICE TO A STUDENT SELECTING A THESIS TOPIC, BEFORE REVEALINGLY SUGGESTING ONE OF HIS FAVORITE WORKS - DOROTHY SAYERS'S THE MAN BORN TO BE KING - AS A SUBJECT WORTHY OF STUDY. Written to a student, John T. Tukey of Rhode Island and dated July 6, 1963, the letter reads in full: As from Magdalene College, Cambridge 6 July 63 I always dissuade students from making a living author the subject of their thesis. When they do, however hard they work, the chosen author and his intimates will know a lot more about the subject that they can find out. Dead authors know a lot about their own work which we don't but fortunately they can't tell it. It has happened before now that those who were examining a thesis on my work have written to ask me whether some interpretation offered by the candidate is correct. This puts me in a v. awkward dilemma. If I refuse to answer they know that my answer would have been no. The candidate's work is thus unfairly subjected to a check which would not have been applied if he had written on a dead author. I suggest you choose Dorothy Sayers' cycle of plays on the life and death of Christ (title, The Man Born to be King). Whether it wd. come under the faculty of Theology or that of Literature depends, I suppose, on how you treat it. Yours sincerely [signed] C.S. Lewis Background - C.S. Lewis, Dorothy Sayers, and The Man Born to Be King: C.S. Lewis and the writer Dorothy Sayers quickly became good friends after the latter wrote him a "fan" letter praising his recently-published Screwtape Letters. It was not a particular surprise they developed a friendship for both had similar views on literature, scholarship, and theology (especially sharing the desire to explain and explore Christianity for their literary audiences). Sayers's The Man Born to Be King, a somewhat controversial re-telling of the life of Jesus, originally appeared as a radio drama airing from 1941-1942 before being published in book form in 1943. Lewis was immediately impressed with the work, writing to Sayers on May 30, 1943 (in one of his earliest letters to her), "I've finished The Man Born to be King and think it a complete success... I shed real tears (hot ones) in places: since Mauriac's Vie de Jesus nothing has moved me so much... I expect to read it times without number again...." Over the years, Lewis's admiration for the work only grew. He professed to reading it "in every Holy Week since it first appeared" and noted in 1949 that he thought "Man Born to be King has edified us in this country more than anything for a long time" (Lewis, Collected Letters, II, 989). Sayers died in 1957 - six years before this letter - and it is fitting that of all the books he could have recommended to the student Tukey, he selected The Man Born to Be King, a book he greatly admired and a book that had remained dear to his heart. Cambridge: 6 July 1963. One sheet, 5 1/4 x 7 inches, written in ink on both sides, signed "C.S. Lewis". With original mailing envelope with postmark. Generally fine condition with expected center mailing fold and a few light spots. Housed in custom presentation folder.
Salem, OH: Homestead Print, n.d., ca. 1850. First Edition. Unused handbill announcing anti-slavery meetings held by the Western Anti-Slavery Society, a splinter group from the Ohio State Anti-Slavery Society. This branch was led by the abolitionist Adam Brooke, a member of the utopian community the Marlboro Association; and, to a lesser extent, Parker Pillsbury, who attended and occasionally spoke at the annual anniversary meetings. The Society, Garrisonian in its rejection of the Church, stated that "We are not merely warring against the extension of new slave territory, nor against any fugitive slave law constitutional or unconstitutional; nor for the writ of habeas corpus, or the right of trial by jury for recaptured slaves, but we are waging eternal war against the doctrine that man can ever under any possibility of circumstances, hold property in man" (cf. William M. Wiecek, "The Sources of Anti-Slavery Constitutionalism in America, 1760-1848" (1977), p. 252). The group reached its peak in 1847 when William Lloyd Garrison and Frederick Douglass both spoke at the annual anniversary meeting, which drew several thousand attendees. However, the group always struggled with funding and was defunct by 1861. The present broadside reminds the reader that "Three million of your fellow beings are in chains--the Church and Government sustains the horrible system of oppression. Turn Out! And learn your duty to yourselves, the slave and God. Emancipation or Dissolution, and a Free Northern Republic!" 4 located in OCLC, none in Ohio. Original unused letterpress broadside flyer (40x27.5cm.); a few closed tears expertly mended, stock uniformly toned, else a Very Good, quite fresh copy.
Brussels: Les Lèvres Nues, 1968-1975. Quartos (30 × 23 cm). Issued in uncut loose sheets; approximately 8 to 32 pp. per issue (unnumbered). Illustrations throughout, mostly black-and-white, with some color reproductions tipped in. Most issues printed on laid paper, some on coated stock. Very good or better. A fine complete run of this important post-war Belgian surrealist journal, composed of 135 issues in 98 fascicules, with several double and triple numbers. Issued monthly and edited by Marcel Mariën, the journal features contributions by major Belgian surrealists, including Goemans, Nougé, Scutenaire, Colinet, Dumont, Magritte, Joostens, Lecomte, Tom Gutt, Wergifosse, Bossut, Souris and Bourgoignie, among others. Most issues focus on a unique work by a single author or artist, and are illustrated throughout with reproductions of works by Man Ray, Magritte, Picabia, Mariën, Bossut, Ernst, Graverol, Jamagne, Ubac and Van de Wouver, and others. Especially noteworthy are Magritte's contributions, which are often illustrated by him. Issues 81-95 constitute one volume containing "Lettres surrealistes (1924-1940)" edited and annotated by Mariën. Issue no. 95 contains "Filchings for Annoyed Birds" by Paul Colinet (in English). Most issues feature a distinctive title. Nos. 15, 30, 40, 55, 65, 80, 100, 107, 110, 120, 130, 134 issued as a "nouvelle serie" interspersed throughout the run, under the title "Les Lèvres Nues" and numbered 1-12. The last issue (no. 135) contains a cumulative index to the entire series. All issues uniformly hand-numbered "vingt-deux" (22) of unspecified print runs, which ranged from 50 to 250 copies. Given the low print run of the earliest issues, presumably only fifty complete sets exist.
4to (200x145 mm). Collation: [π]4 †4 A-T4 V2 X4 Y2 Z4 [χ]2. Half-title, engraved frontispiece, [12], 176, [4: errata corrige] pp. and [4] folding plates engraved by Francesco Nigro and Francesco La Barbera after Gerardo Astorino and Vincenzo La Barbera. Richly gilt modern morocco binding, original sprinkled edges. Minor restorations to the outer margin of the first leaves without loss, small worm track in the gutter of a few leaves not affecting the text, tears repaired along the folding of one plate, all in all a very good copy.
EXTREMELY RARE ORIGINAL EDITION of this festival account attributed to Filippo Paruta, but edited by his son Simplicio, who also signs the dedication to the Senate of Palermo, and published posthumously under the name of his other son Onofrio.
In the note to the reader Onofrio provides a detailed list of the works (orations, occasional writings, inscriptions for ephemeral architectures, etc.) of his father Filippo, who was the secretary to the Palermo Senate and the major responsible for the iconographic program realized on the occasion of the 1625 festivity.
At the beginning of the 1620s the viceroy Emanuele Filiberto of Savoy rebuild the Accademia dei Riaccesi, which gathered in the Royal Palace, and entrusted the scholar and mathematician Carlo Maria Ventimiglia with the direction of the academy. Around his figure gravitated many of the artists and scholars who designed the program and the solemn procession of the relics of St. Rosalia, held in June of 1625 as a sign of gratitude for deliverance from plague. Among them were the painters and architects Gerardo Astorino and Vincenzo La Barbera, the engraver Francesco Negro, the scholar Martino La Farina, who conceived the allegorical arch of the Genoese nation, and, above all, Filippo Paruta, who was linked to Ventimiglia also by a common passion for numismatics and antiquities. Paruta was involved in all literary activities related to celebratory events since the end of the sixteenth century. In 1625 he inspired the triumphal arch that the Senate erected in Piazza Villena and was responsible for the account of the festivities, which however was actually published only after his death in 1651.
The constitution of such a large and complex team to be entrusted with the creation of the apparatuses testifies of the importance of that event that officially marked the beginning of the cult of St. Rosalia. The solemnity of 1625 had no immediate follow-up and only in 1649 the feast of St. Rosalia was formalized with all those peculiarities that would characterize the following decades. In 1625, in addition to the impressive processions and solemn ceremonies to which all local communities, religious and civil, took part, two magnificent horse rides were organized; one, in particular, took place at the conclusion of the festivities, after the solemn mass in the cathedral. Then followed fireworks, organized by the German nation, tournaments and jousts. At the very end the nobility walked in gala dresses along Via Colonna (cf. M. Sofia di Fede, La festa barocca a Palermo: città, architetture, istituzioni, in: "Espacio, Tiempo y Forma", series VII, t. 18-19, 2005-2006, pp. 49-75; see also M. Vitella, Il primo Festino, in: M.C. Di Natale, "S. Rosaliae patriae servatrici", Palermo, 1994; and V. Petrarca, Genesi di una tradizione urbana. Il culto di S. Rosalia a Palermo in età spagnola, Palermo, 1986, p. 82).
Catalogo unico, IT\ICCU\PALE\004559; S.P. Michel, Répertoire des ouvrages imprimés en langue italienne au XVIIe siècle conservés dans les bibliothèques de France, Paris, 1976, VI, p. 80; Biblioteca centrale della Regione siciliana "Alberto Bombace", Sanctae Rosaliae Dicata, Bibliografia cronologica su Santa Rosalia, Settembre 2004, pp. 12-13; G.M. Mira, Bibliografia siciliana, Palermo, 1881, II, p. 186; A. Mongitore, Bibliotheca sicula sive de scriptoribus siculis, Palermo, 1707-1714, I, p. 293 and II, p. 174; M. Cornelles, V. Manuel et al., eds., La fiesta barroca. Los reinos de Nápoles y Sicilia (1535-1713), Palermo, 2014, ad indicem.
Glasgow:: Brown, Son & Ferguson, (1948)., 1948. Third impression. Two volumes. 25 cm. xiv, 518; xv, 448 pp. Frontispieces, illustrations, plans (some folding); spine gilt rubbed, corner bumped. Blind and gilt-stamped blue cloth, map endpapers. Very good copies.
London: [plates dated] 1825 [but published 1826]. Folio, 320 x 254 mm, engraved title and 21 plates. Proofs on India paper mounted on handmade paper, some leaves (2, 5, 6, 11, 14, 17, 18) watermarked J. Whatman Turkey Mill 1825. Gilt-ruled green morocco over thick boards, fleurons at the outer corners, double-rule inner frame enclosing a bloom roll, gilt-ruled spine, sewing bands with gilt red morocco onlays, thick dark blue endleaves, all edges gilt, by Riviere: a brilliant set with no foxing at all, interleaved with blanks at the time of binding with no offsetting. Lower cover of the binding at some time tied up with string with ensuing indentation. § First edition, limited to 150 proof sets (65 sets were also printed on French paper, and 100 sets on drawing paper with the word ‘proof’ removed). This is one of finest sets of the proofs I have ever seen, and far outshines the other two original printings and the later re-issue. The India paper set is the best printing of these famous plates which comprise Blake’s major single achievement as a printmaker after the illuminated books. Illustrations of the Book of Job was Blake’s last completed prophetic book: the text, a series of biblical quotations, is above and below each image. “It was produced while Blake was still working on Jerusalem, his most obscure book; yet the illustrations are Blake’s most lucid; and they are the supreme example of his reading the Bible in its spiritual sense” (S. Foster Damon, A Blake Dictionary, p. 217). “The modest size of the central panels does not prevent them from ranking with the supreme masterpieces of graphic art” (Ray, Illustrator and the Book in England #8). Note: as always, the first plate after the title-page is misdated 1828.
Used; Like New/Used; Like New. Poster for a March 28, 1966 appearance by the Civil Rights leader together with singer Harry Belafonte at the Palais des Sports in Paris. Organized by the Comité de Soutien Franco-Américain pour l'Intégration Raciale, the event featured a speech by King and music from Harry Belafonte and French singer Hugues Aufray, sponsored by Suze Liqueur. Two-color poster, with folding creases, one tear to the right edge, minimal wear and toning; overall very good. Sight size 14.5 x 22.5 inches (37 x 57 cm), archivally matted and framed to an overall size of 20.5 x 26.5 inches.In March 1966, King and Belafonte went to Europe for fundraising appearances on behalf of the Southern Christian Leadership Conference, starting with the Palais des Sports in Paris on the 28th, and closing in Sweden on the 31st. This poster for the French appearance is emblazoned with the logo of a sponsor, Suze Liqueur, and also cites the French-American Committee for Racial Integration as the organizing body. The opening act for the evening was the popular French folksinger Hugues Aufray doing a set of Bob Dylan covers, followed by a set by Belafonte. Dr. King closed out the evening with a speech on civil rights, touching on the war in Vietnam and American support for South African apartheid. The tour raised more than $100,000, but drew the wrath of the American ambassador to France for airing American problems overseas. See Ross, Hollywood Left and Right, p. 220. We have traced no other copies of this poster at auction or elsewhere.
London: Herbert Jenkins Limited, 1938. First English Edition. [Jasen 58A in a later dust jacket]. Preceded by the first American Doubleday, Doran edition, published in Oct. 8, 1937. This edition was published on Feb. 11 1938. 12mo., red cloth, stamped in black, 312 pages, plus eight-page catalog; in later "2/6 net" price on spine [whereas the earliest dust jacket is priced at "7/6 net." on the spine]. Very Good (little soil covers; contents clean & tight but for a tiny spot fore-edge; neat ink name front endpaper); some edgewear (few small chips & tears- some with internal mends with archival tape) d/j.
Kansas City: H. Alfred Fowler, 1912. First edition. First edition. Original decorative card paper wrappers. The rare "Eragny Press" number (Volume I, Number 3) which features notes on bookplates by Esther and Lucien Pissarro, by J. M. Andreini, including three superb color printed specimens of book plates by the Pissarros, printed in colors on china paper and tipped-in. A scarce and very attractive rendering. There are also two other features in the number. Near fine.
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Paris, France: 1918. Unbound. A collection of 40 loose photographs on double-weight stock, in the original paper folder from the photographic studio, John Daniell & Sons of New York City. Folder is good only with chips, tears, and rubbing; the photographs are fine. An archive of photographs from Armistice Day in Paris in 1918 taken by an American onlooker. The photographs are taken on the route just beyond the Arch de Triumph with it in the background of many of the photos. There are throngs of people gathered to watch the troops march by with a focus on American troops. One photo shows the American Hospital Service car and another shows a waving American flag. There are troops on foot with rifles as well as mounted troops and men in military cars and vehicles. Armistice Day is now known as Remembrance Day in France and is still celebrated. On the 11th of November 1918 the streets were full of people and the *Daily Mirror* wrote at the time “processions of soldiers and munition girls arm in arm were everywhere.”
A wonderful collection of original photographs taken from the crowd on Paris’ Armistice Day.
Offered by Between the Covers Rare Books and found in "E-catalog 67."
PEORIA, ILLINOIS: 1930S-40S. Large black striped album binding titled "Exquisitely", with decorative image of a stag pasted to front cover, 46 photographs, several pieces of ephemera, and numerous pictorial clippings. The album was assembled by Gene Casad, window trimmer in the display department at the Block and Kuhl Co department store in Peoria, Illinois, according to a card pasted to the front pastedown, which is followed by the title "Display World" cut out of a magazine. The album contains many photographs of Casad's window displays, as well as several shots of store displays, followed by many pictorial clippings taken from magazines also depicting department store window displays of women's fashions, handbags, shoes, appliances, furniture, etc. These were possibly used by Casad for reference and inspiration. The photos and clippings are backed by leaves of colored construction paper or decorative wallpaper, likely pasted into the album by Casad himself. Thus the album, with these collage elements as well as its vertically striped, jet black front cover, serves as a tribute to the Art Deco style of the department stores themselves. Album leaves warped and soiled, covers soiled.
United Kingdom. c1890. A collection of three woodworking design books featuring pen and ink stencils and applied cuts for layouts. Each of the covers of the books have titles pasted onto them. The titles are: Original Designs Book, Designs for Woodcrafting, and Designs for Chip Carving.
The 'Design for Chip Carving' book appears to have a souvenir blank notebook published by the art department of 'Pure Boots Drug Company' that was then repurposed. The Chip Carving book also features both pasted in printed applied cuts and pen and ink stencils. The stencils are hand drawn of a variety of different filigree - mainly with floral elements- and animals. There are three animal stencils, the first is a flock of birds, the second has dragon flies and goldfish, and the third images features two owls sitting on a branch with two bats flying around the moon. The printed applied cuts feature more traditional geometric designs, as well as some floral designs. These designs were for picture frames, mirrors, brushes, furniture, shelves, and various boxes (ex. cigar box). Two of the books are completely filled, one, Chip Carving, is half filled.
Measures 11" x 8 ½”(largest), 9 ½”x 6 ½”(smallest). The two smaller books have 24 pp each and the larger about 40pp.
Offered by Eclectibles and found in "E-list #74" (item #13).
A century of circus letterhead and envelopes. Mostly 1920s‐1930s, but spanning early 1900s through the 1980s. Mostly American, some from Great Britain. All standard sizing 215 by 280mm (8 1/2 by 11 inches) and 240 by 100mm (9 1/2 by 4 inches). A few with repair tape or glue remnants on back; some with year stamp on back; almost all blank. A cornucopia of graphic design and a study in print adverising at its finest. Circus letterheads spawned their own legion of collectors and fans.
Offered by Mark Funke, Bookseller and found in their new catalog "Circus."
OCCASIONAL LIST 22: A Miscellany: Original Art Work; Small Archive of Major English Watercolourist; Interesting Theatrical Pieces; Manuscript Material, Etc., Etc. -- available on request from fgrare@fgrarebooks.com...
Has the following lists available: California, Texas, Kansas, Missouri, Minnesota, Iowa, Nebraska, Oregon, Louisiana, Colorado, Ohio and New York. Will email to interested parties. Contact info@ginsbook.com to request...
Antverpiæ ex officina Plantiniana, M. DCVI. Second edition. This copy is bound in full contemporary blind stamped calf over wooden boards with two working clasps. Quarto ‡4, ‡‡4, A-Z4, a-z4, Aa-Ee4.+ 100 Numbered Plates. With a special engraved title pages which is an allegorical depiction of Christ carrying the cross, surrounded by ten artists at easels painting scenes from his life (as well as a few questionable profane subjects). The vovelle : Allows the reader to find their way through the Gospels. The centers of the engraving and the volvelle (through which a string passes) are reinforced with small paper roundels printed with the monograms of Christ. The numbers are keyed to an "Indiculus orbitae" that follows (Bb1r-Bb2r). There a number, having been selected, is provided with a phrase from various Latin authors (listed on Bb2v), and a reference to one of the hundred sections that comprise the main text. It is suggested in Bibliotheca Belgica that this game may have been intended as a pious alternative to such superstitious books as Thuys der fortvnen.
Veridicus Christianus emphasizes the Society of Jesus' investment in thinking in, though, and about visual images that exemplify the supreme mystery of God. Published as a tool of devotion and meditations, it features one hundred chapters that encompass a wide range of topics for reflection. Each chapter incorporates an extensive commentary that interprets the emblematic image David too follows the order in which we apprehend things with our senses, beginning with a visual representation at the head of each chapter. Then comes the explication. The symboli explicatio was considered necessary because cultivated readers would be more susceptible to a reasoned argument than a picture. The text is divided into 100 chapters, each with an allegorical engraving incorporating letters keyed to the explanatory text and with marginal references. Each of the 100 numbered plates has a single line of Latin at the head giving the subject, with two-line explanatory verses below the allegorical engraving in Latin (roman letter), Dutch (civilité) and French (italic) First plate (following [2 daggers]4) is added title leaf for the ill., which were also published separately; see Bibliotheca Belgica. The added title reads: Icones ad Veridicvm Christianvm P. Ioannis David e Societate Iesv At the end is Device with compasses and the motto "constantia et labore" on Ee4r . This book is notoriously found defective in one way or another, this copy is perfect and complete.
Carved woodblock, with text on obverse & reverse sides, containing four leaves from the fourth volume of what we believe is the ca. 1728-30 Kyoto edition, published by the Nishimura dynasty, of Bakyo taizen [Complete Collection of Equine Classics]. Woodblock (217 x 805 x 20 mm.), including carved handles.
A fine woodblock from the fourth volume (“Winter”), pages 17-20, of an early Japanese edition of this adaptation of one of the three major publications during the Ming dynasty on veterinary medicine, the Yuan Heng Liao Ma Chi [Collation of Horse Ailments] by Yu Ben Yuan and Yu Ben Heng (there is some considerable controversy regarding authorship; see Buell, May, & Ramey’s “Chinese Horse Medicine: Texts and Illustrations” in Lo & Barrett, eds., Imagining Chinese Medicine [2018], p. 316). The first Chinese edition appeared in 1608 and is considered by the above-mentioned authors to be “an extraordinarily rich work.” Nishimura was a publisher in Kyoto and a specialist in books about medicine and veterinary medicine. The text is carved in Chinese with Japanese reading marks. The fourth and final volume is devoted to rules on how to feed and water horses correctly, with many recipes. In fine condition. The handles have some worming.
[ no place ]: [ no publisher ] [ no date ]. Faux leather protective roll with two snap closures, containing three portraits on paper. The whole connected on one end between two large (1 1/2 inch) dowel halves on one end. The salesman could add various portraits to the assemblage by separating the two half dowels, adding additional portraits, and screwing the assemblage together again. This example has a green tinted linen guard laid in to protect the paper portraits as they are rolled and snapped shut. Leather roll is approx 17 1/2 inches wide and two foot long. This portfolio contains three examples - the first a black and white distinguished bearded gentleman, the second a stylized woman in brown tint, and the third a young woman with very nice colored tints. All have some wear and dampstaining, and the faux leather covering is stained and has various detritus attached to it. Very Good. [28017]
Large photographic prints were expensive and difficult to store and transport. This was one solution for photographers - a sample portrait that could be rolled up in a protective cover and taken where-ever needed - the fair, the office, or a client's home.
We find one of these a year roughly so they were in use - rarely do we find the same images used though. This example has three images representing different styles/coloring possibilities, each with a penciled number on the back. These may have been examples of Crayon Portraiture which was a method of using crayons, a solar projector, and crayon paper to hand-draw an enlarged portrait from a smaller image. There are other, competing processes as well, all 19th century inventions. We often see the results in victorian era frames in antique shops so there was some success in promoting and creating these portraits.
An excellent "prop" that takes the holder back to the days of the traveling photographer, here in color!
N.p.: [Royal Crown Cola Company?], [1960s]. 11” x 28”. Thick cardboard. Very good plus: light edge and corner wear, bump near lower left corner.
Over two feet wide, this is an advertisement for Diet Rite cola featuring an African American family, probably intended as a store display. Although not the first diet soda, the launch of Diet Rite in 1958 (which was initially marketed to diabetics and
sold in drug stores) led to a significant expansion of the diet soft drink industry. We find no other examples.
London: Printed by S. Roycroft for Henry Twyford, 1680. [viii], 260, [12] pp. Octavo (6-1/2" x 4"). Later three-quarter calf over marbled boards, rebacked retaining spine, which has gilt ornaments and later lettering piece, endpapers renewed. Some rubbing to boards and extremities, corners bumped and lightly worn. Light browning and occasional light foxing to text. Early owner underlining to title page, which has some edgewear, interior otherwise clean. An appealing copy.
*Only edition. This book was the first digest of the London's laws and guide to its courts after the revisions of the city laws from 1647 and 1658. A useful work that gathered a great deal of disparate information, it is a valuable resource today for students of seventeenth-century London and its legal system.
Wittenberg: Cranach and Döring, 1524. Quarto: 21 x 15 cm. [20] pp. A4, B2, C4
First edition of Luther’s response to the growing danger posed by the radical preacher Thomas Münzer, who was ultimately executed the following year for leading the violent, open revolt that came to be known as the Peasants’ War.
In 1523, Thomas Münzer, formerly the leader of the radical “Zwickau Prophets” began to radicalize the area of Allstedt, where he was then pastor, preaching that the ungodly were to be eliminated and the elect would establish a kingdom of Christ on earth and threatening the political rulers of the area with rebellion.
Illustrated Catalog on Carlos Merida (1891–1984) -- Mexican painter, sculptor, writer and graphic designer -- available by request from mmbooks@comcast.net
“Prise de la Bastille par les Bourgeois et les braves Gardes Françaises de la bonne Ville de Paris, le 14 Juillet 1789. Dédiée à la Nation.” (France, after July 14, 1789). Hand-colored engraved folding paper fan, printed on recto and verso on two adhered sheets, the recto with a full-width etched and engraved scene of the taking of the Bastille, colored in watercolors and white gouache, within stencil-printed decorative border, the verso with an engraved poem; mounted on original plain wooden sticks, the guards with narrow fillets of decorative bone along edges and at rivet, the unfolded leaf measuring approx.137 x 500 mm., total fan measurement 208 x 500 (10 3/4 x 20 in.).
Condition: a few small chips and old paper patches, mainly to the borders, one small patch within the engraved area, affecting only the background, slight wear along a few pleats, one or two small stains, 2 words slightly rubbed on verso, a guard relined.
A FINE EPHEMERAL SURVIVAL: a rare fan on a popular and dramatic theme, no doubt issued soon after the event depicted. Although by July 14 1789, the Bastille was nearly empty, and its historical reality was that of “the least cruel of all the [French] state prisons” (Marion, Dictionnaire des Institutions francaises, p. 40), its potency as a visually imposing symbol of tyranny was undiminished. The day of its storming by a crowd of about 1000 “bourgeois” was unfortunately one of intense bloodshed, with over 100 people, including 98 attackers, several soldiers and the garrison commander the Marquis de Launay, losing their lives. De Launay’s head and that of Jacques de Flesselles, “Prévôt des Marchands,” were later paraded on pikes.
Offered by Musinsky Rare Books and found in "La Révolution."
London: Griffith, Farran, Okeden & Welsh (Successors to Newberry & Harris), 1887. Octavo (6¾” by 8⅝”). 78 pp. With frontispiece and three plates printed in red and black; four fullpage illustrations (included in pagination) printed in black; and two pages with text illustrations. Also with charming floral headpieces. Original pictorial boards with lively red-and-black border featuring the silhouettes of dogs, cats, and farm animals. Titled in red on spine. Some soiling to boards. Floral endpapers. Still a clean, tight, nearfine copy of a scarce work on the kindergarten.
First edition. In chapter one of the present work, Emma S. Windsor states that the theories of Friedrich Froebel inspired her to invent her crawling rugs (p. 11). She created the rugs by sewing pieces of fabric cut to resemble animals onto sheets of flannel. Windsor’s idea was that children from birth to age seven could appreciate the rugs in different ways over time: first, they could explore the texture and recognize the animals from picture books; then, with the help of a mother, learn the names of animals and how to mimic their sounds; and, finally, older children would enjoy the images and be inspired to independently learn more about the animals pictured on the rug (p. 13).
Windsor sold her blankets at the Kindergarten Depot of the Soho Bazaar in London. Though she encourages women to follow her designs when making rugs, she also warns that the designs are registered with the patent office and are not to be reproduced for sale (p. 23). Based on information about her business given at the end of the present work, she also seems to have provided lessons to women about how to educate through the principles of kindergarten. Note that some of the illustrations are credited to a “W.F. Windsor,” possibly Windsor’s husband. We could not find any additional information about Windsor in the sources available to us, including dates.
Compton, CA: Compton Police Officers Association, 1964. 8.5 x 11 inches, 72 pp, with illustrations and ads. Three-hole punched, police department stamp on front cover, one gathering loose front staples; very good. Fourth annual edition of this periodical, which was used to raise funds for the Officers Relief Fund and to inform the public of "some of our problems and functions."
Within a year, there would be riots--founded in a long history of friction between African-American residents and the police--in neighboring Watts, and by 1970, Compton would have the highest crime rate in California. This publication starts with a positive story showcasing of a newly completed police building, and includes articles about successful police operations and public safety tips. But hints of the policecommunity tension to come are also present. An article titled "'Defenders of the Peace' in Community and Human Relations" asks citizens to support the efforts of the police, complaining that "unjust charges are sometimes made against the police. Charges made or rumored by persons who do not have all the facts. When this happens, police morale is jeopardized and the development of an esprit de corps is made difficult." Another, titled "Take the Handcuffs Off Our Police," argues that by overzealous interpretation of constitutional rights "we are increasingly throttling our law enforcement officers with judge-made rulings that stagger common sense." And an editorial proclaims that "now, more than ever before in our history, one is either for law enforcement or he's against it. He's either for mob rule--or he's for the law. He's either for America--or he's against America. Let's begin to make our laws say what they mean and mean what they say--and let everybody know it." No holdings (of any issue) located in OCLC.
Paris: Gallimard, 1949\. First edition. Original publisher's cloth bindings with titles to spine and pictorial illustrations of Mario Prassinos to boards. Pegasus motif endpapers. Gentle rubbing to extremities of spines; gentle bumps to corners. Front board of volume II mildly bowed. In all, a pleasing pair of this important philosophical work, which was released in a limited edition of 2,105 copies, including the present set which is one of 2,000 numbered copies on Alfama Marais paper. One of the preeminent French existentialist philosophers, working alongside other intellectual greats such as Jean-Paul Sartre and Albert Camus, Simone de Beauvoir made her greatest contributions in the fields of ethics, feminism, and politics. She is perhaps best known for the present work, The Second Sex, which argues that women have been historically relegated to a second class as men's 'Other,' and that this has led to systemic oppression. "Her revolutionary magnum opus, it was published in two volumes and immediately found both an eager audience and harsh critics. The Second Sex was so controversial that the Vatican put it on the Index of Prohibited Books...Striking for its breadth of research and the profundity of its central insights, it remains to this day one of the foundational texts in philosophy, feminism, and women's studies" (Encyclopedia of Philosophy). Near Fine.
4to. 11.5 x 12 in. [12 pp (unpaginated).] triptych, printed on colour-tinted paper stock, which opens into oblong folio 34.5 x 24 in. dealer poster. Colour-illustrated throughout. Self-printed colour-illustrated softcovers, slight shelfwear, and very slight toning, NF copy. First edition of this very scarce dealer’s brochure & poster for the 1955 Cadillac Series 60 models which after 1954 featured lower sleeker bodies, new grille inserts, and inverted gull wing front bumpers and tapered bumper guards. The 1955 featured a redesigned grille, new rub-rail moldings, Florentine curve rear window, and the Coupe de Ville featuring a golden script nameplate. The Cadillac Eldorado sport convertible featured wide chrome belt trim, new rear fender design, and twin round taillights halfway up the fenders. No copies located in Worldcat.
Offered by Zephyr Used & Rare Books and found in "Travel & More" (item #10).
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Note: We're reposting this article on collecting film scripts in light of the growing difficulty in acquiring copies of classic mid-century films and movie studio's reluctance to make classics available for exhibition. It was originally published in August 2019.
According to a great many people, the film (or movie, if you prefer) was the great art form of the 20th century, so it shouldn’t be any great surprise that there is a large number of collectors — individual and institutional — focused on the movie business; but it might surprise many to learn that there’s great interest in collecting the seemingly least-glamorous part of the entire filmmaking process — the scripts themselves.
Collecting scripts is different from collecting many other forms of printed matter, as scripts were not mass-produced (excepting the relatively recent trade-paperback editions of hit films) or made available for sale to the general public. Scripts were typed out and mimeographed; changes were printed on different colored pages and the earlier pages thrown away; scripts went through innumerable drafts, and sometimes several sets of writers; and all that before the production technicians and artists got hold of the "finished" script and began annotating it for their own purposes. There are therefore multiple different types of script and an entire language of shorthand to decipher when evaluating a script manuscript. Different eras and areas of production had their own conventions and practices, so the field is one that requires a great deal of specialized knowledge to navigate successfully.
ABAA-member Kevin R. Johnson has been specializing in film scripts since about 2004, and has recently collected some of his knowledge in a book. The Celluloid Paper Trail: Identification and Description of Twentieth Century Film Scripts has been published by Oak Knoll Press (the publishing arm of ABAA-member Oak Knoll Books) and is a guide to the conventions of script-writing, the different stages a script might go through, and the different forms of scripts — produced and unproduced — that one might encounter in the market. It’s an essential reference book for collectors of film scripts, and an entertaining read for those who enjoy learning more about the golden age of Hollywood.
Beverly Hills, CA: Metro-Goldwyn-Mayer [MGM], 1935. Dashiell Hammett's original submitted Treatment script for the first sequel to "The Thin Man," here referred to only as "Thin Man Sequel," and ultimately titled "After the Thin Man." With a single holograph correction by Hammett, and letter of provenance from Hammett's daughter Josephine Hammett Marshall regarding the discovery of the treatment in the family's estate. The first "Thin Man" film, released in 1934 and based on Hammett's novel, was a smash hit and is today a key film in the American screwball comedy cycle. Five sequels were made between 1936 and 1947 (all starring the original acting team of William Powell and Myrna Loy), and this previously unknown attempt at a sequel by Hammett was clearly commissioned by MGM but never produced, making this script an entire unpublished Hammett work. The story is a completely original one, never reworked for the other films, very much written in Hammett's trademark style and reading a bit more like a story treatment (i.e., a novel) than a final screenplay, which is likely as far as the story got on the road to production. The piece is dated Sept. 17, 1935 at the lower right corner of the front panel, along with Hammett's name, and Hammett's name is noted in pencil next to the title label (though not in Hammett's hand). There is only one single-word correction to the entire text, at page 83 in Hammett's hand, where the word "compact" is replaced with "cigarette case." Accompanying the screenplay is a typed letter signed from Hammett's daughter (who edited a recently published collection of Hammett's letters), on her personal stationery, stating that the screenplay was discovered by Hammett's wife in 1980, and that it had been a part of the family's estate until that time. Probably one of only 2-3 copies that could have been produced, and very possibly the only copy extant. To our knowledge, no other copy of this story, in any form, has ever been recorded at auction or sold on the market. Light blue titled wrappers, with the white MGM studio label present, holograph pencil notation of Hammett's name (secretarial), rubber-stamped COMPLETE, dated September 17, 1935, with a single credit for Hammett. 115 leaves, mimeograph. Pages and wrapper Very Good plus, bound with two gold brads. In a custom clamshell box. Full pagination available upon request.
by [WILDER, MARGARET BUELL (SOURCE WORK)]: DANIEL, JEFFREY (PSEUDONYM OF DAVID O. SELZNICK) [SCREENWRITER]
[Culver City]: Selznick International Picture / Vanguard Films, 1949. Nine volumes. Quarto. Eight items mimeographed typescript, printed on rectos only, one item pictorial wrappers. Modest use to a few wrappers, a bit of rust to a few brads, but generally very good to near fine. An interesting lot of material relating to Selznick's 1944 multi-award nominated film adaptation of, and elaboration on, Wilder's epistolary novel about the Home Front, SINCE YOU WENT AWAY: LETTERS TO A SOLDIER FROM HIS WIFE. The film was directed by John Cromwell and Selznick, and starred Claudette Colbert, Jennifer Jones, Joseph Cotten, Shirley Temple, Monty Woolley, Lionel Barrymore and an enormous supporting cast. As originally released in 1944, the film had a running time of 172 minutes; it was recut and re-released in 1949 with a running time of 130 minutes. This archive traces both the original version and the abbreviated version, and includes the following items: a) SINCE YOU WENT AWAY PART II. 9 April 1943, 82 leaves, a portion of an abstract or synopsis of the book evidently for use by the writer; b) a "Narrative Synopsis of Screenplay," 7 September 1943, [1],58 leaves; c) a doorstop of a "Final Shooting Script," 9 September 1943 - January 1944, credited to Jeffrey Daniel - a nome de plume for Selznick which he finally rejected in favor of "By the Producer" - an astonishing [2],290 leaves, plus lettered inserts, and exhibiting a rainbow of mimeo, carbon and original typescript dated revises on colored stocks at a virtual 1:1 ratio to unrevised leaves; d) 28 leaves of "Retakes / Added Scenes / Wild Lines," 12 April 1944; e & f) "Cutting Continuity" and "Dialogue Continuity" for "Foreign Version, both 20 September 1946, foliated in reel format; g) a "Dialogue & Cutting Continuity," March 1949, clearly the recut version; h) a "Spotting List for Recut Version," 22 August 1949, [2],62 leaves; and finally, i) a copy of the illustrated souvenir program for the original release. At the time, the film was the longest and most expensive Selznick production since GWTW, a project that he took on as a personal contribution to the war effort.
Tokyo: Kurosawa Production Company, 1960. Shooting script for the legendary 1961 Japanese film. Working copy belonging to Omura Senkichi, who played a small role as a traveling servant in the film, with his name on the front wrapper and his annotations throughout. Though not credited as such, based thematically on Dashiell Hammett's 1929 novel, "Red Harvest," and subsequently the basis for many other films, including "A Fistful of Dollars" (Sergio Leone, 1964), "Django" (Sergio Corbucci, 1966), and "Last Man Standing" (Walter Hill, 1996). Director Kurosawa has been quoted as saying that many plot elements from another Hammett novel, "The Glass Key," make up the film. All titles and text in Japanese. White perfect bound wrappers with purple and black titles. 164 pages, printed on recto and verso, right to left in the Japanese style, with last page numbered "d-33." Mechanically reproduced. Light foxing and age toning to both pages and wrapper, else Very Good condition. BFI 505. Criterion Collection 52. Ebert III. Grant Japan.
Hollywood, 1978. pamphlet. Original 1978 motion picture shooting script, July 19, 1978, for the Paramount Pictures film, "Star Trek: The Motion Picture," 134 pages, 4to, bound with metal fasteners with the addition of a studio custom-designed cover. The title page indicates that the screenplay was written by Gene Roddenberry and Harold Livingston and the story by Alan Dean Foster. Paramount was able to secure the services of legendary film director Robert Wise ("The Sound of Music" and "West Side Story"), but the intellectual property and production credit is assigned to Roddenberry alone. As this project was masked in great secrecy, Paramount advises:"This script is not for publication or reproduction. No one is authorized to dispose of same. If lost or destroyed, please notify script department." Roddenberry has boldly signed on the cover, "To Ron - with best wishes for our mutual future in Star Trek, Gene Roddenberry." It is worthy to note that he has made the "G" in Gene very similar to the starship Enterprise. A small damp-stain on the "G" has blurred the ink; otherwise near fine condition. American television screenwriter, producer, and futurist, best known for creating the American television science fiction series Star Trek.
by MEEHAN, THOMAS (BOOK); CHARLES STROUSE (MUSIC); MARTIN CHARNIN (LYRICS, DIRECTOR); HAROLD GRAY (COMIC); SANDY FAISON, ROBERT FITCH, DOROTHY LOUDON
N.p.: William Morris Agency, 1973. First Draft script from 1973, for the 1977 musical, which premiered at the Alvin Theatre on April 21, 1977 and ran for a remarkable 2,377 performances, closing on January 2, 1983, setting the record for the longest running show at the Alvin Theatre (surpassed in 1979 by "Hairspray"). William Morris Agency label affixed to bottom of title page with name of agent "Jane Chodorov" written in holograph marker. Based on the Harold Gray comic strip "Little Orphan Annie," which debuted in 1924. Martin Charnin first approached Thomas Meehan to write a musical based on "Little Orphan Annie" in 1972. Meehan decided to write his own story using the characters from the strip rather than adapt any storylines from the comic strip, and frame the character in the style of Charles Dicken's orphans in "Oliver Twist" and "David Copperfield". Nominated for eleven Tony Awards, winning seven, including Best Musical, Best Score, and Best Book. John Huston would direct the 1982 film based on the play, the only musical in his 40-year directing career, featuring a blockbuster cast including Albert Finney, Carol Burnett, Tim Curry, Bernadette Peters, Edward Hermann, and Ann Reinking Set in New York City in 1933. Red vinyl untitled wrapper with titled label. Title page present, dated 3/23/73, noted as FIRST DRAFT, with credits for Thomas Meehan (book), Charles Strouse (music), and Martin Charnin (lyrics and direction). 125 leaves, with last page of text numbered II-6-48. Mimeograph duplication, rectos only. Pages Near Fine, wrapper Near Fine, bound with two silver screw brads.
by BUKOWSKI, CHARLES FOR A FILM BY BARBET SCHROEDER
Los Angeles: Cannon Films, 1987. First edition thus. Paperback. Very Good. 4to. Mechanically reproduced sheets printed on rectos only. This is the fourth revised shooting script from Cannon Films of Bukowski's Barfly. Printed on mint green paper. Dated 01/26/87. 111 pp. Bradbound into navt blue printed covers from Cannon Films. Some age spotting to the title page, else a clean copy. The word "Barfly" hand-printed on the bottom edge of the pages in an unknown hand.
Offered by Derringer Books.
Dirty Harry: The Original Screenplay (The Revised Final Script)
by H.J. FINK AND DEAN RIESNER
Burbank, CA: Warner Brothers, 1971. Original wraps. Very Good. The uncommon April 1st, 1971 original screenplay for "Dirty Harry", written by H.J. Fink and Dean Riesner, and produced by Warner Brothers (and, within Warner Brothers, specifically from the office of Don Siegel, who both directed and produced the film). Solid and VG in its light-blue wrappers. Crudely bound with an inconspicuous metal wire, multi-colored pages thruout (denoting scene changes, technical shifts, etc.). Very light wear along the panel edges and mild darkening at the rear panel's lower-edge. Quarto, 124 pgs., 546 separate shots. Wonderful pre-production iteration of what's universally come to be viewed as one of the great crime films of the early 70s.
n.p.: Warner Bros, 1960. PRESENTATION SCRIPT. Hardcover. A near fine copy with minor blemishes and a few scratches. Marked "Final Screenplay" (April 11, 1960), 148pp. Directed by Vincent J. Donehue, with a screenplay by Dore Schary, who produced the film (and the play). The film starred Ralph Bellamy, Greer Garson, Hume Cronyn, and Ann Shoemaker. An ALS is bound in from Dore Schary to first assistant director, Russ Saunders, dated August 5, 1960, "Dear Russ / Thanks, my good friend / you were a tower of strength / and good sense / Best, Dore." Three black and white film stills are bound in, including the great one of Bellamy, clenching a cigarette ina holder, as F.D.R. This is the story of Franklin Roosevelt's bout with polio at age 39 in 1921 and how his family (especially his wife Eleanor) coped with his illness. From being stricken while vacationing at Campobello to his triumphant nominating speech for Al Smith's presidency in 1924. The story follows the various influences on his life and his determination to recover. The film was nominated for four Oscars; Best Actress, Art Direction, Sound, and Costume Design. Despite it being perhaps Bellamy's most famous role, it was Greer Garson who received the critical acclaim. She won the Golden Globe and National Board of Review Award for Best Actress.
by FRIEDKIN, WILLIAM (DIRECTOR); ERNEST TIDYMAN (SCREENWRITER); ROBIN MOORE (NOVEL); PHILIP D'ANTONI (PRODUCER); GENE HACKMAN, ROY SCHEIDER (STARRING)
Los Angeles: Twentieth Century-Fox, 1970. Revised Draft script for the 1971 film. SIGNED by director William Friedkin on the title page. Friedkin made his name with this gritty adaptation of Robin Moore's non-fiction account of east coast drug trafficking. Perhaps the greatest of the many 1970s crime films that were shot on location in New York City, with glorious period detail in nearly every frame. The screenplay was written by author Ernest Tidyman, one year after the publication of his seminal Harlem-based crime novel, "Shaft." Winner of five Academy Awards, including Best Picture, Best Director, Best Screenplay, and Best Actor for Gene Hackman, along with three additional nominations. Orange titled wrappers. Title page present, dated October 6, 1970, with credits for screenwriter Tidyman, director Friedkin, and producer Phil D'Antoni. 95 leaves, mechanically reproduced, last leaf numbered 93. Pages Near Fine, wrapper about Near Fine, bound internally with two gold brads. Grant US. Hardy, BFI Companion to Crime. Spicer US.
Offered by Royal Books.
You'll find more screenplays, as well as original movie posters, lobby cards, and related meterial in our "Cinema & Mass Media" category...
Our members list new acquisitions and recently cataloged items almost every day of the year. Below, you'll find a few highlights from these recent additions...
Greenwich, CT: Gold Medal Books, 1961. First Edition. Very Good. First edition. 176 pp. Wraps. Very Good with creased spine, reading crease to front wrap, very slight indent along upper corner A pulp novel co-written by Miami Blues author Charles Willeford.
New York: Tiffany & Co, 1883. Original invitation to the May 1883 opening ceremonies of the "New York and Brooklyn Bridge," issued by the Board of Trustees, the mayors of both cities, and chief engineer Washington Roebling. Under construction for over a dozen years, the Brooklyn Bridge was the longest suspension bridge in the world at the time, a marvel of modern steel-wire engineering, and it remains one of the iconic monuments of New York City. The opening ceremonies were attended by President Chester Arthur, and featured speeches, music, a gunfire salute by ships on the East River, and a fireworks display. Engraved by Tiffany, this invitation features a detailed view of the new bridge rising over the low-rise banks of Manhattan and Brooklyn. A near-fine artifact of New York history. Engraved invitation, printed on heavy cardstock, measuring 6.5 x 9 inches. Illustrated with an image of the Brooklyn Bridge and the seals of the City of New York and the City of Brooklyn. Completed in manuscript with the name of recipient A.J. McCall. Faint tidemark to lower righthand corner. Housed in original envelope embossed with the seals of both cities, addressed to McCall. Envelope soiled, with loss to lower corner.
[Single folded sheet with inkjet color illus. and printed text on both sides (277 x 102 mm. folded) l...]by LEIBER, STEVEN, BOOKSELLER
Single folded sheet with inkjet color illus. and printed text on both sides (277 x 102 mm. folded) laid in original plastic cassette case (a little worn) and the original audio cassette. [From the folded sheet]: San Francisco: April 1998. A very rare Leiber catalogue (no. 32) and one of his most ingenious vehicles for offering materials. The catalogue consists of an audio cassette, its case, and a list laid-in the case. "Artists, curators, art librarians, and others associated with the art world were faxed catalog entries with instructions to call and read the entry aloud over Steven Leiber's answering machine. These recordings were then included on the enclosed audio cassette. The title of this catalog is derived from a Nam June Paik mailing." It offers books, ephemera, periodicals, and artworks by or related to Beuys, Barbara Bloom, Brouwn, Jeanne Dunning, Feldmann, Filliou, Flavin, Holzer, Johns, Ray Johnson, Kounellis, Oldenburg, Pettibon, Roth, Vautier, Warhol, etc. In near fine condition; the case is a little worn with two minuscule cracks. WorldCat records only one copy. Produced in an edition of around 100 copies. ❧ Steven Leiber Catalogs (2019), p. 135.
New York: Random House, 1948. First edition. Hardcover. Very good/very good +. 231pp. Octavo [21 cm] Tan cloth over boards. The spine is a hair darkened, and the spine ends are gently bumped. There is a previous owner's name at the head of the front free endpaper. In the dust jacket, featuring a young Truman Capote on the rear panel, with light chipping to the edges. Original bill of sales slip tucked in. Truman Capote's first novel, published when he was merely 23 years old. At the time this was published, he had "written speeches for a third-rate politician, danced on a river boat, made a small fortune painting flowers on glass, read scripts for a film company, studied fortunetelling with the celebrated Mrs. Acey Jones, worked on 'The New Yorker,' and selected anecdotes for a digest magazine."Other Voices, Other Rooms" was met with immediate critical acclaim, and pushed a young Truman into the spotlight. The novel dealt with, among other things, homosexuality and race (scandalous topics at the time).
New York: Chappell & Co., Inc, 1936. Ephemera no binding. Very good. Jerome KERN, music.. 12" x 9"; 5, [1]pp; color pictorial front wrapper; ad for Selections From "Swing Time" on rear wrapper; very good. Fred Astaire and Ginger Rogers in "Swing Time" An RKO Radio Picture, A Pandro S. Berman Production.
MEDEA / SIGNED FULL COLOR FOLD OUT ILLUSTRATION inserted between pages 54 & 55 of the Phantasia Press first edition, 1985, fine and most suitable framing. SIGNED in silver ink by Kelly Freas on the lower left corner. One of only 25 copies, none ever used and thus unfolded. Scarce-------or soon to be so.
Philadelphia/ Columbus, Ohio: Bradley Garretson & Co./ Wm. Garretson & Co. , 1882. Ornately bound in full deeply embossed calf with ornate gilt decorations front and back covers, lavishly gilt decorated back, moire silk end papers, all edges gilt. Illustrated with 8 color maps, engravings on steel and wood, chromo-lithographs of scriptural natural history, botany and zoology. Family Portraits section at rear with 6 period photoraphs of family members, uncaptioned. Presentation Page from Oral T. Hall to John A Hall ( possibly Ball)? Near Fine, light rubbing to leather. small tear bottom edge front end page. A presentation Bible of the day in wonderful condition.
A large and heavy book, will require additional postage charges for priority and international mail shipping. Please inquire before ordering. Free media mail shipping. Later Printing. Calf. Near Fine/No Jacket, As Issued. Thick Folio.
Boston and New York: Houghton, Mifflin and Company, 1904. Book. Illus. by Amelia M. Watson. Very Good. Hardcover.
An Illustrated set of one of Thoreau's most enjoyable works containing delicate and lovely, small color drawings by Amelia M. Watson in the margins throughout the text. Handsome and collectible.
Half green Morocco with marbled boards and matching endpages. Top edge gilt. Silk place ribbons. Bindings are tight and square. Text clean, light even toning. Moderate shelf handling wear. Small 8vo; 7.75 inches tall; 173 pages, 208 pages, including the index.
Iver Johnson's Arms and Cycle Works. Fitchburg, Mass. 1897. First edition, 32 pages. 19.5 cm. Illustrated covers. " 1871-1897 Ye further Hystorie of ye Ancient House of Iver Johnson " prefaces this bicycle trade catalogue for truss frame bicycles, which features their models 33, 35, 36, 37, D and E in double-page illustrated advertisements. Slight soiling, one page corner missing, otherwise good, printed on heavy glossy paper. One copy was found at the Harvard Business School's Baker Library.
New York: HarperCollins, 1995. First printing of the 35th Anniversary edition of the author's Pulitzer Prize-winning novel. Octavo, original half cloth. Signed by Harper Lee on the half-title page. Fine in a fine dust jacket. Jacket design by Suzanne Noli. To Kill a Mockingbird became an immediate bestseller and won the 1961 Pulitzer Prize for Fiction. The New Yorker declared it "skilled, unpretentious, and totally ingenious". It has gone on to become of the best-loved classics of all time and has been translated into more than forty languages selling more than forty million copies worldwide. Made into the Academy Award-winning film, directed by Robert Mulligan, starring Gregory Peck. It went on to win three Oscars: Best Actor for Gregory Peck, Best Art Direction-Set Decoration, Black-and-White, and Best Screenplay for Horton Foote. It was nominated for five more Oscars including Best Actress in a Supporting Role for Mary Badham, the actress who played Scout. In 1995, the film was listed in the National Film Registry. In 2003, the American Film Institute named Atticus Finch the greatest movie hero of the 20th century. In 2007 the film ranked twenty-fifth on the AFI's 10th anniversary list of the greatest American movies of all time. It was named the best novel of the twentieth century by librarians across the country (Library Journal).
Carlisle, Pennsylvania: Self-published, 1912. First Edition. Hardcover. Good. Octavo. vii, frontispiece photograph of Warner, 142 pages, [1]. Illustrated. Illustrated brown cloth hardcover. Title in black on the front cover. Cloth binding is creased on the front cover. Front paste down sheet is also creased. Previous owner inscription on the front paste down. No right front flyleaf (if bound in?) Glenn "Pop" Warner was the Athletic Director at the Carlisle Indian School. Jim Thorpe, Native American, attended the school in early 1900's and played football for Pop Warner.
[Seattle]: [Industrial Workers of the World], 1920. Small leaflet, approximately 4x3.9 inches, corner crease with a couple small chips. Text is the same on both sides, though one side has a union bug at the bottom. Our House was a cafe that marketed itself in advertisements as "Popular With Our Boys in Blue.
London: J.M. Dent & Sons Ltd, 1966. Later edition. Bound ca. 1966 by [Bayntun Rivière] for Brentano's in full blue polished calf, covers with double gilt borders, spine with five raised bands, decoratively tooled in compartments, two red morocco gilt lettering labels, gilt board edges, gilt-turn- ins, all edges gilt, marbled end-papers. Small neat book-plate on front paste-down. Collating xii, 226, with eight full-page color plates and numerous black and white line drawings throughout the text. A Fine copy. A superlative copy of the classic - and quite novel - story of a horse, told in his own words, wherein he recounts his life as a well bred steed from early childhood in a pleasant meadow, through numerous owners - some kind and some cruel - until fate returns him to the meadow in which he was born. Though animal autobiographies had been published before for children, Black Beauty stands apart from those in that it offered social criticism of his various owners. Because of that, the book was read, appreciated and loved by adults as well as juveniles. It has never been out of print since its original publication, and it has been adapted to the screen on fourteen different occasions. Ultimately, Black Beauty's continual and lasting value is as one of the most influential arguments for the humane treatment of animals.
New York: Jonathan Cape & Harrison Smith. Very Good+ in Fair dj. 1931. First Edition. Hardcover. [nice solid clean copy, slight fading to cloth at ends of spine; the jacket is a bit on the tattered side, with numerous small chips, tears, etc.]. Very uncommon account of the early life of Victor Ilyitch Seroff (1902-1979), whom the author (Werner) met in Paris in the late 1920s, and found so fascinating that he "laid aside other projects and devoted himself to writing [Seroff's] story." Seroff was a young musician who had escaped from Russia in 1920 "on the last American oil tanker to leave [Batoum, his birthplace in the Caucasus] before the Bolsheviks took it over." The book is written in the first person (i.e. narrated by Seroff himself), who describes "his desperate and sometimes humorous effort to gain self-support and continue an artistic career in Constantinople, Vienna and in Paris" during the 1920s. Of particular interest is the last chapter, which presents "a new and penetrating study of the late Isadora Duncan, [including] a moving narrative of her last years and death." (Isadora had attended a piano recital in Paris where she was impressed by Seroff's playing, and he soon found himself drawn into her circle of intimates.) He later became a musical biographer of some note, writing books about Shostakovich, Prokofiev, Berlioz, Chopin, Liszt, Debussy, Ravel and others, as well as a biography of Isadora Duncan herself.
Strassburg: Johann Schott, 1532. Two volumes bound in one (the appendix added to vol.II), folio (287 x 188 mm; 11¼ x 17½ in.). Vol. I: Title within woodcut allegorical border, 4- and 5-part borders to several pages, woodcut arms of Strasbourg, ornamental and historiated initials, head- and tailpieces, 86 woodcuts of plants by Hans Weiditz; vol. II: Title within woodcut allegorical border, 4- part border on 2 pages, 49 woodcut illustrations by Weiditz, all colored in a contemporary hand. 18th-century mottled calf gilt, edges gilt. Rebacked preserving original gilt spine panels, repairs to corners, some slight drying; A4 in volume I bound after b4, lacking blanks b4 and G6 in the first volume and H4 and S6 in the second, small stain in lower margin of first title and first text leaf, some leaves lightly browned, occasional minor staining. Provenance: Johannes Beusler (early ownership inscription on title); Jean Charles Patin (inscription dated 1817 on front flyleaf noting that he is a native of Manneville and currently farming in Bézu-la-Forêt); purchased from William Schatzki, 1971. From the Collection of Arthur & Charlotte Vershbow. A finely colored copy. Referred to as "the first great mind in modern botany" (Hunt), Brunfels' most revolutionary contribution was his choice of artist accurately to portray these "living portraits of plants." The magnificent woodcuts executed by Weiditz were taken from watercolors drawn directly from nature and delineate botanical details well beyond their known function in the taxonomic literature of the time. The first volume was reprinted to be sold with the second, and this is how many sets are constituted. The appendix at the end of the second volume contains the first published writings of both Jerome Bock and Leonhardt Fuchs (see also item 32). After Brunfels's death, a third volume was published (1536-39) and was illustrated after different artists. Adams B-2924 and B-2925; Fairfax Murray German 462 (1530 edition); Garrison-Morton 1803; Grolier/Horblit 33a; Hunt 30 (mixed edition); Nissen BBI 257, Ib, IIa and 257, III; Norman 361; Stafleu &Cowan TL2 852 and 853; Pritzel 1283.
by DONEN, STANLEY (DIRECTOR); PETER STONE (SCREENWRITER); CARY GRANT, AUDREY HEPBURN, WALTER MATTHAU, JAMES COBURN (STARRING)
Paris: Films sans Frontieres, 1963. Vintage reference photograph of actors Cary Grant and Audrey Hepburn filming a scene on location on the banks of the Seine for the 1963 film. The greatest box office success of noted director Stanley Donen's career, owing to an excellent screenplay and what Donen's biographer Stephen M. Silverman refers to as the film's three stars: "Cary Grant, Audrey Hepburn, and Paris". Though very much influenced by Hitchcock's "North by Northwest," "Charade" is simultaneously lighter and more complex, with an even more entertaining tailspin of deception than its predecessor. Set and shot on location in Paris. 10 x 8 inches. Near Fine, lightly toned. Criterion 57. Penzler 101.
Paris: (Cordier for) Le Fuel, 1822. 18mo (123 x 80 mm). [iv], 175 pp. Double column. Additional engraved title/wrapper with hand-colored fashion emblem (a parasol draped with shawls, necklaces and a flowered hat) and 15 engraved plates, on thicker paper, all stencil- and hand-colored under the publisher's direction, one (of corals) also color-printed; tissue guards. Small closed tear in first gem plate, else a fine copy. Bound at end are six leaves on thicker paper containing [12] pages, one per month, blank except for the engraved name of the month and hand-colored vignette (with traces of old pencil scribbles); and a smaller format foldout calendar for 1822, with the imprint of Lefuel,the months in columns each topped by a woodcut astrological vignette. Publisher's blind-stamped brown calf "cathedral" binding, the same block used on both covers, backstrip with blind-stamped ornamentation above and below the title, gilt edges, yellow endleaves, blind-stamped matching leather slipcase, lower cover of binding with silk tab for removing from the slipcase (a bit of scuffing). Etched bookplate of Robert de Beauvillain tipped to front endleaf.*** Only Edition of an unusual and still useful illustrated dictionary of objects, materials and concepts, most of interest to women and many relating to fashion. Covering both luxury goods and common objects and materials, the dictionary contains over 800 entries, many including the names and addresses of relevant Parisian suppliers, making it a far-ranging encyclopedia of feminine material culture in Restoration France. This is a special de luxe copy in a reliure à la cathédrale, with an extra fold-out calendar and hand-colored ornamented cahier for notes for each month of the year. From Abaca (a type of hemp or linen from the Philippines, of which the white plants were used to make a very fine cloth while the gray were used for cocardes) and Acier (steel being used at this time not only for buckles, belts, clasps etc., but also to make jewelry, a dozen examples being illustrated in plate 1), to Zéphir (a shawl made of net) and Zibeline (the animal whose nearly black fur is highly prized), the dictionary includes terms of apparel, footwear, and accessories, a vast number of textiles and related terms (materials, weaves, and treatments), furs and skins, common materials with a variety of applications (e.g., sandalwood, various vinegars and oils), objects used for personal grooming (sponges, tweezers, brushes, mirrors, etc.), many perfumes and eaux de toilette, gems and precious metals, furnishings and furniture, and even prostheses, including a long description of artificial eyes and where to purchase them. A few entries contain mini-treatises on social custom: the seven-column entry for Deuils, for example, discusses the proper length and appropriate mourning dress for various degrees of consanguinity. Some contain surprises - thus the entry on Marriage, far from listing bridal gowns and suppliers, tells a simple story of a painter and the changing perspective of a groom, before and after marriage. The language of flowers gets a special entry (which advertises a relevant publication, the Dictionnaire du Langage des fleurs ou de leurs emblèmes, of which I locate no edition). Besides steel jewelry, the finely colored plates show rings and earrings, pocketbooks and wallets, necklaces, specimens of coral, fans, a splendid bouquet, brightly colored garters, bejeweled combs, 24 precious stones (on two plates), an elaborate feather headdress, a pretty assemblage of ribbons, and several large handbags (sacs-gibecières, two plates). Perrot was a geographer who wrote and edited numerous works. Mazeret was an almost equally prolific writer for hire. The publisher Valentin Lefuel, active from 1792 to the late 1820s, specialized in the publication of almanacs, keepsakes, and children's books. He was also a binder, and he offered his publications in a variety of different bindings, including "gauffred calf," here in the "cathedral" style, inspired by gothic architecture, which enjoyed a vogue in France and England during the Romantic era. (I have not previously seen an example of this kind of binding on an almanac or almanac-like popular imprint.) Copies are held by the Brooklyn Public Library, Morgan Library, Metropolitan Museum of Art and Smith College (the last two purchased from us); outside the US OCLC lists only the Bibliothèque nationale de France, to which the Catalogue Collectif de France adds a copy at Rouen. Colas, Bibliographie générale du costume et de la mode 2023; Grand-Carteret, Les almanachs français 3476. Cf. S. Malavieille, Reliures et cartonnages d'éditeur en France au XIXe siècle, p. 24 (on Lefuel).
Paris: Les Jouets et Jeux Français, 1895. A board game for up to six players, following the eighty-day journey of Phileas Phogg across the globe. Each day is represented by a square on the board, centering around a globe. Some squares show notable characters, such as Phogg, Francis Cromarty, and Miss Aouda, while others show ships, animals, and landmarks from destinations as far as Calcutta, Hong Kong, and San Francisco. Some squares have particular associated functions, which are outlined in the rules on the underside of the box lid. The course of play proceeds through a series of transactions using the fifteen tokens provided, with one player acting as Phogg's valet, Passepartout, who takes on the role of banker. The tokens are housed in a cloth bag. Six painted metal figures act as gamepieces, housed in a smaller box, with splits to corners of lid. Paper cup holding two dice, along with tokens and game pieces, contained in separate compartments in the box. Some soiling to back of game board. All elements stored in box with lush pictorial lid, some signs of repair, else a near fine and remarkably intact set.
Paris, France: Obelisk Press, 1935. Book. Very good condition. Paperback. Fourth edition. Octavo (8vo). 271 pages of text. Original paperback binding with minor shelfwear and soiling, and minor vertical creasing to the spine. Pearson A-37 [unrecorded variant] with all points identical to A-37 with these exceptions: 1) Does not have the statement "Banned in England May 1935" printed on the front cover; 2) the front flap contains the price 50 francs; 3) the front flap edition statement differs slightly in that it states "This is the only existing edition of James | Hanley's most famous work, recently sup- | pressed in England."; 4) rear flap price for the 11 titles listed at "50 francs each". One page edge with a tiny black mark in the extreme margin, but the text is clean and unmarked. Fourth edition, variant of the first impression. Protected in custom-fitted archival mylar.
Green cloth with white and black titles and decorations, slipcase, 16 by 22.7 cm, xxii 190 pp., illus. Fine, unread copy in near fine slipcase. "The days from May 24 to May 28, 1940 altered the course of the history of this century, as the members of the British War Cabinet debated whether to negotiate with Hitler or to continue what became known as the Second World War. The decisive importance of these five days is the focus of John Lukacs's magisterial book. Lukacs takes us hour by hour into the critical unfolding of events at 10 Downing Street, where Churchill and the members of his cabinet were painfully considering their war responsibilities. We see how the military disasters taking place on the Continent—particularly the plight of the nearly 400,000 British soldiers bottled up in Dunkirk—affected Churchill's fragile political situation, for he had been prime minister only a fortnight and was regarded as impetuous and hotheaded even by many of his own party. Lukacs also investigates the mood of the British people, drawing on newspaper and Mass-Observation reports that show how the citizenry, though only partly informed about the dangers that faced them, nevertheless began to support Churchill's determination to stand fast. Other historians have dealt with Churchill's difficulties during this period, using the partial revelations of certain memoirs and private and public papers. But Lukacs is the first to convey the drama and importance of these days, and he does so in a compelling narrative that combines deep knowledge with high literary style."
San Francisco: Stolen Paper Editions, 1966. Second printing. Paperback. Very Good. Wide stapled illustrated wrappers. Second printing of Kandel's controversial volume of sexually explicit poems that was banned and seized by the police when first published. A very good copy with some wear to covers. Six pages, printed on rectos only.
New York: McLoughlin Brothers, 1906. First Edition. Very good in heavy paper, printed wraps over a replacement sewn binding. A quarto measuring 12 1/8 by 9 7/8 inches with archival tape repairs along the length of the fold of the spine and with similar repairs to several of the page folds. The sewn binding has been restored professionally. Unpaginated, but containing 14 pages illustrated with 8 full color lithographic plates (counting the covers) and line drawings throughout. Identified on the front panel as "158". Copyright dates of 1899 appear on the front cover and 1906 on the rear cover. The illustrator is not indicated. Clement Moore's poem comprises the first six pages which includes three full color plates. The remaining pages of text and plates contain the poem Santa Claus And His Works written by George P. Webster. (Very similar to Marshall 133).
London: John Evans, [ca. 1810?]. 8vo (16.7 cm, 6.57"). 8 pp. Apocalyptic warning, written by a Scottish missionary (1766–1840) known for his Travels in South Africa. This printing, apparently the first, is scarce; WorldCat locates three U.S. institutional holdings of a later "Evans and Son" imprint, but none of this "John Evans, No. 42" printing. The large title-page wood-engraving illustrates the dividing of the wicked from the righteous.
Provenance: From the chapbook collection of American collector Albert A. Howard, sans indicia. Removed from a nonce volume; page edges gently browned. The workmanlike printingis somewhat uneven, and the title-page vignette shows a few small ink spots from the press. Uncommon and interesting.
Philadelphia: J.B. Lippincot, 1935. First Edition, First Printing. Hardcover. Octavo, 342 pages; VG/none; bound in publisher's brown stamped orange cloth, mild wear to extremities; bookplate to front pastedown; front gutter beginning to show webbing; small bookstore sticker to rear pastedown; shelved case 1.
Prague: Peace and Socialism Publishers, 1965. First Edition. Paperback. Exposé of the apartheid system, with contents dealing with the politics of cheap labour, apartheid in practice, the confidence trick of apartheid, international action and the collaborators, and the people's struggle. Slim octavo (22cm); pictorial wrappers, stapled; 38,[2]pp. Light wear to wrappers, touch of dustiness to rear wrapper, else Near Fine.
Boston: Houghton Mifflin Company, 1942. First edition, first printing. Hardcover. Very good/Very good. 8vo. Green cloth printed in back on the spine and upper board. The cloth has slight aging to the boards and spine, some offsetting on the endpapers and pastedowns,a penciled ownership name and another blindstamped on the half title and the title, but it is still a very good copy. The dustwrapper is rubbed at the folds and rough along the edges including a couple of short marginal closed tears. It shows the first state points: $3.00 on the flap, and on the box on the rear panel, and with the war bond ad on the rear flap. The author was an English girl raised in British East Africa, conversant in native languages and customs, a horsewoman and a pilot when airplanes were unique in that part of Africa. Accompanied by her biography: Mary S. Lovell, STRAIGHT ON TILL MORNING, New York, St. Martin's Press, 1987. First US edition. A fine copy in a fine, clipped dustwrapper.
New with no dust jacket. 1984. Serigraph. 29 1/2 x 41 1/2 inch serigraph on Arches 140 pound moulded paper. Print is numbered (76 of 100) but not signed. In this superb example, the bold design and restrained size of the diamonds strikes an elegant balance with the striped field. The result is an icon of the 19th century Navajo Third Phase Chief Blanket weaving. This serigraph is the result 65 to 100 screen applications on Arches handmade paper. In speaking with the artist, he explained how he perfected his printing craft by adding layer after layer until he felt he had the richness and depth he was after. He was particularly proud of achieving the three-dimensional feel to his serigraphs. Each ripple and fold in the blanket is tangible and unique. One can actually 'feel' the multiple layers of ink on these masterpieces. During the second half of the 19th century, the primary market for Navajo blankets shifted from other Native American tribes to Anglo-Americans. While Native Americans had preferred Navajo Blankets featuring simple arrangements of horizontal stripes, Anglo Americans found the relative simplicity of first and second phase chief's blankets uninspiring, Anglo Americans also preferred bordered compositions to unbordered compositions, probably because most Oriental carpets featured bordered compositions. In response to the Anglo American preferences, Navajo weavers introduced the concentric diamond to their chief's blankets. The chief's blanket's traditional, horizontally striped field was decorated by the arrangement of a full central diamond surrounded by eight partial diamonds. This gave the chief's blanket a focal point, and the suggestion of a border. Almost overnight, the diamond pattern (or “third phase" pattern, as it is more commonly known) became extremely popular among Anglo American tourists, settlers, military personnel and merchants throughout the Americana west. ; Serigraph; 24" x 36" .
by TUCKER, GILBERT NORMAN, PH.D. (CANTAB.); ILLUSTRATED [ILLUSTRATOR]
King's Printer The Minister of National Defence, 1952-01-01. Hardcover. Very Good/Good. 2 Volume Set. Both dust jackets have minor wear. Both are clean, both have good bindings, no marks or notations.
Paris: Martinet, 1821. Galerie des Grotesques [GONDELIER, Jean-Baptiste]. [Galerie des Grotesques]. [Paris]: [Chez] Martinet, [1821]. Oblong folio (16 x 10 1/2 inches; 406 x 267 mm.). Seven leaves, titled and numbered in manuscript, each with three hand colored etched plates making a total of twenty-one images. Contemporary quarter green calf over floral patterned black boards.
The plates - each one lettered and numbered in manuscript "Galerie des Grotesques" No. 1. Les Rivaux; Partie d'écarté; Les effets du lavement, et la tentation (The Rivals; Discarded party; The effects of enema, and temptation) No. 2. Le maitre de danse, et le Coëffeur; Les joeurs de tonneau; Le remède inévitable (The dance master, and the hairdresser; The barrel joists; The inevitable cure) No. 3. Le bon gout; Cérémonie nuptiale; Le Dentiste (The right taste; Bridal ceremony; The Dentist) No. 4. Les conscrits; La sauteuse; Le bon ménage (The Conscripts; The jumpers; The good housekeeping) No. 5. Lecture des Tourneaux; Le cocher di Fiacre en dèfaut; Le Charlatan (Reading the turns; The coachman of Fiacre in defect; The Charlatan) No. 7. La Rosière; Le Pédicure; Les suites d'une Ribotte (La Rosière; The Pedicure; The aftermath of a Ribotte) No. 6. Partie d'Anes; Le Plaidoyer; Le Boston (Part of Anes; The Plea; Le Boston) Excessively Rare. OCLC locates just one suite (with only six plates) in libraries and institutions worldwide at Kunstbiblio Staatliche Museen Zu Berlin (Germany). GONDELIER, Jean-Baptiste (fl. 1821-1827). Gondelier was an engraver and a papermaker. As early as 1820, he was editor of a singer dedicated to Béranger, Le Constitution. He wanted to do city work but he also printed satirical prints, constituting the Gallery of the Grotesques. In 1826-1827 he collaborated in the writing of several plays performed at the Vaudeville theatre. Perhaps it was for this reason that he abandoned his lithograph patent and then applied for a letter printer's patent obtained in 1828. These 'Grotesque' caricatures appear to be based on the Woodward three-row strip genre typified by Grotesque Borders and Pigmy Revels, published by Ackermann and Fores, respectively, in 1799 and 1800. Fores continued to issue the Pigmy Revels strips in a folding panorama format, as well as in a spooled boxwood drum, well into the 1820s. "The relationship between Martinet-published works and Woodward's caricatures is commented on in an essay by Alberto Milano entitled "Change of Use, Change of Public, Change of Meaning: Printed Images Traveling Through Europe," appearing in a book edited by Evanghelia Stead, Reading Books and Prints as Cultural Objects (Cham, Switzerland: Palgrave MacMillan, 2018) at pp. 150-51. I am attaching scanned images of the relevant pages as Scans 1, 2, and 3. As you will note, the author of the essay suggests that Martinet "transferred Woodward's caricatures in a series of larger prints entitled Les Passions," but I am skeptical. The only two examples of those prints I have found -- at the British Museum -- do not relate to any Woodward satire of which I am aware. (For ease of reference, I am attaching the British Museum write-ups as BM-1 and BM-2.)" (William Gordon - author of the William A. Gordon Library of British Caricature)
England: Brown Watson, 1986. Paper Covered Boards. As New. 4to. Very hard-to-find reprint of Kubasta's Tip + Top and the Moon Rocket, originally published in 1964. In terrific shape; doesn't appear to have ever been read. All six popups and associated animations work great. Almost no cover wear. Number 10 on Tillman's list of the 100 best popups.
Lunenberg: Limited Editions Club, 1980. Hardcover. Orig. decorated gray pebble grained cloth stamped in black and silver. Fine in fine black slipcase spine lettered in silver. Fred Me. 224 pages. 22.5 x 17.5 cm. Illustrated with fourteen color gauches by Fred Meyer, designed by Frederick Stinehour, printed at the Stinehour Press. Limited edition, copy 1267 of 2000 signed by Fred Meyer. Printed in Bodoni, cast by the Bauer foundry in Germany. Laid-in the LEC Monthly letter. NEWMAN & WICHE 516. Bright, very fresh copy.
(Clifton, New Jersey): AB Bookman Publications, 1994. Softcover. Near Fine. First edition. Quarto. 2,163-2,274pp. Stapled wrappers, near fine. This issue contains Thomas Frognall Dibdin and Bibliomania, Kepler As Author, Printer and Publisher.
London: Darton, 1811. 32mo. 16pp., + 16 inserted plates. Each engraved image depicts the titular good boy engaged in less desirable activities, such as throwing stones, feeding scraps to the family pet, and drawing on the walls. Each is accompanied by a pithy couplet drawn from the soliloquy. The author includes an introductory note, in which he defends himself from the accusation that the verses give children naughty ideas that they would never have thought of themselves, and provides the suggestion that the reader insert his or her own name at the final line and face the potential ruin of the rhyme with bravery. Bound in tan wrappers with illustration to both covers. Expected but minor edgewear, faintest foxing, else near fine. A rare survival, with only two institutional copies listed in OCLC.
1955. London: William Heinemann Ltd, (1955). Original dark blue cloth lettered in gilt, with dust jacket. First Edition of this novella about a man who devises a scheme to win big at Monte Carlo -- but his obsession causes him to lose his girl (whom he planned to marry there) in the process; with an acquaintance's help he gains the girl back, but only by losing all the money he had won -- hence "Loser Takes All." The following year appeared the British film with the same title (screenplay also by Greene) -- starring Glynis Johns, Rossano Brazzi, and Robert Morley. This is a very good copy (wear on some edges of the boards, minor fading, foxing on the top edge). The dust jacket is just about fine (a couple of short closed tears); because the jacket is in better condition than the volume, one may assume that it was "married" to this book. This is a presentation copy signed by Greene, with the inked title page inscription "For Clive | Graham Greene"; at a corner of the front paste-down is the penciled signature "Clive Hirschhorn | Johannesburg, March 1985". For over 30 years, the South African Clive Hirschhorn was a major London theatre and film critic for the Sunday Express; he also wrote biographies of Hollywood stars like Gene Kelly and of the Hollywood studios Warner Brothers, Universal, and Columbia. He was also a major collector of modern first editions (his collection, including 28 Graham Greene titles, sold at Bloomsbury in October 2012). Additionally, the front free endpaper bears the undated ink signature of Anthony Woodward, a professor of English at the University of Wiltwatersrand in Johannesburg (Hirschhorn's alma mater); among Woodward's writings is "Graham Greene: The War Against Boredom" (Cape Town 1971, Cassis B7112). Quite a nice circle of associations.
Burlington (VT): Printed by Smith & Harrington, 1836. 4to. 275 x 225 mm., [10 ¾ x 9 inches]. vi. 46 pp. Lithographic title-page and 13 full-page lithographic plates. Original cloth, paper label on spine; cloth discolored and shows some remnants of water staining, spine and tips expertly repaired with tissue, spine label chipped; tide marks to preliminary leaves, frontispiece and title-page, plates 12 and 13 and rear end leaves. With fault a good copy. First edition. Illustrated with fourteen finely drawn and printed lithographs designed by the author and printed by the Pendleton's Lithographic Company, Boston. "John Pendleton, Lithographer. Born in New York State. While traveling in France, he became interested in lithography and studied the art under the best masters in Paris. On returning to America, he settled in Boston with his brother, a copperplate printer, and they established a lithographic establishment in 1825." John Henry Hopkins was an Irish immigrant, home schooled by his mother, who became a lawyer, musician, ordained minister, bishop and author of over thirty publications. He studied gothic architecture during his time in Pittsburg where he was charged with supervising the construction of Trinity Church. Dismayed with the unsightly designs of most churches in America he decided to compile his information as a guide to the elements of style and design characteristics of the gothic. He became of the most notable experts in the field and he published this work, one of the first of its kind in America, for the benefit of local ministers charged with the building of churches in the gothic style. Hitchcock American Architectural Books, 606. Fielding, Dictionary of American Painters, Sculptors and Engravers, p. 278. Peters, American on Stone, pp. 312-323. Allibone, Critical Dictionary of English Literature and British and American Authors I, p. 885.
Chicago: A. C. McClurg & Co., 1919. Octavo, pp. [1-8] 1-319 [320: blank], five inserted plates with illustrations by J. Allen St. John and twelve full-page St. John illustrations in the text, original orange cloth, front and spine panels stamped in black. First edition, first printing, first binding with publisher's imprint on spine panel set on three lines. A series of twelve stories, "The New Stories of Tarzan," all first published monthly in BLUE BOOK, September 1916-August 1917. The stories, containing some of Burroughs's best writing, were collected in JUNGLE TALES OF TARZAN. A total of 63,000 copies of the book were printed. There were multiple printings, probably four, all dated 1919. Bleiler, Science-Fiction: The Early Years 319. Bleiler (1978), p. 35. Reginald 02286. Heins JT-1. Private owner's bookplates affixed to front paste-down and free endpaper. Top and fore-edge of text block a bit tanned, a bright, nearly fine copy in bright, very good four-color pictorial dust jacket (reproducing painting by J. Allen St. John on front panel) with restoration at corners and spine ends. The jacket presents well overall.
1551. A Collection of Texts from the Corpus Juris Civilis in Handsome Uniform Contemporary Paneled Pigskin Bindings Justinian I [483-565 CE], Emperor of the East. Accorso, Francisco (Accursius) [c.1182-c.1260], Glossator. Gaius [Active 130-180 CE]. Institutionum D. Iustiniani Sacratissimi Imperatoris Libri Quatuor: Ad Vetustissimorum Simul et Emendatissimorum Exemplarium Fidem Summa Diligentia Recogniti, Emendati. Cum Scholiis Accursii. Adiecimus Pluribus Locis Annotationes ex Doctissimorum Hominum Commentariis, Ex Quibus non Parum Lucis ac Dignitatis his Iuris Civilis Elementis Accedit. Accessit Corpus Legum, Antea non Impressum, Ac Caii Institutionum Libri Duo. Lyon: Apud Hugonem a Porta, 1553. Pp. [24], 290, [2] pp. Large woodcut image of Justinian surrounded by his court. Main text in parallel columns with linear gloss. [Bound with] Justinian I, Emperor of the East. Accorso, Francisco (Accursius), Glossator. Volumen hoc Complectitur (Sic Enim Peculiari Vocabulo Vocant) Novellas Constitutiones Iustiniani Principis Post Repetitam Codicis Praelectionem Aeditas: Authentica Vulgo Appellant. Tres Item Posteriores Libros Codicis; Feudorum seu Beneficiorum Duos; Constitutiones Friderichi Secundi Imperatoris; Extravagantes duas Henrici Septimi Imperatoris; & Tractatum De Pace Constantiae. Omnia ad Vetustissimorum Simul & Emendatissimorum Exemplarium Fidem Recognita, Emendata. Accesserunt nunc Primum, & Nunquam Antehac Aediti, Iustiniani Novellarum Constitutionum Libri Duo, Cum Multis Annotationibus ex Doctissimorum Hominum Commentariis, Quae non Parum Lucis ac Dignitatis Huic Volumini Afferunt. Lyon: Apud Hugonem a Porta, 1553. [xvi], 276, 148, 99, [1] pp. Woodcut table of descents (in the form of a tree). Main text in parallel columns with linear gloss. [With] Justinian I, Emperor of the East. Accorso, Francisco (Accursius), Glossator. Infortiatum, Pandectarum Iuris Civilis Tomus Secundus: Quartae Partis Reliquum, Itemque Quintam Digestorum Partem, Ac Sextae Partis: Libros Continens, Ex Pandectis Florentinis Ita in Universum Recognitus ac Emendatus, Ut Nihil Praeterea, Quod ad Puram Eorum Librorum Lectionem Attinet, Desiderari Possit. Lyon: Apud Hugonem a Porta, 1556. [xxxvi], 923, [1] pp. Main text in parallel columns with linear gloss. [And] Justinian I, Emperor o.
Westminster: Archibald Constable, 1899. Seventh edition. hardcover. Very good.. A very good early (7th) edition, signed and dated by the author Bram Stoker on the front free endpaper. Housed in a custom-made collector's slipcase
Davis, California: Composer/Performer Edition, 1974. 11 volumes bound in ten (issues 7 and 8 bound in one). Complete; all issued. Oblong folio. 10-3/4" x 14". Original stiff decorative wrappers in colour. Spiral bound. Unpaginated, but with approximately 100 pages to each volume. Lavishly illustrated with musical scores and striking photographs and graphics in both colour and black and white. With supplementary material bound in, some quite unusual, including such things as magnetic audiotape and synthetic fur, screenprintings on transparencies, etc. Each issue with approximately 10 articles written by the major figures in avant garde music of the time, including Dietrich Albrecht, Charles Amirkhanian, Eric Andersen, Robert Ashley, Larry Austin, David Behrman, Mario Bertoncini, Joseph Beuys, Anthony Branxton, Eugen Brikcius, Jacques Brodier, Earle Brown, Allan Bryant, Boudewijn Buckinx, Harold Budd, Jim Burns, John Cage, Cornelius Cardew, Giuseppe Chiari, Paul Chihara, Barney Childs, Christo, Jani Christou, Philip Corner, Lowell Cross, Alvin Curran, John Dinwiddie, Peter Donath, Manfred Eaton, Robert Erickson, Morton Feldman, Robert Filliou, Fluxus, Lukas Foss, David Freund, Ken Friedman, Kira Gale, Peter Garland, Gentle Fire, Tony Gnazzo, Victor Grauer, Joel Gutsche, Gyula Gulyas, Olaf Hanel, Sven Hansell, John Hassell, Dick Higgins, Lejaren Hiller, Stu Horn, Nelson Howe, Jerry Hunt, Toshi Ichiyanagi, Image Bank, Zdzislaw Jurkiewicz, Udo Kasemets, Per Kirkeby, Paul Klerr, Milan Knizak, Jaroslaw Kozlowski, Carson Jeffries, Bengt Emil Johnson, Will Johnson, Ben Johnston, Alan Kaprow, Ed Kobrin, Alcides Lanza, Douglas Leedy, Daniel Lentz, Anna Lockwood, Arrigo Lora-Totino, Alvin Lucier, Mary Lucier, Stanley Lunetta, Eva Lurati, Stuart Marshall, Richard Martin, Harvey Matusow, Tom Marioni, Ken Maue, Dora Maurer, Maria Michalowska, John Mizelle, Robet Moran, Gordon Mumma, Keith Muscutt, Naked Software, Max Neuhaus, Nam June Paik, the New Percussion Quartet, Jocy de Oliveira, Pauline Oliveros, Harry Partch, Jon Phetteplace, the Portsmouth Sinfonia, David Reck, Steve Reich, Jock Reynolds, John Paul Rhinehart, Mark Riener, Roger Reynolds, David Rosenboom, Frederic Rzewski, Zorka Saglova, J. Murray Schafer, the Scratch Orchestra, Gerald Shapiro, Nicholas Slonimsky, Barry Spinello, Stanley Marsh 3, Andrew Stiller, Karlheinz Stockhausen, Allen Strange, Alvin Sumsion, Endre Tot, David tudor, Bertram Turetzky, Jiri Valoch, Wolf Vostell, Don Walker, Arthur Woodbury, and Christian Wolff. With 6 accompanying 10-inch LPS: - Robert Ashley The Wolfman; Dave Behrman Wave Train - Larry Austin Accidents; Allan Bryant Pitch Out - Alvin Lucier I Am Sitting in a Room; Arthur Woodbury Velox and Mark Riener Phlegethon - Larry Austin Caritas; Stanley Lunetta moosack machine - Lowell Cross Video II; Arrigo Lora-Totino english phonemes - Alvin Curran Magic Carpet; Anna Lockwood Tiger Balm Slightly worn. In very good condition overall. A complete run of this exciting independent periodical devoted entirely to the music of the 20th century avant garde, an outgrowth of the musical experimentalism in the late 1950s and early 60s at the University of California, Davis and Mills College in Oakland, California. In an effort to expand the traditional definition of music and formal concert performance, Source documents many of the most important "new music" trends of the period including improvised and indeterminate music, minimalism, Fluxus, performance art, graphic scores, electronic music, performance art, concrete and sound poetry, intermedia, British Systems music, video/laser light shows, new electronic, video, and communications technologies, etc. A landmark publication of great importance to the study of avant garde music of the mid-20th century, rarely found complete.
Cambridge: np, 1963. First edition. Fine. C.S. LEWIS GIVES PRACTICAL (AND SOMEWHAT HUMOROUS) ADVICE TO A STUDENT SELECTING A THESIS TOPIC, BEFORE REVEALINGLY SUGGESTING ONE OF HIS FAVORITE WORKS - DOROTHY SAYERS'S THE MAN BORN TO BE KING - AS A SUBJECT WORTHY OF STUDY. Written to a student, John T. Tukey of Rhode Island and dated July 6, 1963, the letter reads in full: As from Magdalene College, Cambridge 6 July 63 I always dissuade students from making a living author the subject of their thesis. When they do, however hard they work, the chosen author and his intimates will know a lot more about the subject that they can find out. Dead authors know a lot about their own work which we don't but fortunately they can't tell it. It has happened before now that those who were examining a thesis on my work have written to ask me whether some interpretation offered by the candidate is correct. This puts me in a v. awkward dilemma. If I refuse to answer they know that my answer would have been no. The candidate's work is thus unfairly subjected to a check which would not have been applied if he had written on a dead author. I suggest you choose Dorothy Sayers' cycle of plays on the life and death of Christ (title, The Man Born to be King). Whether it wd. come under the faculty of Theology or that of Literature depends, I suppose, on how you treat it. Yours sincerely [signed] C.S. Lewis Background - C.S. Lewis, Dorothy Sayers, and The Man Born to Be King: C.S. Lewis and the writer Dorothy Sayers quickly became good friends after the latter wrote him a "fan" letter praising his recently-published Screwtape Letters. It was not a particular surprise they developed a friendship for both had similar views on literature, scholarship, and theology (especially sharing the desire to explain and explore Christianity for their literary audiences). Sayers's The Man Born to Be King, a somewhat controversial re-telling of the life of Jesus, originally appeared as a radio drama airing from 1941-1942 before being published in book form in 1943. Lewis was immediately impressed with the work, writing to Sayers on May 30, 1943 (in one of his earliest letters to her), "I've finished The Man Born to be King and think it a complete success... I shed real tears (hot ones) in places: since Mauriac's Vie de Jesus nothing has moved me so much... I expect to read it times without number again...." Over the years, Lewis's admiration for the work only grew. He professed to reading it "in every Holy Week since it first appeared" and noted in 1949 that he thought "Man Born to be King has edified us in this country more than anything for a long time" (Lewis, Collected Letters, II, 989). Sayers died in 1957 - six years before this letter - and it is fitting that of all the books he could have recommended to the student Tukey, he selected The Man Born to Be King, a book he greatly admired and a book that had remained dear to his heart. Cambridge: 6 July 1963. One sheet, 5 1/4 x 7 inches, written in ink on both sides, signed "C.S. Lewis". With original mailing envelope with postmark. Generally fine condition with expected center mailing fold and a few light spots. Housed in custom presentation folder.
Salem, OH: Homestead Print, n.d., ca. 1850. First Edition. Unused handbill announcing anti-slavery meetings held by the Western Anti-Slavery Society, a splinter group from the Ohio State Anti-Slavery Society. This branch was led by the abolitionist Adam Brooke, a member of the utopian community the Marlboro Association; and, to a lesser extent, Parker Pillsbury, who attended and occasionally spoke at the annual anniversary meetings. The Society, Garrisonian in its rejection of the Church, stated that "We are not merely warring against the extension of new slave territory, nor against any fugitive slave law constitutional or unconstitutional; nor for the writ of habeas corpus, or the right of trial by jury for recaptured slaves, but we are waging eternal war against the doctrine that man can ever under any possibility of circumstances, hold property in man" (cf. William M. Wiecek, "The Sources of Anti-Slavery Constitutionalism in America, 1760-1848" (1977), p. 252). The group reached its peak in 1847 when William Lloyd Garrison and Frederick Douglass both spoke at the annual anniversary meeting, which drew several thousand attendees. However, the group always struggled with funding and was defunct by 1861. The present broadside reminds the reader that "Three million of your fellow beings are in chains--the Church and Government sustains the horrible system of oppression. Turn Out! And learn your duty to yourselves, the slave and God. Emancipation or Dissolution, and a Free Northern Republic!" 4 located in OCLC, none in Ohio. Original unused letterpress broadside flyer (40x27.5cm.); a few closed tears expertly mended, stock uniformly toned, else a Very Good, quite fresh copy.
Brussels: Les Lèvres Nues, 1968-1975. Quartos (30 × 23 cm). Issued in uncut loose sheets; approximately 8 to 32 pp. per issue (unnumbered). Illustrations throughout, mostly black-and-white, with some color reproductions tipped in. Most issues printed on laid paper, some on coated stock. Very good or better. A fine complete run of this important post-war Belgian surrealist journal, composed of 135 issues in 98 fascicules, with several double and triple numbers. Issued monthly and edited by Marcel Mariën, the journal features contributions by major Belgian surrealists, including Goemans, Nougé, Scutenaire, Colinet, Dumont, Magritte, Joostens, Lecomte, Tom Gutt, Wergifosse, Bossut, Souris and Bourgoignie, among others. Most issues focus on a unique work by a single author or artist, and are illustrated throughout with reproductions of works by Man Ray, Magritte, Picabia, Mariën, Bossut, Ernst, Graverol, Jamagne, Ubac and Van de Wouver, and others. Especially noteworthy are Magritte's contributions, which are often illustrated by him. Issues 81-95 constitute one volume containing "Lettres surrealistes (1924-1940)" edited and annotated by Mariën. Issue no. 95 contains "Filchings for Annoyed Birds" by Paul Colinet (in English). Most issues feature a distinctive title. Nos. 15, 30, 40, 55, 65, 80, 100, 107, 110, 120, 130, 134 issued as a "nouvelle serie" interspersed throughout the run, under the title "Les Lèvres Nues" and numbered 1-12. The last issue (no. 135) contains a cumulative index to the entire series. All issues uniformly hand-numbered "vingt-deux" (22) of unspecified print runs, which ranged from 50 to 250 copies. Given the low print run of the earliest issues, presumably only fifty complete sets exist.
4to (200x145 mm). Collation: [π]4 †4 A-T4 V2 X4 Y2 Z4 [χ]2. Half-title, engraved frontispiece, [12], 176, [4: errata corrige] pp. and [4] folding plates engraved by Francesco Nigro and Francesco La Barbera after Gerardo Astorino and Vincenzo La Barbera. Richly gilt modern morocco binding, original sprinkled edges. Minor restorations to the outer margin of the first leaves without loss, small worm track in the gutter of a few leaves not affecting the text, tears repaired along the folding of one plate, all in all a very good copy.
EXTREMELY RARE ORIGINAL EDITION of this festival account attributed to Filippo Paruta, but edited by his son Simplicio, who also signs the dedication to the Senate of Palermo, and published posthumously under the name of his other son Onofrio.
In the note to the reader Onofrio provides a detailed list of the works (orations, occasional writings, inscriptions for ephemeral architectures, etc.) of his father Filippo, who was the secretary to the Palermo Senate and the major responsible for the iconographic program realized on the occasion of the 1625 festivity.
At the beginning of the 1620s the viceroy Emanuele Filiberto of Savoy rebuild the Accademia dei Riaccesi, which gathered in the Royal Palace, and entrusted the scholar and mathematician Carlo Maria Ventimiglia with the direction of the academy. Around his figure gravitated many of the artists and scholars who designed the program and the solemn procession of the relics of St. Rosalia, held in June of 1625 as a sign of gratitude for deliverance from plague. Among them were the painters and architects Gerardo Astorino and Vincenzo La Barbera, the engraver Francesco Negro, the scholar Martino La Farina, who conceived the allegorical arch of the Genoese nation, and, above all, Filippo Paruta, who was linked to Ventimiglia also by a common passion for numismatics and antiquities. Paruta was involved in all literary activities related to celebratory events since the end of the sixteenth century. In 1625 he inspired the triumphal arch that the Senate erected in Piazza Villena and was responsible for the account of the festivities, which however was actually published only after his death in 1651.
The constitution of such a large and complex team to be entrusted with the creation of the apparatuses testifies of the importance of that event that officially marked the beginning of the cult of St. Rosalia. The solemnity of 1625 had no immediate follow-up and only in 1649 the feast of St. Rosalia was formalized with all those peculiarities that would characterize the following decades. In 1625, in addition to the impressive processions and solemn ceremonies to which all local communities, religious and civil, took part, two magnificent horse rides were organized; one, in particular, took place at the conclusion of the festivities, after the solemn mass in the cathedral. Then followed fireworks, organized by the German nation, tournaments and jousts. At the very end the nobility walked in gala dresses along Via Colonna (cf. M. Sofia di Fede, La festa barocca a Palermo: città, architetture, istituzioni, in: "Espacio, Tiempo y Forma", series VII, t. 18-19, 2005-2006, pp. 49-75; see also M. Vitella, Il primo Festino, in: M.C. Di Natale, "S. Rosaliae patriae servatrici", Palermo, 1994; and V. Petrarca, Genesi di una tradizione urbana. Il culto di S. Rosalia a Palermo in età spagnola, Palermo, 1986, p. 82).
Catalogo unico, IT\ICCU\PALE\004559; S.P. Michel, Répertoire des ouvrages imprimés en langue italienne au XVIIe siècle conservés dans les bibliothèques de France, Paris, 1976, VI, p. 80; Biblioteca centrale della Regione siciliana "Alberto Bombace", Sanctae Rosaliae Dicata, Bibliografia cronologica su Santa Rosalia, Settembre 2004, pp. 12-13; G.M. Mira, Bibliografia siciliana, Palermo, 1881, II, p. 186; A. Mongitore, Bibliotheca sicula sive de scriptoribus siculis, Palermo, 1707-1714, I, p. 293 and II, p. 174; M. Cornelles, V. Manuel et al., eds., La fiesta barroca. Los reinos de Nápoles y Sicilia (1535-1713), Palermo, 2014, ad indicem.
Glasgow:: Brown, Son & Ferguson, (1948)., 1948. Third impression. Two volumes. 25 cm. xiv, 518; xv, 448 pp. Frontispieces, illustrations, plans (some folding); spine gilt rubbed, corner bumped. Blind and gilt-stamped blue cloth, map endpapers. Very good copies.
London: [plates dated] 1825 [but published 1826]. Folio, 320 x 254 mm, engraved title and 21 plates. Proofs on India paper mounted on handmade paper, some leaves (2, 5, 6, 11, 14, 17, 18) watermarked J. Whatman Turkey Mill 1825. Gilt-ruled green morocco over thick boards, fleurons at the outer corners, double-rule inner frame enclosing a bloom roll, gilt-ruled spine, sewing bands with gilt red morocco onlays, thick dark blue endleaves, all edges gilt, by Riviere: a brilliant set with no foxing at all, interleaved with blanks at the time of binding with no offsetting. Lower cover of the binding at some time tied up with string with ensuing indentation. § First edition, limited to 150 proof sets (65 sets were also printed on French paper, and 100 sets on drawing paper with the word ‘proof’ removed). This is one of finest sets of the proofs I have ever seen, and far outshines the other two original printings and the later re-issue. The India paper set is the best printing of these famous plates which comprise Blake’s major single achievement as a printmaker after the illuminated books. Illustrations of the Book of Job was Blake’s last completed prophetic book: the text, a series of biblical quotations, is above and below each image. “It was produced while Blake was still working on Jerusalem, his most obscure book; yet the illustrations are Blake’s most lucid; and they are the supreme example of his reading the Bible in its spiritual sense” (S. Foster Damon, A Blake Dictionary, p. 217). “The modest size of the central panels does not prevent them from ranking with the supreme masterpieces of graphic art” (Ray, Illustrator and the Book in England #8). Note: as always, the first plate after the title-page is misdated 1828.
Used; Like New/Used; Like New. Poster for a March 28, 1966 appearance by the Civil Rights leader together with singer Harry Belafonte at the Palais des Sports in Paris. Organized by the Comité de Soutien Franco-Américain pour l'Intégration Raciale, the event featured a speech by King and music from Harry Belafonte and French singer Hugues Aufray, sponsored by Suze Liqueur. Two-color poster, with folding creases, one tear to the right edge, minimal wear and toning; overall very good. Sight size 14.5 x 22.5 inches (37 x 57 cm), archivally matted and framed to an overall size of 20.5 x 26.5 inches.In March 1966, King and Belafonte went to Europe for fundraising appearances on behalf of the Southern Christian Leadership Conference, starting with the Palais des Sports in Paris on the 28th, and closing in Sweden on the 31st. This poster for the French appearance is emblazoned with the logo of a sponsor, Suze Liqueur, and also cites the French-American Committee for Racial Integration as the organizing body. The opening act for the evening was the popular French folksinger Hugues Aufray doing a set of Bob Dylan covers, followed by a set by Belafonte. Dr. King closed out the evening with a speech on civil rights, touching on the war in Vietnam and American support for South African apartheid. The tour raised more than $100,000, but drew the wrath of the American ambassador to France for airing American problems overseas. See Ross, Hollywood Left and Right, p. 220. We have traced no other copies of this poster at auction or elsewhere.
London: Herbert Jenkins Limited, 1938. First English Edition. [Jasen 58A in a later dust jacket]. Preceded by the first American Doubleday, Doran edition, published in Oct. 8, 1937. This edition was published on Feb. 11 1938. 12mo., red cloth, stamped in black, 312 pages, plus eight-page catalog; in later "2/6 net" price on spine [whereas the earliest dust jacket is priced at "7/6 net." on the spine]. Very Good (little soil covers; contents clean & tight but for a tiny spot fore-edge; neat ink name front endpaper); some edgewear (few small chips & tears- some with internal mends with archival tape) d/j.
Kansas City: H. Alfred Fowler, 1912. First edition. First edition. Original decorative card paper wrappers. The rare "Eragny Press" number (Volume I, Number 3) which features notes on bookplates by Esther and Lucien Pissarro, by J. M. Andreini, including three superb color printed specimens of book plates by the Pissarros, printed in colors on china paper and tipped-in. A scarce and very attractive rendering. There are also two other features in the number. Near fine.
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Paris, France: 1918. Unbound. A collection of 40 loose photographs on double-weight stock, in the original paper folder from the photographic studio, John Daniell & Sons of New York City. Folder is good only with chips, tears, and rubbing; the photographs are fine. An archive of photographs from Armistice Day in Paris in 1918 taken by an American onlooker. The photographs are taken on the route just beyond the Arch de Triumph with it in the background of many of the photos. There are throngs of people gathered to watch the troops march by with a focus on American troops. One photo shows the American Hospital Service car and another shows a waving American flag. There are troops on foot with rifles as well as mounted troops and men in military cars and vehicles. Armistice Day is now known as Remembrance Day in France and is still celebrated. On the 11th of November 1918 the streets were full of people and the *Daily Mirror* wrote at the time “processions of soldiers and munition girls arm in arm were everywhere.”
A wonderful collection of original photographs taken from the crowd on Paris’ Armistice Day.
Offered by Between the Covers Rare Books and found in "E-catalog 67."
Sydney, Australia: Beacon Press, 1948. Folio. 53pp. One of forty deluxe copies, signed by the author. A lovely production, illustrated with thirty-six color plates. The plates are genuine prints: beautifully made modern reproductions of the originals, done in Japan. The text traces the rise and fall of the Ukiyo-ye school of Japanese wood-engraving, from its origins with the artist Moronobu in the seventeenth century, to its decline under Western influences in the nineteenth century. Ukiyo-e is translated as "pictures of the floating world," and prints of this genre depict the carefree pleasures of life: a world of entertainment and beauty, beyond mundane, everyday concerns. Ukiyo-ye challenged the traditional aristocratic and courtly schools of painting, and the plates depict people of the lower classes, including actors and courtesans, the finely-dressed beauties of the city, and tea-house waitresses. Artists of this school featured in Barnett's work include Utamaro, Shunsho, Harunobu, and Kiyonaga. Sumptuously bound in silk brocade, backed in gilt-ruled vellum. The endpapers bear prints of a woman carrying an umbrella, surrounded by borders of red maple leaves. A few very faint spots of offsetting from the plates, else a very fine copy. With the armorial bookplate of Bernard Gore Brett and a small, unobtrusive bookseller's label to front paste-down. An enchanting introduction to the art form.
Offered by Bromer Booksellers and found in "E-catalogue 79: Illustrators & Illustration Art."
PEORIA, ILLINOIS: 1930S-40S. Large black striped album binding titled "Exquisitely", with decorative image of a stag pasted to front cover, 46 photographs, several pieces of ephemera, and numerous pictorial clippings. The album was assembled by Gene Casad, window trimmer in the display department at the Block and Kuhl Co department store in Peoria, Illinois, according to a card pasted to the front pastedown, which is followed by the title "Display World" cut out of a magazine. The album contains many photographs of Casad's window displays, as well as several shots of store displays, followed by many pictorial clippings taken from magazines also depicting department store window displays of women's fashions, handbags, shoes, appliances, furniture, etc. These were possibly used by Casad for reference and inspiration. The photos and clippings are backed by leaves of colored construction paper or decorative wallpaper, likely pasted into the album by Casad himself. Thus the album, with these collage elements as well as its vertically striped, jet black front cover, serves as a tribute to the Art Deco style of the department stores themselves. Album leaves warped and soiled, covers soiled.
United Kingdom. c1890. A collection of three woodworking design books featuring pen and ink stencils and applied cuts for layouts. Each of the covers of the books have titles pasted onto them. The titles are: Original Designs Book, Designs for Woodcrafting, and Designs for Chip Carving.
The 'Design for Chip Carving' book appears to have a souvenir blank notebook published by the art department of 'Pure Boots Drug Company' that was then repurposed. The Chip Carving book also features both pasted in printed applied cuts and pen and ink stencils. The stencils are hand drawn of a variety of different filigree - mainly with floral elements- and animals. There are three animal stencils, the first is a flock of birds, the second has dragon flies and goldfish, and the third images features two owls sitting on a branch with two bats flying around the moon. The printed applied cuts feature more traditional geometric designs, as well as some floral designs. These designs were for picture frames, mirrors, brushes, furniture, shelves, and various boxes (ex. cigar box). Two of the books are completely filled, one, Chip Carving, is half filled.
Measures 11" x 8 ½”(largest), 9 ½”x 6 ½”(smallest). The two smaller books have 24 pp each and the larger about 40pp.
Offered by Eclectibles and found in "E-list #74" (item #13).
A century of circus letterhead and envelopes. Mostly 1920s‐1930s, but spanning early 1900s through the 1980s. Mostly American, some from Great Britain. All standard sizing 215 by 280mm (8 1/2 by 11 inches) and 240 by 100mm (9 1/2 by 4 inches). A few with repair tape or glue remnants on back; some with year stamp on back; almost all blank. A cornucopia of graphic design and a study in print adverising at its finest. Circus letterheads spawned their own legion of collectors and fans.
Offered by Mark Funke, Bookseller and found in their new catalog "Circus."
OCCASIONAL LIST 22: A Miscellany: Original Art Work; Small Archive of Major English Watercolourist; Interesting Theatrical Pieces; Manuscript Material, Etc., Etc. -- available on request from fgrare@fgrarebooks.com...
Has the following lists available: California, Texas, Kansas, Missouri, Minnesota, Iowa, Nebraska, Oregon, Louisiana, Colorado, Ohio and New York. Will email to interested parties. Contact info@ginsbook.com to request...
Antverpiæ ex officina Plantiniana, M. DCVI. Second edition. This copy is bound in full contemporary blind stamped calf over wooden boards with two working clasps. Quarto ‡4, ‡‡4, A-Z4, a-z4, Aa-Ee4.+ 100 Numbered Plates. With a special engraved title pages which is an allegorical depiction of Christ carrying the cross, surrounded by ten artists at easels painting scenes from his life (as well as a few questionable profane subjects). The vovelle : Allows the reader to find their way through the Gospels. The centers of the engraving and the volvelle (through which a string passes) are reinforced with small paper roundels printed with the monograms of Christ. The numbers are keyed to an "Indiculus orbitae" that follows (Bb1r-Bb2r). There a number, having been selected, is provided with a phrase from various Latin authors (listed on Bb2v), and a reference to one of the hundred sections that comprise the main text. It is suggested in Bibliotheca Belgica that this game may have been intended as a pious alternative to such superstitious books as Thuys der fortvnen.
Veridicus Christianus emphasizes the Society of Jesus' investment in thinking in, though, and about visual images that exemplify the supreme mystery of God. Published as a tool of devotion and meditations, it features one hundred chapters that encompass a wide range of topics for reflection. Each chapter incorporates an extensive commentary that interprets the emblematic image David too follows the order in which we apprehend things with our senses, beginning with a visual representation at the head of each chapter. Then comes the explication. The symboli explicatio was considered necessary because cultivated readers would be more susceptible to a reasoned argument than a picture. The text is divided into 100 chapters, each with an allegorical engraving incorporating letters keyed to the explanatory text and with marginal references. Each of the 100 numbered plates has a single line of Latin at the head giving the subject, with two-line explanatory verses below the allegorical engraving in Latin (roman letter), Dutch (civilité) and French (italic) First plate (following [2 daggers]4) is added title leaf for the ill., which were also published separately; see Bibliotheca Belgica. The added title reads: Icones ad Veridicvm Christianvm P. Ioannis David e Societate Iesv At the end is Device with compasses and the motto "constantia et labore" on Ee4r . This book is notoriously found defective in one way or another, this copy is perfect and complete.
New York: Reynal & Hitchcock, 1939. First edition. Hardcover. One of the best books to come out of the FSA experience, that shows the grim resolve and the conditions in the late 1930's dust bowl. Text by Taylor and powerful black and white images by Lange. A tight close to near fine copy with some very faint evidence of a moisture stain to the base of the spine in an about fair first issue dust jacket that numerous small chips, edge tears, wear, tape repairs to the verso and staining. This is the first issue with with the list of Vital Books for Our Time and an advertisement for Mein Kampf on the rear panel of the dust jacket and in a lighter blue cloth with no topstain. This issue is also slightly heavier than the second issue. Much less common in the first issue. (Roth 102-103, Parr & Badger v1, 142-143).
Offered by Jeff HIrsch Books and found in "E-list #164."
[ no place ]: [ no publisher ] [ no date ]. Faux leather protective roll with two snap closures, containing three portraits on paper. The whole connected on one end between two large (1 1/2 inch) dowel halves on one end. The salesman could add various portraits to the assemblage by separating the two half dowels, adding additional portraits, and screwing the assemblage together again. This example has a green tinted linen guard laid in to protect the paper portraits as they are rolled and snapped shut. Leather roll is approx 17 1/2 inches wide and two foot long. This portfolio contains three examples - the first a black and white distinguished bearded gentleman, the second a stylized woman in brown tint, and the third a young woman with very nice colored tints. All have some wear and dampstaining, and the faux leather covering is stained and has various detritus attached to it. Very Good. [28017]
Large photographic prints were expensive and difficult to store and transport. This was one solution for photographers - a sample portrait that could be rolled up in a protective cover and taken where-ever needed - the fair, the office, or a client's home.
We find one of these a year roughly so they were in use - rarely do we find the same images used though. This example has three images representing different styles/coloring possibilities, each with a penciled number on the back. These may have been examples of Crayon Portraiture which was a method of using crayons, a solar projector, and crayon paper to hand-draw an enlarged portrait from a smaller image. There are other, competing processes as well, all 19th century inventions. We often see the results in victorian era frames in antique shops so there was some success in promoting and creating these portraits.
An excellent "prop" that takes the holder back to the days of the traveling photographer, here in color!
N.p.: [Royal Crown Cola Company?], [1960s]. 11” x 28”. Thick cardboard. Very good plus: light edge and corner wear, bump near lower left corner.
Over two feet wide, this is an advertisement for Diet Rite cola featuring an African American family, probably intended as a store display. Although not the first diet soda, the launch of Diet Rite in 1958 (which was initially marketed to diabetics and
sold in drug stores) led to a significant expansion of the diet soft drink industry. We find no other examples.
London: Printed by S. Roycroft for Henry Twyford, 1680. [viii], 260, [12] pp. Octavo (6-1/2" x 4"). Later three-quarter calf over marbled boards, rebacked retaining spine, which has gilt ornaments and later lettering piece, endpapers renewed. Some rubbing to boards and extremities, corners bumped and lightly worn. Light browning and occasional light foxing to text. Early owner underlining to title page, which has some edgewear, interior otherwise clean. An appealing copy.
*Only edition. This book was the first digest of the London's laws and guide to its courts after the revisions of the city laws from 1647 and 1658. A useful work that gathered a great deal of disparate information, it is a valuable resource today for students of seventeenth-century London and its legal system.
[n.p.: 1861-65]. All uncancelled, generally 3" x 5-1/2". Occasional light wear, a few with short splits or chips.A few have glue remnants on flaps from prior mounting. Very Good.
Offered by David M. Lesser, Fine Antiquarian Books and found in their new catalog, "Postal Covers."
Wittenberg: Cranach and Döring, 1524. Quarto: 21 x 15 cm. [20] pp. A4, B2, C4
First edition of Luther’s response to the growing danger posed by the radical preacher Thomas Münzer, who was ultimately executed the following year for leading the violent, open revolt that came to be known as the Peasants’ War.
In 1523, Thomas Münzer, formerly the leader of the radical “Zwickau Prophets” began to radicalize the area of Allstedt, where he was then pastor, preaching that the ungodly were to be eliminated and the elect would establish a kingdom of Christ on earth and threatening the political rulers of the area with rebellion.
Illustrated Catalog on Carlos Merida (1891–1984) -- Mexican painter, sculptor, writer and graphic designer -- available by request from mmbooks@comcast.net
“Prise de la Bastille par les Bourgeois et les braves Gardes Françaises de la bonne Ville de Paris, le 14 Juillet 1789. Dédiée à la Nation.” (France, after July 14, 1789). Hand-colored engraved folding paper fan, printed on recto and verso on two adhered sheets, the recto with a full-width etched and engraved scene of the taking of the Bastille, colored in watercolors and white gouache, within stencil-printed decorative border, the verso with an engraved poem; mounted on original plain wooden sticks, the guards with narrow fillets of decorative bone along edges and at rivet, the unfolded leaf measuring approx.137 x 500 mm., total fan measurement 208 x 500 (10 3/4 x 20 in.).
Condition: a few small chips and old paper patches, mainly to the borders, one small patch within the engraved area, affecting only the background, slight wear along a few pleats, one or two small stains, 2 words slightly rubbed on verso, a guard relined.
A FINE EPHEMERAL SURVIVAL: a rare fan on a popular and dramatic theme, no doubt issued soon after the event depicted. Although by July 14 1789, the Bastille was nearly empty, and its historical reality was that of “the least cruel of all the [French] state prisons” (Marion, Dictionnaire des Institutions francaises, p. 40), its potency as a visually imposing symbol of tyranny was undiminished. The day of its storming by a crowd of about 1000 “bourgeois” was unfortunately one of intense bloodshed, with over 100 people, including 98 attackers, several soldiers and the garrison commander the Marquis de Launay, losing their lives. De Launay’s head and that of Jacques de Flesselles, “Prévôt des Marchands,” were later paraded on pikes.
Offered by Musinsky Rare Books and found in "La Révolution."
London: Griffith, Farran, Okeden & Welsh (Successors to Newberry & Harris), 1887. Octavo (6¾” by 8⅝”). 78 pp. With frontispiece and three plates printed in red and black; four fullpage illustrations (included in pagination) printed in black; and two pages with text illustrations. Also with charming floral headpieces. Original pictorial boards with lively red-and-black border featuring the silhouettes of dogs, cats, and farm animals. Titled in red on spine. Some soiling to boards. Floral endpapers. Still a clean, tight, nearfine copy of a scarce work on the kindergarten.
First edition. In chapter one of the present work, Emma S. Windsor states that the theories of Friedrich Froebel inspired her to invent her crawling rugs (p. 11). She created the rugs by sewing pieces of fabric cut to resemble animals onto sheets of flannel. Windsor’s idea was that children from birth to age seven could appreciate the rugs in different ways over time: first, they could explore the texture and recognize the animals from picture books; then, with the help of a mother, learn the names of animals and how to mimic their sounds; and, finally, older children would enjoy the images and be inspired to independently learn more about the animals pictured on the rug (p. 13).
Windsor sold her blankets at the Kindergarten Depot of the Soho Bazaar in London. Though she encourages women to follow her designs when making rugs, she also warns that the designs are registered with the patent office and are not to be reproduced for sale (p. 23). Based on information about her business given at the end of the present work, she also seems to have provided lessons to women about how to educate through the principles of kindergarten. Note that some of the illustrations are credited to a “W.F. Windsor,” possibly Windsor’s husband. We could not find any additional information about Windsor in the sources available to us, including dates.
Compton, CA: Compton Police Officers Association, 1964. 8.5 x 11 inches, 72 pp, with illustrations and ads. Three-hole punched, police department stamp on front cover, one gathering loose front staples; very good. Fourth annual edition of this periodical, which was used to raise funds for the Officers Relief Fund and to inform the public of "some of our problems and functions."
Within a year, there would be riots--founded in a long history of friction between African-American residents and the police--in neighboring Watts, and by 1970, Compton would have the highest crime rate in California. This publication starts with a positive story showcasing of a newly completed police building, and includes articles about successful police operations and public safety tips. But hints of the policecommunity tension to come are also present. An article titled "'Defenders of the Peace' in Community and Human Relations" asks citizens to support the efforts of the police, complaining that "unjust charges are sometimes made against the police. Charges made or rumored by persons who do not have all the facts. When this happens, police morale is jeopardized and the development of an esprit de corps is made difficult." Another, titled "Take the Handcuffs Off Our Police," argues that by overzealous interpretation of constitutional rights "we are increasingly throttling our law enforcement officers with judge-made rulings that stagger common sense." And an editorial proclaims that "now, more than ever before in our history, one is either for law enforcement or he's against it. He's either for mob rule--or he's for the law. He's either for America--or he's against America. Let's begin to make our laws say what they mean and mean what they say--and let everybody know it." No holdings (of any issue) located in OCLC.
Paris: Gallimard, 1949\. First edition. Original publisher's cloth bindings with titles to spine and pictorial illustrations of Mario Prassinos to boards. Pegasus motif endpapers. Gentle rubbing to extremities of spines; gentle bumps to corners. Front board of volume II mildly bowed. In all, a pleasing pair of this important philosophical work, which was released in a limited edition of 2,105 copies, including the present set which is one of 2,000 numbered copies on Alfama Marais paper. One of the preeminent French existentialist philosophers, working alongside other intellectual greats such as Jean-Paul Sartre and Albert Camus, Simone de Beauvoir made her greatest contributions in the fields of ethics, feminism, and politics. She is perhaps best known for the present work, The Second Sex, which argues that women have been historically relegated to a second class as men's 'Other,' and that this has led to systemic oppression. "Her revolutionary magnum opus, it was published in two volumes and immediately found both an eager audience and harsh critics. The Second Sex was so controversial that the Vatican put it on the Index of Prohibited Books...Striking for its breadth of research and the profundity of its central insights, it remains to this day one of the foundational texts in philosophy, feminism, and women's studies" (Encyclopedia of Philosophy). Near Fine.
4to. 11.5 x 12 in. [12 pp (unpaginated).] triptych, printed on colour-tinted paper stock, which opens into oblong folio 34.5 x 24 in. dealer poster. Colour-illustrated throughout. Self-printed colour-illustrated softcovers, slight shelfwear, and very slight toning, NF copy. First edition of this very scarce dealer’s brochure & poster for the 1955 Cadillac Series 60 models which after 1954 featured lower sleeker bodies, new grille inserts, and inverted gull wing front bumpers and tapered bumper guards. The 1955 featured a redesigned grille, new rub-rail moldings, Florentine curve rear window, and the Coupe de Ville featuring a golden script nameplate. The Cadillac Eldorado sport convertible featured wide chrome belt trim, new rear fender design, and twin round taillights halfway up the fenders. No copies located in Worldcat.
Offered by Zephyr Used & Rare Books and found in "Travel & More" (item #10).
Remember, you can always browse and download the latest catalogs published by ABAA members on ABAA.org by visiting the following link: https://www.abaa.org/catalog/... (You can also access this page by selecting 'Booksellers' from the top menu, scroll to the bottom of the page to 'Member Catalogs', and click on 'View All'.)
Our members list new acquisitions and recently cataloged items almost every day of the year. Below, you'll find a few highlights from these recent additions...
Mexico: Various publishers, 1880–1920. Most are 16mo (14.5 cm, 5.71"). Most are between 8 and 16 pp. plus wrappers.
The oeuvre of Jose Guadalupe Posada Aguilar (1852–1913) is steeped in social engagement, satirical acuteness, and wry humor presented to the reader and observer in woodcut and lithographic illustrations for periodicals and chapbooks. During the late Porfiriate and early years of the Mexican Revolution, his art enticed the buyers of popular, very cheaply produced songsters; political broadsides; cookbooks; and single-sheet accounts of hangings, disasters, crimes, volcanic eruptions, and other sensational events. => Six of the publications here are signed, "Posada"; others are simply unmistakable; several are from his most famous publisher but were printed after his death and may or may not be restrikes. A few may simply be "in his style" and therefore, as part of the lot, invite considerations of his context.
The present collection consists of 13 pamphlet/chapbook items: They are a good representation of books for children, women, and the general reader. They include a volume of popular recipes for health problems, two booklets offering embroidery patterns (with women at their frames on the pamphlets' covers and the patterns on colored papers), several plays for children to perform ("Les Gendarmes") and for adults to read ("Don Juan"), compilations of patriotic songs and biographies, and so on. One wrapper is pink, two are gold, one front cover is printed in black and red; rear covers offer advertisements of the publisher's other offerings, within varied borders, and three devote the back wrapper to a poem.
The list follows: 1) Vanegas Arroyo, Antonio. La salud en el hogar. Tercera serie de la coleccion de 300 recetas utiles para curar las enfermedades mas comunes. Mexico: Imprenta y Encuadernacion, n.d. [ca. 1900–18]. 2) Muestras para bordados. #9. Mexico: Publicadas por la testamentaria de A. Vanegas, n.d [ca. 1920]. Includes planchas 33–36. 3) Muestras para bordados. #10. Mexico: Publicadas por la testamentaria de A. Vanegas Arroyo, n.d. [ca. 1913]. Front cover signed, Posada. Includes planchas 38-40. 4) D. Juan Tenorio. Mexico: A. Vanegas Arroyo, n.d. [1880, date on rear wrapper].
In series: Galeria del Teatro Infantil; Coleccion de comedias para niños o titeres. Front wrapper signed "Posada."
5) Los gendarmes. Mexico: A. Vanegas Arroyo, n.d. [ca. 1910]. In series: Galeria del Teatro Infantil; Coleccion de comedias para niños o titeres.
6) Los celos del Negro con D. Folias. Mexico: A. Venegas Arroyo, n.d. [ca. 1910]. In series: Galeria del Teatro Infantil; Coleccion de comedias para niños o titeres. Front wrapper signed "Posada."
7) La casa de vecindad. Mexico: A. Vanegas Arroyo, n.d. [ca. 1910]. In series: Galeria del Teatro Infantil. Front wrapper signed "Posada." But rear wrapper indicates "la imprenta de la test. de A.V. Arroyo." 8) Los novios. Mexico: [as per rear wrapper, Tipografia de la Testamentaria de A. Vanegas Arroyo, 1918]. In series: Galeria del Teatro Infantil. 9) Vanegas Arroyo, Antonio, comp. El sarape nacional. Moderna coleccion de canciones para el presente año. Mexico: A. Vanegas Arroyo, 1915. Front wrapper signed "Posada." 10) Vanegas Arroyo, A., comp. La ex-moderna. Sexta coleccion de canciones para el presente año. [front wrapper: Mexico: A. Vanegas Arroyo] title-page: 1914]. 11) Suarez, C. S. El placer de la niñes. Amar sin esperanza. Monologo. Mexico: Tip. de la Testa. de A. Vanegas Arroyo, n.d. [ca. 1918]. In series: Coleccion de monologos. Front wrapper signed "Posada." 12) Vanegas Arroyo, Antonio, ed. La felicista: 13a coleccion de canciones modernas para el presente año. 1913. Mexico: Antonio Vanegas Arroyo, 1913. 13) Coleccion de himnos nacionales. No place, no publisher, no date, [but certainly Mexico: A. Vanegas Arroygo, and ca. 1880, as per rear wrapper].
Because of their ephemeral nature and their audience, copies of these are generally hard to find. All items are little held in the U.S., many in only one or two copies. Overall condition is good to very good. #1 lower inside corners nibbled by rodent; #10 seriously wormed; a few items with wrapper paper beginning to split along spine, shallow dog-earring to corners, or small chipping or a short rent to edges. => An excellent gathering whether for teaching or "just" for enjoyment.
Manhattan Beach, CA: East West Discovery Press, 2013. First Edition. Signed by former NASA astronaut John D. Olivas on the dedication page, also adding his two Space Shuttle mission numbers: "STS-117, STS-128." The book brings space shuttle Endeavour to life through a journey to space with a young boy Jojo. Exploring space with the shuttle, Jojo learns about Endeavour's extraordinary contribution to space science and its famous service missions, including the Hubble Space Telescope. The book also features NASA photos, fun facts, famous firsts and quizzes to inspire kids in science, technology, engineering and mathematics. Signed copies of this title are uncommon!. Quarto: pictorial boards in dust jacket; 36 pages. Illustrated by Gayle Garner Roski.. Fine in fine d/j.
New York: Random House, 1930. First Edition. Hardcover. Fine/good +. Kent, Rockwell. First trade edition with Rockwell Kent illustrations, duodecimo size, 823 p., in original dust jacket. First trade edition of "Moby Dick" illustrated by Rockwell Kent, which became an instant success. The Lakeside Press published a limited edition in three volumes with 280 illustrations; this trade edition is in a smaller format and uses 272 of the illustrations.
Rockwell Kent (1882-1971) was an American painter and illustrator who bridged the artistic gap between Victorian and Modern art; when "Moby Dick" was published he was already well-known and his appeal has continued to grow throughout the 20th century, his work remains widely collected today. Interestingly, while Melville wrote "Moby Dick" in 1851, it was almost neglected until Kent elected to illustrate the story; his illustrated version had tremendous success and revived the novel for the 20th century.
DESCRIPTION: Black cloth boards with silver letting on front and spine, both the front and spine also display Kent's own design of a whale, with the head on the front and the tail on the spine, cream endpapers, replete with Kent's black-and-white pen/brush and ink drawings which made him justly so famous; duodecimo size (7.25" by 5.5"), 822 pages plus a one-page Epilogue. The unclipped dust jacket mirrors the design on the front panel and on the spine, in black with cobalt blue highlights, and while it displays Kent's name on both front and spine, it does not display Melville's; the back panel of the dust jacket is a publisher's ad for other books illustrated by Kent (five titles), both flaps are blank, with no printed price.
CONDITION: Near fine , the silver gilt on the front and spine bright and unrubbed to the extent that it fairly shimmers; with a square, strong text block and solid hinges, straight corners with a minimum of rubbing to the bottom corners only, and free of prior owner markings; the head and tail of the spine gently bumped with the head of the spine just beginning to fray the tiniest bit, a few spots of light soil to the top edge of the text block, and the aforementioned slight rubbing to the bottom corners; there is a vintage bookseller's ticket on the rear pastedown ("The Holliday Bookshop, 49 E. 49th St., New York") and a few light pencil markings on the top of the front pastedown (likely the bookseller's) with a price of $3.50. The unclipped (and unpriced) dust jacket just shy of very good, complete, the colours on the front panel are deep and true, the spine is sunned, light overall edgewear with a bit more at the head and tail of the spine which has creasing and some chips. Even with the dust jacket faults, still a lovely example of Kent's work at its best.
Chicago, Milwaukee, St. Paul and Pacific. Very Good. 1930. Pictorial wraps; folded pamphlet, staple bound. Very light soiling, almost like new. This pamphlet advertises the "Gallatin Gateway", the new route into Yellowstone National Park. Includes many illustrations, and maps of the railroad lines and the new road. ; B & W Illustrations; 8vo 8" - 9" tall; 19 pp .
Greenwich, CT: Gold Medal Books, 1961. First Edition. Very Good. First edition. 176 pp. Wraps. Very Good with creased spine, reading crease to front wrap, very slight indent along upper corner A pulp novel co-written by Miami Blues author Charles Willeford.
Boston: The Cornhill Company, [1918]. First American Edition. Hardcover. Unauthorized American edition of Joyce's first published book, preceding the authorized (Huebsch) edition by some months. Originally issued in London, 1907; this piracy coincides with the second London edition of 1918. SLOCUM & CAHOON 5. First printing. 12mo (16cm); publisher's green cloth, titled in gilt on front cover; [40]pp. Small spot of rubbing at base of spine and just a hint of age-toning to text, else a tight, Near Fine copy. Originally issued in clear (unprinted) tissue dustwrapper, lacking from this copy. Slocum & Cahoon notes "probably about a thousand copies" printed.
New York: Tiffany & Co, 1883. Original invitation to the May 1883 opening ceremonies of the "New York and Brooklyn Bridge," issued by the Board of Trustees, the mayors of both cities, and chief engineer Washington Roebling. Under construction for over a dozen years, the Brooklyn Bridge was the longest suspension bridge in the world at the time, a marvel of modern steel-wire engineering, and it remains one of the iconic monuments of New York City. The opening ceremonies were attended by President Chester Arthur, and featured speeches, music, a gunfire salute by ships on the East River, and a fireworks display. Engraved by Tiffany, this invitation features a detailed view of the new bridge rising over the low-rise banks of Manhattan and Brooklyn. A near-fine artifact of New York history. Engraved invitation, printed on heavy cardstock, measuring 6.5 x 9 inches. Illustrated with an image of the Brooklyn Bridge and the seals of the City of New York and the City of Brooklyn. Completed in manuscript with the name of recipient A.J. McCall. Faint tidemark to lower righthand corner. Housed in original envelope embossed with the seals of both cities, addressed to McCall. Envelope soiled, with loss to lower corner.
[Single folded sheet with inkjet color illus. and printed text on both sides (277 x 102 mm. folded) l...]by LEIBER, STEVEN, BOOKSELLER
Single folded sheet with inkjet color illus. and printed text on both sides (277 x 102 mm. folded) laid in original plastic cassette case (a little worn) and the original audio cassette. [From the folded sheet]: San Francisco: April 1998. A very rare Leiber catalogue (no. 32) and one of his most ingenious vehicles for offering materials. The catalogue consists of an audio cassette, its case, and a list laid-in the case. "Artists, curators, art librarians, and others associated with the art world were faxed catalog entries with instructions to call and read the entry aloud over Steven Leiber's answering machine. These recordings were then included on the enclosed audio cassette. The title of this catalog is derived from a Nam June Paik mailing." It offers books, ephemera, periodicals, and artworks by or related to Beuys, Barbara Bloom, Brouwn, Jeanne Dunning, Feldmann, Filliou, Flavin, Holzer, Johns, Ray Johnson, Kounellis, Oldenburg, Pettibon, Roth, Vautier, Warhol, etc. In near fine condition; the case is a little worn with two minuscule cracks. WorldCat records only one copy. Produced in an edition of around 100 copies. ❧ Steven Leiber Catalogs (2019), p. 135.
New York: Random House, 1948. First edition. Hardcover. Very good/very good +. 231pp. Octavo [21 cm] Tan cloth over boards. The spine is a hair darkened, and the spine ends are gently bumped. There is a previous owner's name at the head of the front free endpaper. In the dust jacket, featuring a young Truman Capote on the rear panel, with light chipping to the edges. Original bill of sales slip tucked in. Truman Capote's first novel, published when he was merely 23 years old. At the time this was published, he had "written speeches for a third-rate politician, danced on a river boat, made a small fortune painting flowers on glass, read scripts for a film company, studied fortunetelling with the celebrated Mrs. Acey Jones, worked on 'The New Yorker,' and selected anecdotes for a digest magazine."Other Voices, Other Rooms" was met with immediate critical acclaim, and pushed a young Truman into the spotlight. The novel dealt with, among other things, homosexuality and race (scandalous topics at the time).
New York: Chappell & Co., Inc, 1936. Ephemera no binding. Very good. Jerome KERN, music.. 12" x 9"; 5, [1]pp; color pictorial front wrapper; ad for Selections From "Swing Time" on rear wrapper; very good. Fred Astaire and Ginger Rogers in "Swing Time" An RKO Radio Picture, A Pandro S. Berman Production.
MEDEA / SIGNED FULL COLOR FOLD OUT ILLUSTRATION inserted between pages 54 & 55 of the Phantasia Press first edition, 1985, fine and most suitable framing. SIGNED in silver ink by Kelly Freas on the lower left corner. One of only 25 copies, none ever used and thus unfolded. Scarce-------or soon to be so.
Philadelphia/ Columbus, Ohio: Bradley Garretson & Co./ Wm. Garretson & Co. , 1882. Ornately bound in full deeply embossed calf with ornate gilt decorations front and back covers, lavishly gilt decorated back, moire silk end papers, all edges gilt. Illustrated with 8 color maps, engravings on steel and wood, chromo-lithographs of scriptural natural history, botany and zoology. Family Portraits section at rear with 6 period photoraphs of family members, uncaptioned. Presentation Page from Oral T. Hall to John A Hall ( possibly Ball)? Near Fine, light rubbing to leather. small tear bottom edge front end page. A presentation Bible of the day in wonderful condition.
A large and heavy book, will require additional postage charges for priority and international mail shipping. Please inquire before ordering. Free media mail shipping. Later Printing. Calf. Near Fine/No Jacket, As Issued. Thick Folio.
Boston and New York: Houghton, Mifflin and Company, 1904. Book. Illus. by Amelia M. Watson. Very Good. Hardcover.
An Illustrated set of one of Thoreau's most enjoyable works containing delicate and lovely, small color drawings by Amelia M. Watson in the margins throughout the text. Handsome and collectible.
Half green Morocco with marbled boards and matching endpages. Top edge gilt. Silk place ribbons. Bindings are tight and square. Text clean, light even toning. Moderate shelf handling wear. Small 8vo; 7.75 inches tall; 173 pages, 208 pages, including the index.
Iver Johnson's Arms and Cycle Works. Fitchburg, Mass. 1897. First edition, 32 pages. 19.5 cm. Illustrated covers. " 1871-1897 Ye further Hystorie of ye Ancient House of Iver Johnson " prefaces this bicycle trade catalogue for truss frame bicycles, which features their models 33, 35, 36, 37, D and E in double-page illustrated advertisements. Slight soiling, one page corner missing, otherwise good, printed on heavy glossy paper. One copy was found at the Harvard Business School's Baker Library.
New York: HarperCollins, 1995. First printing of the 35th Anniversary edition of the author's Pulitzer Prize-winning novel. Octavo, original half cloth. Signed by Harper Lee on the half-title page. Fine in a fine dust jacket. Jacket design by Suzanne Noli. To Kill a Mockingbird became an immediate bestseller and won the 1961 Pulitzer Prize for Fiction. The New Yorker declared it "skilled, unpretentious, and totally ingenious". It has gone on to become of the best-loved classics of all time and has been translated into more than forty languages selling more than forty million copies worldwide. Made into the Academy Award-winning film, directed by Robert Mulligan, starring Gregory Peck. It went on to win three Oscars: Best Actor for Gregory Peck, Best Art Direction-Set Decoration, Black-and-White, and Best Screenplay for Horton Foote. It was nominated for five more Oscars including Best Actress in a Supporting Role for Mary Badham, the actress who played Scout. In 1995, the film was listed in the National Film Registry. In 2003, the American Film Institute named Atticus Finch the greatest movie hero of the 20th century. In 2007 the film ranked twenty-fifth on the AFI's 10th anniversary list of the greatest American movies of all time. It was named the best novel of the twentieth century by librarians across the country (Library Journal).
Carlisle, Pennsylvania: Self-published, 1912. First Edition. Hardcover. Good. Octavo. vii, frontispiece photograph of Warner, 142 pages, [1]. Illustrated. Illustrated brown cloth hardcover. Title in black on the front cover. Cloth binding is creased on the front cover. Front paste down sheet is also creased. Previous owner inscription on the front paste down. No right front flyleaf (if bound in?) Glenn "Pop" Warner was the Athletic Director at the Carlisle Indian School. Jim Thorpe, Native American, attended the school in early 1900's and played football for Pop Warner.
[Seattle]: [Industrial Workers of the World], 1920. Small leaflet, approximately 4x3.9 inches, corner crease with a couple small chips. Text is the same on both sides, though one side has a union bug at the bottom. Our House was a cafe that marketed itself in advertisements as "Popular With Our Boys in Blue.
London: J.M. Dent & Sons Ltd, 1966. Later edition. Bound ca. 1966 by [Bayntun Rivière] for Brentano's in full blue polished calf, covers with double gilt borders, spine with five raised bands, decoratively tooled in compartments, two red morocco gilt lettering labels, gilt board edges, gilt-turn- ins, all edges gilt, marbled end-papers. Small neat book-plate on front paste-down. Collating xii, 226, with eight full-page color plates and numerous black and white line drawings throughout the text. A Fine copy. A superlative copy of the classic - and quite novel - story of a horse, told in his own words, wherein he recounts his life as a well bred steed from early childhood in a pleasant meadow, through numerous owners - some kind and some cruel - until fate returns him to the meadow in which he was born. Though animal autobiographies had been published before for children, Black Beauty stands apart from those in that it offered social criticism of his various owners. Because of that, the book was read, appreciated and loved by adults as well as juveniles. It has never been out of print since its original publication, and it has been adapted to the screen on fourteen different occasions. Ultimately, Black Beauty's continual and lasting value is as one of the most influential arguments for the humane treatment of animals.
New York: Jonathan Cape & Harrison Smith. Very Good+ in Fair dj. 1931. First Edition. Hardcover. [nice solid clean copy, slight fading to cloth at ends of spine; the jacket is a bit on the tattered side, with numerous small chips, tears, etc.]. Very uncommon account of the early life of Victor Ilyitch Seroff (1902-1979), whom the author (Werner) met in Paris in the late 1920s, and found so fascinating that he "laid aside other projects and devoted himself to writing [Seroff's] story." Seroff was a young musician who had escaped from Russia in 1920 "on the last American oil tanker to leave [Batoum, his birthplace in the Caucasus] before the Bolsheviks took it over." The book is written in the first person (i.e. narrated by Seroff himself), who describes "his desperate and sometimes humorous effort to gain self-support and continue an artistic career in Constantinople, Vienna and in Paris" during the 1920s. Of particular interest is the last chapter, which presents "a new and penetrating study of the late Isadora Duncan, [including] a moving narrative of her last years and death." (Isadora had attended a piano recital in Paris where she was impressed by Seroff's playing, and he soon found himself drawn into her circle of intimates.) He later became a musical biographer of some note, writing books about Shostakovich, Prokofiev, Berlioz, Chopin, Liszt, Debussy, Ravel and others, as well as a biography of Isadora Duncan herself.
Strassburg: Johann Schott, 1532. Two volumes bound in one (the appendix added to vol.II), folio (287 x 188 mm; 11¼ x 17½ in.). Vol. I: Title within woodcut allegorical border, 4- and 5-part borders to several pages, woodcut arms of Strasbourg, ornamental and historiated initials, head- and tailpieces, 86 woodcuts of plants by Hans Weiditz; vol. II: Title within woodcut allegorical border, 4- part border on 2 pages, 49 woodcut illustrations by Weiditz, all colored in a contemporary hand. 18th-century mottled calf gilt, edges gilt. Rebacked preserving original gilt spine panels, repairs to corners, some slight drying; A4 in volume I bound after b4, lacking blanks b4 and G6 in the first volume and H4 and S6 in the second, small stain in lower margin of first title and first text leaf, some leaves lightly browned, occasional minor staining. Provenance: Johannes Beusler (early ownership inscription on title); Jean Charles Patin (inscription dated 1817 on front flyleaf noting that he is a native of Manneville and currently farming in Bézu-la-Forêt); purchased from William Schatzki, 1971. From the Collection of Arthur & Charlotte Vershbow. A finely colored copy. Referred to as "the first great mind in modern botany" (Hunt), Brunfels' most revolutionary contribution was his choice of artist accurately to portray these "living portraits of plants." The magnificent woodcuts executed by Weiditz were taken from watercolors drawn directly from nature and delineate botanical details well beyond their known function in the taxonomic literature of the time. The first volume was reprinted to be sold with the second, and this is how many sets are constituted. The appendix at the end of the second volume contains the first published writings of both Jerome Bock and Leonhardt Fuchs (see also item 32). After Brunfels's death, a third volume was published (1536-39) and was illustrated after different artists. Adams B-2924 and B-2925; Fairfax Murray German 462 (1530 edition); Garrison-Morton 1803; Grolier/Horblit 33a; Hunt 30 (mixed edition); Nissen BBI 257, Ib, IIa and 257, III; Norman 361; Stafleu &Cowan TL2 852 and 853; Pritzel 1283.
by DONEN, STANLEY (DIRECTOR); PETER STONE (SCREENWRITER); CARY GRANT, AUDREY HEPBURN, WALTER MATTHAU, JAMES COBURN (STARRING)
Paris: Films sans Frontieres, 1963. Vintage reference photograph of actors Cary Grant and Audrey Hepburn filming a scene on location on the banks of the Seine for the 1963 film. The greatest box office success of noted director Stanley Donen's career, owing to an excellent screenplay and what Donen's biographer Stephen M. Silverman refers to as the film's three stars: "Cary Grant, Audrey Hepburn, and Paris". Though very much influenced by Hitchcock's "North by Northwest," "Charade" is simultaneously lighter and more complex, with an even more entertaining tailspin of deception than its predecessor. Set and shot on location in Paris. 10 x 8 inches. Near Fine, lightly toned. Criterion 57. Penzler 101.
Paris: (Cordier for) Le Fuel, 1822. 18mo (123 x 80 mm). [iv], 175 pp. Double column. Additional engraved title/wrapper with hand-colored fashion emblem (a parasol draped with shawls, necklaces and a flowered hat) and 15 engraved plates, on thicker paper, all stencil- and hand-colored under the publisher's direction, one (of corals) also color-printed; tissue guards. Small closed tear in first gem plate, else a fine copy. Bound at end are six leaves on thicker paper containing [12] pages, one per month, blank except for the engraved name of the month and hand-colored vignette (with traces of old pencil scribbles); and a smaller format foldout calendar for 1822, with the imprint of Lefuel,the months in columns each topped by a woodcut astrological vignette. Publisher's blind-stamped brown calf "cathedral" binding, the same block used on both covers, backstrip with blind-stamped ornamentation above and below the title, gilt edges, yellow endleaves, blind-stamped matching leather slipcase, lower cover of binding with silk tab for removing from the slipcase (a bit of scuffing). Etched bookplate of Robert de Beauvillain tipped to front endleaf.*** Only Edition of an unusual and still useful illustrated dictionary of objects, materials and concepts, most of interest to women and many relating to fashion. Covering both luxury goods and common objects and materials, the dictionary contains over 800 entries, many including the names and addresses of relevant Parisian suppliers, making it a far-ranging encyclopedia of feminine material culture in Restoration France. This is a special de luxe copy in a reliure à la cathédrale, with an extra fold-out calendar and hand-colored ornamented cahier for notes for each month of the year. From Abaca (a type of hemp or linen from the Philippines, of which the white plants were used to make a very fine cloth while the gray were used for cocardes) and Acier (steel being used at this time not only for buckles, belts, clasps etc., but also to make jewelry, a dozen examples being illustrated in plate 1), to Zéphir (a shawl made of net) and Zibeline (the animal whose nearly black fur is highly prized), the dictionary includes terms of apparel, footwear, and accessories, a vast number of textiles and related terms (materials, weaves, and treatments), furs and skins, common materials with a variety of applications (e.g., sandalwood, various vinegars and oils), objects used for personal grooming (sponges, tweezers, brushes, mirrors, etc.), many perfumes and eaux de toilette, gems and precious metals, furnishings and furniture, and even prostheses, including a long description of artificial eyes and where to purchase them. A few entries contain mini-treatises on social custom: the seven-column entry for Deuils, for example, discusses the proper length and appropriate mourning dress for various degrees of consanguinity. Some contain surprises - thus the entry on Marriage, far from listing bridal gowns and suppliers, tells a simple story of a painter and the changing perspective of a groom, before and after marriage. The language of flowers gets a special entry (which advertises a relevant publication, the Dictionnaire du Langage des fleurs ou de leurs emblèmes, of which I locate no edition). Besides steel jewelry, the finely colored plates show rings and earrings, pocketbooks and wallets, necklaces, specimens of coral, fans, a splendid bouquet, brightly colored garters, bejeweled combs, 24 precious stones (on two plates), an elaborate feather headdress, a pretty assemblage of ribbons, and several large handbags (sacs-gibecières, two plates). Perrot was a geographer who wrote and edited numerous works. Mazeret was an almost equally prolific writer for hire. The publisher Valentin Lefuel, active from 1792 to the late 1820s, specialized in the publication of almanacs, keepsakes, and children's books. He was also a binder, and he offered his publications in a variety of different bindings, including "gauffred calf," here in the "cathedral" style, inspired by gothic architecture, which enjoyed a vogue in France and England during the Romantic era. (I have not previously seen an example of this kind of binding on an almanac or almanac-like popular imprint.) Copies are held by the Brooklyn Public Library, Morgan Library, Metropolitan Museum of Art and Smith College (the last two purchased from us); outside the US OCLC lists only the Bibliothèque nationale de France, to which the Catalogue Collectif de France adds a copy at Rouen. Colas, Bibliographie générale du costume et de la mode 2023; Grand-Carteret, Les almanachs français 3476. Cf. S. Malavieille, Reliures et cartonnages d'éditeur en France au XIXe siècle, p. 24 (on Lefuel).
Paris: Les Jouets et Jeux Français, 1895. A board game for up to six players, following the eighty-day journey of Phileas Phogg across the globe. Each day is represented by a square on the board, centering around a globe. Some squares show notable characters, such as Phogg, Francis Cromarty, and Miss Aouda, while others show ships, animals, and landmarks from destinations as far as Calcutta, Hong Kong, and San Francisco. Some squares have particular associated functions, which are outlined in the rules on the underside of the box lid. The course of play proceeds through a series of transactions using the fifteen tokens provided, with one player acting as Phogg's valet, Passepartout, who takes on the role of banker. The tokens are housed in a cloth bag. Six painted metal figures act as gamepieces, housed in a smaller box, with splits to corners of lid. Paper cup holding two dice, along with tokens and game pieces, contained in separate compartments in the box. Some soiling to back of game board. All elements stored in box with lush pictorial lid, some signs of repair, else a near fine and remarkably intact set.
Paris, France: Obelisk Press, 1935. Book. Very good condition. Paperback. Fourth edition. Octavo (8vo). 271 pages of text. Original paperback binding with minor shelfwear and soiling, and minor vertical creasing to the spine. Pearson A-37 [unrecorded variant] with all points identical to A-37 with these exceptions: 1) Does not have the statement "Banned in England May 1935" printed on the front cover; 2) the front flap contains the price 50 francs; 3) the front flap edition statement differs slightly in that it states "This is the only existing edition of James | Hanley's most famous work, recently sup- | pressed in England."; 4) rear flap price for the 11 titles listed at "50 francs each". One page edge with a tiny black mark in the extreme margin, but the text is clean and unmarked. Fourth edition, variant of the first impression. Protected in custom-fitted archival mylar.
Green cloth with white and black titles and decorations, slipcase, 16 by 22.7 cm, xxii 190 pp., illus. Fine, unread copy in near fine slipcase. "The days from May 24 to May 28, 1940 altered the course of the history of this century, as the members of the British War Cabinet debated whether to negotiate with Hitler or to continue what became known as the Second World War. The decisive importance of these five days is the focus of John Lukacs's magisterial book. Lukacs takes us hour by hour into the critical unfolding of events at 10 Downing Street, where Churchill and the members of his cabinet were painfully considering their war responsibilities. We see how the military disasters taking place on the Continent—particularly the plight of the nearly 400,000 British soldiers bottled up in Dunkirk—affected Churchill's fragile political situation, for he had been prime minister only a fortnight and was regarded as impetuous and hotheaded even by many of his own party. Lukacs also investigates the mood of the British people, drawing on newspaper and Mass-Observation reports that show how the citizenry, though only partly informed about the dangers that faced them, nevertheless began to support Churchill's determination to stand fast. Other historians have dealt with Churchill's difficulties during this period, using the partial revelations of certain memoirs and private and public papers. But Lukacs is the first to convey the drama and importance of these days, and he does so in a compelling narrative that combines deep knowledge with high literary style."
San Francisco: Stolen Paper Editions, 1966. Second printing. Paperback. Very Good. Wide stapled illustrated wrappers. Second printing of Kandel's controversial volume of sexually explicit poems that was banned and seized by the police when first published. A very good copy with some wear to covers. Six pages, printed on rectos only.
New York: McLoughlin Brothers, 1906. First Edition. Very good in heavy paper, printed wraps over a replacement sewn binding. A quarto measuring 12 1/8 by 9 7/8 inches with archival tape repairs along the length of the fold of the spine and with similar repairs to several of the page folds. The sewn binding has been restored professionally. Unpaginated, but containing 14 pages illustrated with 8 full color lithographic plates (counting the covers) and line drawings throughout. Identified on the front panel as "158". Copyright dates of 1899 appear on the front cover and 1906 on the rear cover. The illustrator is not indicated. Clement Moore's poem comprises the first six pages which includes three full color plates. The remaining pages of text and plates contain the poem Santa Claus And His Works written by George P. Webster. (Very similar to Marshall 133).
London: John Evans, [ca. 1810?]. 8vo (16.7 cm, 6.57"). 8 pp. Apocalyptic warning, written by a Scottish missionary (1766–1840) known for his Travels in South Africa. This printing, apparently the first, is scarce; WorldCat locates three U.S. institutional holdings of a later "Evans and Son" imprint, but none of this "John Evans, No. 42" printing. The large title-page wood-engraving illustrates the dividing of the wicked from the righteous.
Provenance: From the chapbook collection of American collector Albert A. Howard, sans indicia. Removed from a nonce volume; page edges gently browned. The workmanlike printingis somewhat uneven, and the title-page vignette shows a few small ink spots from the press. Uncommon and interesting.
Philadelphia: J.B. Lippincot, 1935. First Edition, First Printing. Hardcover. Octavo, 342 pages; VG/none; bound in publisher's brown stamped orange cloth, mild wear to extremities; bookplate to front pastedown; front gutter beginning to show webbing; small bookstore sticker to rear pastedown; shelved case 1.
Boston: Houghton Mifflin Company, 1942. First edition, first printing. Hardcover. Very good/Very good. 8vo. Green cloth printed in back on the spine and upper board. The cloth has slight aging to the boards and spine, some offsetting on the endpapers and pastedowns,a penciled ownership name and another blindstamped on the half title and the title, but it is still a very good copy. The dustwrapper is rubbed at the folds and rough along the edges including a couple of short marginal closed tears. It shows the first state points: $3.00 on the flap, and on the box on the rear panel, and with the war bond ad on the rear flap. The author was an English girl raised in British East Africa, conversant in native languages and customs, a horsewoman and a pilot when airplanes were unique in that part of Africa. Accompanied by her biography: Mary S. Lovell, STRAIGHT ON TILL MORNING, New York, St. Martin's Press, 1987. First US edition. A fine copy in a fine, clipped dustwrapper.
by TUCKER, GILBERT NORMAN, PH.D. (CANTAB.); ILLUSTRATED [ILLUSTRATOR]
King's Printer The Minister of National Defence, 1952-01-01. Hardcover. Very Good/Good. 2 Volume Set. Both dust jackets have minor wear. Both are clean, both have good bindings, no marks or notations.
Paris: Martinet, 1821. Galerie des Grotesques [GONDELIER, Jean-Baptiste]. [Galerie des Grotesques]. [Paris]: [Chez] Martinet, [1821]. Oblong folio (16 x 10 1/2 inches; 406 x 267 mm.). Seven leaves, titled and numbered in manuscript, each with three hand colored etched plates making a total of twenty-one images. Contemporary quarter green calf over floral patterned black boards.
The plates - each one lettered and numbered in manuscript "Galerie des Grotesques" No. 1. Les Rivaux; Partie d'écarté; Les effets du lavement, et la tentation (The Rivals; Discarded party; The effects of enema, and temptation) No. 2. Le maitre de danse, et le Coëffeur; Les joeurs de tonneau; Le remède inévitable (The dance master, and the hairdresser; The barrel joists; The inevitable cure) No. 3. Le bon gout; Cérémonie nuptiale; Le Dentiste (The right taste; Bridal ceremony; The Dentist) No. 4. Les conscrits; La sauteuse; Le bon ménage (The Conscripts; The jumpers; The good housekeeping) No. 5. Lecture des Tourneaux; Le cocher di Fiacre en dèfaut; Le Charlatan (Reading the turns; The coachman of Fiacre in defect; The Charlatan) No. 7. La Rosière; Le Pédicure; Les suites d'une Ribotte (La Rosière; The Pedicure; The aftermath of a Ribotte) No. 6. Partie d'Anes; Le Plaidoyer; Le Boston (Part of Anes; The Plea; Le Boston) Excessively Rare. OCLC locates just one suite (with only six plates) in libraries and institutions worldwide at Kunstbiblio Staatliche Museen Zu Berlin (Germany). GONDELIER, Jean-Baptiste (fl. 1821-1827). Gondelier was an engraver and a papermaker. As early as 1820, he was editor of a singer dedicated to Béranger, Le Constitution. He wanted to do city work but he also printed satirical prints, constituting the Gallery of the Grotesques. In 1826-1827 he collaborated in the writing of several plays performed at the Vaudeville theatre. Perhaps it was for this reason that he abandoned his lithograph patent and then applied for a letter printer's patent obtained in 1828. These 'Grotesque' caricatures appear to be based on the Woodward three-row strip genre typified by Grotesque Borders and Pigmy Revels, published by Ackermann and Fores, respectively, in 1799 and 1800. Fores continued to issue the Pigmy Revels strips in a folding panorama format, as well as in a spooled boxwood drum, well into the 1820s. "The relationship between Martinet-published works and Woodward's caricatures is commented on in an essay by Alberto Milano entitled "Change of Use, Change of Public, Change of Meaning: Printed Images Traveling Through Europe," appearing in a book edited by Evanghelia Stead, Reading Books and Prints as Cultural Objects (Cham, Switzerland: Palgrave MacMillan, 2018) at pp. 150-51. I am attaching scanned images of the relevant pages as Scans 1, 2, and 3. As you will note, the author of the essay suggests that Martinet "transferred Woodward's caricatures in a series of larger prints entitled Les Passions," but I am skeptical. The only two examples of those prints I have found -- at the British Museum -- do not relate to any Woodward satire of which I am aware. (For ease of reference, I am attaching the British Museum write-ups as BM-1 and BM-2.)" (William Gordon - author of the William A. Gordon Library of British Caricature)
England: Brown Watson, 1986. Paper Covered Boards. As New. 4to. Very hard-to-find reprint of Kubasta's Tip + Top and the Moon Rocket, originally published in 1964. In terrific shape; doesn't appear to have ever been read. All six popups and associated animations work great. Almost no cover wear. Number 10 on Tillman's list of the 100 best popups.
Lunenberg: Limited Editions Club, 1980. Hardcover. Orig. decorated gray pebble grained cloth stamped in black and silver. Fine in fine black slipcase spine lettered in silver. Fred Me. 224 pages. 22.5 x 17.5 cm. Illustrated with fourteen color gauches by Fred Meyer, designed by Frederick Stinehour, printed at the Stinehour Press. Limited edition, copy 1267 of 2000 signed by Fred Meyer. Printed in Bodoni, cast by the Bauer foundry in Germany. Laid-in the LEC Monthly letter. NEWMAN & WICHE 516. Bright, very fresh copy.
(Clifton, New Jersey): AB Bookman Publications, 1994. Softcover. Near Fine. First edition. Quarto. 2,163-2,274pp. Stapled wrappers, near fine. This issue contains Thomas Frognall Dibdin and Bibliomania, Kepler As Author, Printer and Publisher.
London: Darton, 1811. 32mo. 16pp., + 16 inserted plates. Each engraved image depicts the titular good boy engaged in less desirable activities, such as throwing stones, feeding scraps to the family pet, and drawing on the walls. Each is accompanied by a pithy couplet drawn from the soliloquy. The author includes an introductory note, in which he defends himself from the accusation that the verses give children naughty ideas that they would never have thought of themselves, and provides the suggestion that the reader insert his or her own name at the final line and face the potential ruin of the rhyme with bravery. Bound in tan wrappers with illustration to both covers. Expected but minor edgewear, faintest foxing, else near fine. A rare survival, with only two institutional copies listed in OCLC.
1955. London: William Heinemann Ltd, (1955). Original dark blue cloth lettered in gilt, with dust jacket. First Edition of this novella about a man who devises a scheme to win big at Monte Carlo -- but his obsession causes him to lose his girl (whom he planned to marry there) in the process; with an acquaintance's help he gains the girl back, but only by losing all the money he had won -- hence "Loser Takes All." The following year appeared the British film with the same title (screenplay also by Greene) -- starring Glynis Johns, Rossano Brazzi, and Robert Morley. This is a very good copy (wear on some edges of the boards, minor fading, foxing on the top edge). The dust jacket is just about fine (a couple of short closed tears); because the jacket is in better condition than the volume, one may assume that it was "married" to this book. This is a presentation copy signed by Greene, with the inked title page inscription "For Clive | Graham Greene"; at a corner of the front paste-down is the penciled signature "Clive Hirschhorn | Johannesburg, March 1985". For over 30 years, the South African Clive Hirschhorn was a major London theatre and film critic for the Sunday Express; he also wrote biographies of Hollywood stars like Gene Kelly and of the Hollywood studios Warner Brothers, Universal, and Columbia. He was also a major collector of modern first editions (his collection, including 28 Graham Greene titles, sold at Bloomsbury in October 2012). Additionally, the front free endpaper bears the undated ink signature of Anthony Woodward, a professor of English at the University of Wiltwatersrand in Johannesburg (Hirschhorn's alma mater); among Woodward's writings is "Graham Greene: The War Against Boredom" (Cape Town 1971, Cassis B7112). Quite a nice circle of associations.
Burlington (VT): Printed by Smith & Harrington, 1836. 4to. 275 x 225 mm., [10 ¾ x 9 inches]. vi. 46 pp. Lithographic title-page and 13 full-page lithographic plates. Original cloth, paper label on spine; cloth discolored and shows some remnants of water staining, spine and tips expertly repaired with tissue, spine label chipped; tide marks to preliminary leaves, frontispiece and title-page, plates 12 and 13 and rear end leaves. With fault a good copy. First edition. Illustrated with fourteen finely drawn and printed lithographs designed by the author and printed by the Pendleton's Lithographic Company, Boston. "John Pendleton, Lithographer. Born in New York State. While traveling in France, he became interested in lithography and studied the art under the best masters in Paris. On returning to America, he settled in Boston with his brother, a copperplate printer, and they established a lithographic establishment in 1825." John Henry Hopkins was an Irish immigrant, home schooled by his mother, who became a lawyer, musician, ordained minister, bishop and author of over thirty publications. He studied gothic architecture during his time in Pittsburg where he was charged with supervising the construction of Trinity Church. Dismayed with the unsightly designs of most churches in America he decided to compile his information as a guide to the elements of style and design characteristics of the gothic. He became of the most notable experts in the field and he published this work, one of the first of its kind in America, for the benefit of local ministers charged with the building of churches in the gothic style. Hitchcock American Architectural Books, 606. Fielding, Dictionary of American Painters, Sculptors and Engravers, p. 278. Peters, American on Stone, pp. 312-323. Allibone, Critical Dictionary of English Literature and British and American Authors I, p. 885.
Chicago: A. C. McClurg & Co., 1919. Octavo, pp. [1-8] 1-319 [320: blank], five inserted plates with illustrations by J. Allen St. John and twelve full-page St. John illustrations in the text, original orange cloth, front and spine panels stamped in black. First edition, first printing, first binding with publisher's imprint on spine panel set on three lines. A series of twelve stories, "The New Stories of Tarzan," all first published monthly in BLUE BOOK, September 1916-August 1917. The stories, containing some of Burroughs's best writing, were collected in JUNGLE TALES OF TARZAN. A total of 63,000 copies of the book were printed. There were multiple printings, probably four, all dated 1919. Bleiler, Science-Fiction: The Early Years 319. Bleiler (1978), p. 35. Reginald 02286. Heins JT-1. Private owner's bookplates affixed to front paste-down and free endpaper. Top and fore-edge of text block a bit tanned, a bright, nearly fine copy in bright, very good four-color pictorial dust jacket (reproducing painting by J. Allen St. John on front panel) with restoration at corners and spine ends. The jacket presents well overall.
1551. A Collection of Texts from the Corpus Juris Civilis in Handsome Uniform Contemporary Paneled Pigskin Bindings Justinian I [483-565 CE], Emperor of the East. Accorso, Francisco (Accursius) [c.1182-c.1260], Glossator. Gaius [Active 130-180 CE]. Institutionum D. Iustiniani Sacratissimi Imperatoris Libri Quatuor: Ad Vetustissimorum Simul et Emendatissimorum Exemplarium Fidem Summa Diligentia Recogniti, Emendati. Cum Scholiis Accursii. Adiecimus Pluribus Locis Annotationes ex Doctissimorum Hominum Commentariis, Ex Quibus non Parum Lucis ac Dignitatis his Iuris Civilis Elementis Accedit. Accessit Corpus Legum, Antea non Impressum, Ac Caii Institutionum Libri Duo. Lyon: Apud Hugonem a Porta, 1553. Pp. [24], 290, [2] pp. Large woodcut image of Justinian surrounded by his court. Main text in parallel columns with linear gloss. [Bound with] Justinian I, Emperor of the East. Accorso, Francisco (Accursius), Glossator. Volumen hoc Complectitur (Sic Enim Peculiari Vocabulo Vocant) Novellas Constitutiones Iustiniani Principis Post Repetitam Codicis Praelectionem Aeditas: Authentica Vulgo Appellant. Tres Item Posteriores Libros Codicis; Feudorum seu Beneficiorum Duos; Constitutiones Friderichi Secundi Imperatoris; Extravagantes duas Henrici Septimi Imperatoris; & Tractatum De Pace Constantiae. Omnia ad Vetustissimorum Simul & Emendatissimorum Exemplarium Fidem Recognita, Emendata. Accesserunt nunc Primum, & Nunquam Antehac Aediti, Iustiniani Novellarum Constitutionum Libri Duo, Cum Multis Annotationibus ex Doctissimorum Hominum Commentariis, Quae non Parum Lucis ac Dignitatis Huic Volumini Afferunt. Lyon: Apud Hugonem a Porta, 1553. [xvi], 276, 148, 99, [1] pp. Woodcut table of descents (in the form of a tree). Main text in parallel columns with linear gloss. [With] Justinian I, Emperor of the East. Accorso, Francisco (Accursius), Glossator. Infortiatum, Pandectarum Iuris Civilis Tomus Secundus: Quartae Partis Reliquum, Itemque Quintam Digestorum Partem, Ac Sextae Partis: Libros Continens, Ex Pandectis Florentinis Ita in Universum Recognitus ac Emendatus, Ut Nihil Praeterea, Quod ad Puram Eorum Librorum Lectionem Attinet, Desiderari Possit. Lyon: Apud Hugonem a Porta, 1556. [xxxvi], 923, [1] pp. Main text in parallel columns with linear gloss. [And] Justinian I, Emperor o.
Westminster: Archibald Constable, 1899. Seventh edition. hardcover. Very good.. A very good early (7th) edition, signed and dated by the author Bram Stoker on the front free endpaper. Housed in a custom-made collector's slipcase
Davis, California: Composer/Performer Edition, 1974. 11 volumes bound in ten (issues 7 and 8 bound in one). Complete; all issued. Oblong folio. 10-3/4" x 14". Original stiff decorative wrappers in colour. Spiral bound. Unpaginated, but with approximately 100 pages to each volume. Lavishly illustrated with musical scores and striking photographs and graphics in both colour and black and white. With supplementary material bound in, some quite unusual, including such things as magnetic audiotape and synthetic fur, screenprintings on transparencies, etc. Each issue with approximately 10 articles written by the major figures in avant garde music of the time, including Dietrich Albrecht, Charles Amirkhanian, Eric Andersen, Robert Ashley, Larry Austin, David Behrman, Mario Bertoncini, Joseph Beuys, Anthony Branxton, Eugen Brikcius, Jacques Brodier, Earle Brown, Allan Bryant, Boudewijn Buckinx, Harold Budd, Jim Burns, John Cage, Cornelius Cardew, Giuseppe Chiari, Paul Chihara, Barney Childs, Christo, Jani Christou, Philip Corner, Lowell Cross, Alvin Curran, John Dinwiddie, Peter Donath, Manfred Eaton, Robert Erickson, Morton Feldman, Robert Filliou, Fluxus, Lukas Foss, David Freund, Ken Friedman, Kira Gale, Peter Garland, Gentle Fire, Tony Gnazzo, Victor Grauer, Joel Gutsche, Gyula Gulyas, Olaf Hanel, Sven Hansell, John Hassell, Dick Higgins, Lejaren Hiller, Stu Horn, Nelson Howe, Jerry Hunt, Toshi Ichiyanagi, Image Bank, Zdzislaw Jurkiewicz, Udo Kasemets, Per Kirkeby, Paul Klerr, Milan Knizak, Jaroslaw Kozlowski, Carson Jeffries, Bengt Emil Johnson, Will Johnson, Ben Johnston, Alan Kaprow, Ed Kobrin, Alcides Lanza, Douglas Leedy, Daniel Lentz, Anna Lockwood, Arrigo Lora-Totino, Alvin Lucier, Mary Lucier, Stanley Lunetta, Eva Lurati, Stuart Marshall, Richard Martin, Harvey Matusow, Tom Marioni, Ken Maue, Dora Maurer, Maria Michalowska, John Mizelle, Robet Moran, Gordon Mumma, Keith Muscutt, Naked Software, Max Neuhaus, Nam June Paik, the New Percussion Quartet, Jocy de Oliveira, Pauline Oliveros, Harry Partch, Jon Phetteplace, the Portsmouth Sinfonia, David Reck, Steve Reich, Jock Reynolds, John Paul Rhinehart, Mark Riener, Roger Reynolds, David Rosenboom, Frederic Rzewski, Zorka Saglova, J. Murray Schafer, the Scratch Orchestra, Gerald Shapiro, Nicholas Slonimsky, Barry Spinello, Stanley Marsh 3, Andrew Stiller, Karlheinz Stockhausen, Allen Strange, Alvin Sumsion, Endre Tot, David tudor, Bertram Turetzky, Jiri Valoch, Wolf Vostell, Don Walker, Arthur Woodbury, and Christian Wolff. With 6 accompanying 10-inch LPS: - Robert Ashley The Wolfman; Dave Behrman Wave Train - Larry Austin Accidents; Allan Bryant Pitch Out - Alvin Lucier I Am Sitting in a Room; Arthur Woodbury Velox and Mark Riener Phlegethon - Larry Austin Caritas; Stanley Lunetta moosack machine - Lowell Cross Video II; Arrigo Lora-Totino english phonemes - Alvin Curran Magic Carpet; Anna Lockwood Tiger Balm Slightly worn. In very good condition overall. A complete run of this exciting independent periodical devoted entirely to the music of the 20th century avant garde, an outgrowth of the musical experimentalism in the late 1950s and early 60s at the University of California, Davis and Mills College in Oakland, California. In an effort to expand the traditional definition of music and formal concert performance, Source documents many of the most important "new music" trends of the period including improvised and indeterminate music, minimalism, Fluxus, performance art, graphic scores, electronic music, performance art, concrete and sound poetry, intermedia, British Systems music, video/laser light shows, new electronic, video, and communications technologies, etc. A landmark publication of great importance to the study of avant garde music of the mid-20th century, rarely found complete.
Cambridge: np, 1963. First edition. Fine. C.S. LEWIS GIVES PRACTICAL (AND SOMEWHAT HUMOROUS) ADVICE TO A STUDENT SELECTING A THESIS TOPIC, BEFORE REVEALINGLY SUGGESTING ONE OF HIS FAVORITE WORKS - DOROTHY SAYERS'S THE MAN BORN TO BE KING - AS A SUBJECT WORTHY OF STUDY. Written to a student, John T. Tukey of Rhode Island and dated July 6, 1963, the letter reads in full: As from Magdalene College, Cambridge 6 July 63 I always dissuade students from making a living author the subject of their thesis. When they do, however hard they work, the chosen author and his intimates will know a lot more about the subject that they can find out. Dead authors know a lot about their own work which we don't but fortunately they can't tell it. It has happened before now that those who were examining a thesis on my work have written to ask me whether some interpretation offered by the candidate is correct. This puts me in a v. awkward dilemma. If I refuse to answer they know that my answer would have been no. The candidate's work is thus unfairly subjected to a check which would not have been applied if he had written on a dead author. I suggest you choose Dorothy Sayers' cycle of plays on the life and death of Christ (title, The Man Born to be King). Whether it wd. come under the faculty of Theology or that of Literature depends, I suppose, on how you treat it. Yours sincerely [signed] C.S. Lewis Background - C.S. Lewis, Dorothy Sayers, and The Man Born to Be King: C.S. Lewis and the writer Dorothy Sayers quickly became good friends after the latter wrote him a "fan" letter praising his recently-published Screwtape Letters. It was not a particular surprise they developed a friendship for both had similar views on literature, scholarship, and theology (especially sharing the desire to explain and explore Christianity for their literary audiences). Sayers's The Man Born to Be King, a somewhat controversial re-telling of the life of Jesus, originally appeared as a radio drama airing from 1941-1942 before being published in book form in 1943. Lewis was immediately impressed with the work, writing to Sayers on May 30, 1943 (in one of his earliest letters to her), "I've finished The Man Born to be King and think it a complete success... I shed real tears (hot ones) in places: since Mauriac's Vie de Jesus nothing has moved me so much... I expect to read it times without number again...." Over the years, Lewis's admiration for the work only grew. He professed to reading it "in every Holy Week since it first appeared" and noted in 1949 that he thought "Man Born to be King has edified us in this country more than anything for a long time" (Lewis, Collected Letters, II, 989). Sayers died in 1957 - six years before this letter - and it is fitting that of all the books he could have recommended to the student Tukey, he selected The Man Born to Be King, a book he greatly admired and a book that had remained dear to his heart. Cambridge: 6 July 1963. One sheet, 5 1/4 x 7 inches, written in ink on both sides, signed "C.S. Lewis". With original mailing envelope with postmark. Generally fine condition with expected center mailing fold and a few light spots. Housed in custom presentation folder.
Salem, OH: Homestead Print, n.d., ca. 1850. First Edition. Unused handbill announcing anti-slavery meetings held by the Western Anti-Slavery Society, a splinter group from the Ohio State Anti-Slavery Society. This branch was led by the abolitionist Adam Brooke, a member of the utopian community the Marlboro Association; and, to a lesser extent, Parker Pillsbury, who attended and occasionally spoke at the annual anniversary meetings. The Society, Garrisonian in its rejection of the Church, stated that "We are not merely warring against the extension of new slave territory, nor against any fugitive slave law constitutional or unconstitutional; nor for the writ of habeas corpus, or the right of trial by jury for recaptured slaves, but we are waging eternal war against the doctrine that man can ever under any possibility of circumstances, hold property in man" (cf. William M. Wiecek, "The Sources of Anti-Slavery Constitutionalism in America, 1760-1848" (1977), p. 252). The group reached its peak in 1847 when William Lloyd Garrison and Frederick Douglass both spoke at the annual anniversary meeting, which drew several thousand attendees. However, the group always struggled with funding and was defunct by 1861. The present broadside reminds the reader that "Three million of your fellow beings are in chains--the Church and Government sustains the horrible system of oppression. Turn Out! And learn your duty to yourselves, the slave and God. Emancipation or Dissolution, and a Free Northern Republic!" 4 located in OCLC, none in Ohio. Original unused letterpress broadside flyer (40x27.5cm.); a few closed tears expertly mended, stock uniformly toned, else a Very Good, quite fresh copy.
Brussels: Les Lèvres Nues, 1968-1975. Quartos (30 × 23 cm). Issued in uncut loose sheets; approximately 8 to 32 pp. per issue (unnumbered). Illustrations throughout, mostly black-and-white, with some color reproductions tipped in. Most issues printed on laid paper, some on coated stock. Very good or better. A fine complete run of this important post-war Belgian surrealist journal, composed of 135 issues in 98 fascicules, with several double and triple numbers. Issued monthly and edited by Marcel Mariën, the journal features contributions by major Belgian surrealists, including Goemans, Nougé, Scutenaire, Colinet, Dumont, Magritte, Joostens, Lecomte, Tom Gutt, Wergifosse, Bossut, Souris and Bourgoignie, among others. Most issues focus on a unique work by a single author or artist, and are illustrated throughout with reproductions of works by Man Ray, Magritte, Picabia, Mariën, Bossut, Ernst, Graverol, Jamagne, Ubac and Van de Wouver, and others. Especially noteworthy are Magritte's contributions, which are often illustrated by him. Issues 81-95 constitute one volume containing "Lettres surrealistes (1924-1940)" edited and annotated by Mariën. Issue no. 95 contains "Filchings for Annoyed Birds" by Paul Colinet (in English). Most issues feature a distinctive title. Nos. 15, 30, 40, 55, 65, 80, 100, 107, 110, 120, 130, 134 issued as a "nouvelle serie" interspersed throughout the run, under the title "Les Lèvres Nues" and numbered 1-12. The last issue (no. 135) contains a cumulative index to the entire series. All issues uniformly hand-numbered "vingt-deux" (22) of unspecified print runs, which ranged from 50 to 250 copies. Given the low print run of the earliest issues, presumably only fifty complete sets exist.
4to (200x145 mm). Collation: [π]4 †4 A-T4 V2 X4 Y2 Z4 [χ]2. Half-title, engraved frontispiece, [12], 176, [4: errata corrige] pp. and [4] folding plates engraved by Francesco Nigro and Francesco La Barbera after Gerardo Astorino and Vincenzo La Barbera. Richly gilt modern morocco binding, original sprinkled edges. Minor restorations to the outer margin of the first leaves without loss, small worm track in the gutter of a few leaves not affecting the text, tears repaired along the folding of one plate, all in all a very good copy.
EXTREMELY RARE ORIGINAL EDITION of this festival account attributed to Filippo Paruta, but edited by his son Simplicio, who also signs the dedication to the Senate of Palermo, and published posthumously under the name of his other son Onofrio.
In the note to the reader Onofrio provides a detailed list of the works (orations, occasional writings, inscriptions for ephemeral architectures, etc.) of his father Filippo, who was the secretary to the Palermo Senate and the major responsible for the iconographic program realized on the occasion of the 1625 festivity.
At the beginning of the 1620s the viceroy Emanuele Filiberto of Savoy rebuild the Accademia dei Riaccesi, which gathered in the Royal Palace, and entrusted the scholar and mathematician Carlo Maria Ventimiglia with the direction of the academy. Around his figure gravitated many of the artists and scholars who designed the program and the solemn procession of the relics of St. Rosalia, held in June of 1625 as a sign of gratitude for deliverance from plague. Among them were the painters and architects Gerardo Astorino and Vincenzo La Barbera, the engraver Francesco Negro, the scholar Martino La Farina, who conceived the allegorical arch of the Genoese nation, and, above all, Filippo Paruta, who was linked to Ventimiglia also by a common passion for numismatics and antiquities. Paruta was involved in all literary activities related to celebratory events since the end of the sixteenth century. In 1625 he inspired the triumphal arch that the Senate erected in Piazza Villena and was responsible for the account of the festivities, which however was actually published only after his death in 1651.
The constitution of such a large and complex team to be entrusted with the creation of the apparatuses testifies of the importance of that event that officially marked the beginning of the cult of St. Rosalia. The solemnity of 1625 had no immediate follow-up and only in 1649 the feast of St. Rosalia was formalized with all those peculiarities that would characterize the following decades. In 1625, in addition to the impressive processions and solemn ceremonies to which all local communities, religious and civil, took part, two magnificent horse rides were organized; one, in particular, took place at the conclusion of the festivities, after the solemn mass in the cathedral. Then followed fireworks, organized by the German nation, tournaments and jousts. At the very end the nobility walked in gala dresses along Via Colonna (cf. M. Sofia di Fede, La festa barocca a Palermo: città, architetture, istituzioni, in: "Espacio, Tiempo y Forma", series VII, t. 18-19, 2005-2006, pp. 49-75; see also M. Vitella, Il primo Festino, in: M.C. Di Natale, "S. Rosaliae patriae servatrici", Palermo, 1994; and V. Petrarca, Genesi di una tradizione urbana. Il culto di S. Rosalia a Palermo in età spagnola, Palermo, 1986, p. 82).
Catalogo unico, IT\ICCU\PALE\004559; S.P. Michel, Répertoire des ouvrages imprimés en langue italienne au XVIIe siècle conservés dans les bibliothèques de France, Paris, 1976, VI, p. 80; Biblioteca centrale della Regione siciliana "Alberto Bombace", Sanctae Rosaliae Dicata, Bibliografia cronologica su Santa Rosalia, Settembre 2004, pp. 12-13; G.M. Mira, Bibliografia siciliana, Palermo, 1881, II, p. 186; A. Mongitore, Bibliotheca sicula sive de scriptoribus siculis, Palermo, 1707-1714, I, p. 293 and II, p. 174; M. Cornelles, V. Manuel et al., eds., La fiesta barroca. Los reinos de Nápoles y Sicilia (1535-1713), Palermo, 2014, ad indicem.
Glasgow:: Brown, Son & Ferguson, (1948)., 1948. Third impression. Two volumes. 25 cm. xiv, 518; xv, 448 pp. Frontispieces, illustrations, plans (some folding); spine gilt rubbed, corner bumped. Blind and gilt-stamped blue cloth, map endpapers. Very good copies.
London: [plates dated] 1825 [but published 1826]. Folio, 320 x 254 mm, engraved title and 21 plates. Proofs on India paper mounted on handmade paper, some leaves (2, 5, 6, 11, 14, 17, 18) watermarked J. Whatman Turkey Mill 1825. Gilt-ruled green morocco over thick boards, fleurons at the outer corners, double-rule inner frame enclosing a bloom roll, gilt-ruled spine, sewing bands with gilt red morocco onlays, thick dark blue endleaves, all edges gilt, by Riviere: a brilliant set with no foxing at all, interleaved with blanks at the time of binding with no offsetting. Lower cover of the binding at some time tied up with string with ensuing indentation. § First edition, limited to 150 proof sets (65 sets were also printed on French paper, and 100 sets on drawing paper with the word ‘proof’ removed). This is one of finest sets of the proofs I have ever seen, and far outshines the other two original printings and the later re-issue. The India paper set is the best printing of these famous plates which comprise Blake’s major single achievement as a printmaker after the illuminated books. Illustrations of the Book of Job was Blake’s last completed prophetic book: the text, a series of biblical quotations, is above and below each image. “It was produced while Blake was still working on Jerusalem, his most obscure book; yet the illustrations are Blake’s most lucid; and they are the supreme example of his reading the Bible in its spiritual sense” (S. Foster Damon, A Blake Dictionary, p. 217). “The modest size of the central panels does not prevent them from ranking with the supreme masterpieces of graphic art” (Ray, Illustrator and the Book in England #8). Note: as always, the first plate after the title-page is misdated 1828.
Used; Like New/Used; Like New. Poster for a March 28, 1966 appearance by the Civil Rights leader together with singer Harry Belafonte at the Palais des Sports in Paris. Organized by the Comité de Soutien Franco-Américain pour l'Intégration Raciale, the event featured a speech by King and music from Harry Belafonte and French singer Hugues Aufray, sponsored by Suze Liqueur. Two-color poster, with folding creases, one tear to the right edge, minimal wear and toning; overall very good. Sight size 14.5 x 22.5 inches (37 x 57 cm), archivally matted and framed to an overall size of 20.5 x 26.5 inches.In March 1966, King and Belafonte went to Europe for fundraising appearances on behalf of the Southern Christian Leadership Conference, starting with the Palais des Sports in Paris on the 28th, and closing in Sweden on the 31st. This poster for the French appearance is emblazoned with the logo of a sponsor, Suze Liqueur, and also cites the French-American Committee for Racial Integration as the organizing body. The opening act for the evening was the popular French folksinger Hugues Aufray doing a set of Bob Dylan covers, followed by a set by Belafonte. Dr. King closed out the evening with a speech on civil rights, touching on the war in Vietnam and American support for South African apartheid. The tour raised more than $100,000, but drew the wrath of the American ambassador to France for airing American problems overseas. See Ross, Hollywood Left and Right, p. 220. We have traced no other copies of this poster at auction or elsewhere.
Kansas City: H. Alfred Fowler, 1912. First edition. First edition. Original decorative card paper wrappers. The rare "Eragny Press" number (Volume I, Number 3) which features notes on bookplates by Esther and Lucien Pissarro, by J. M. Andreini, including three superb color printed specimens of book plates by the Pissarros, printed in colors on china paper and tipped-in. A scarce and very attractive rendering. There are also two other features in the number. Near fine.
Charles Bolick has lived and worked in New England for over 50 years, but grew up in North Carolina and attended public schools there, graduating from the University of North Carolina at Chapel Hill in 1962. He served as an officer in the United States Navy for three years, then began an insurance career that lasted for 30 years. During that time, Bolick developed an interest in paper Americana and began dealing privately and at shows. Since retiring from the insurance business in 1997, he has worked full time as an ephemera dealer.
Bolick's interest is in 18th and 19th (and occasionally 20th) century ephemera in all areas, but especially historic, political, social, and mercantile material. He sells privately and exhibits at about a dozen shows a year. Bolick is a member of the American Antiquarian Society, the Ephemera Society of America, and the Ephemera Society of Great Britain.
Pavel Chepyzhov started his career in the antiquarian book trade at 18 years of age, as a student of the Moscow State University of Printing Arts -- with a major in history of books and antiquarian bookselling. After working for three years in the antiquarian book department of Moscow-based auction house Gelos, he enrolled in the ILAB internship program. After spending several months working in Australia — during which time he participated in the Sydney and Hong Kong Antiquarian Book Fairs — he became the head of the Antiquarian Book Department at Gelos. In 2012, he established his own business.
Chepyzhov specialises in rare and antiquarian books printed in Russia and former Soviet Union countries, starting from the early manuscripts and first-printed editions, to pre-1941 avant-garde and art books. He was one of the first members of the Russian Guild of Antiquarian Booksellers, and his bookshop, Bookvica, is an active participant in book fairs around the world. In 2015, Bookvica has opened a second shop in Tbilisi (in the Republic of Georgia) and started to deal in Georgian, Armenian, and Azerbaijani books. Soon, Arabic and Japanese books followed. Bookvica produces seven to eight bookselling catalogues a year.
Since 2018, Pavel Chepyzhov has owned and managed a Russian-language bookshop in San Fransisco, Globus Books, serving the local Russian community and institutions across America. Globus employs three people and keeps an open shop. Bookvica and Globus issue shared catalogues and exhibit at fairs together.
By becoming an ABAA member, Chepyzhov is hoping to be more involved in the American antiquarian bookselling community. Chepyzhov has been a member of the ILAB’s executive committee since 2018.
Thorne Donnelley has been in the antiquarian book business for ten years, but has been a collector for most of his life. His shop, Liberty Book Store (Jupiter, FL), is open “by appointment only,” because he travels frequently to scout estates and libraries.
Donnelley holds an MBA from Palm Beach Atlantic University and a DBA from Nova Southeastern University. He is a graduate of the Colorado Antiquarian Book Seminar and has attended the Rare Book School at the University of Virginia. Donnelley is a member of the Florida Antiquarian Booksellers' Association, the International Online Booksellers' Association, and now the Antiquarian Booksellers’ Association of America.
An L.A. native born of British parents (devoted readers and book collectors who raised him with a fierce love of literature), Louis Jason has always been deeply enamored of books. Throughout school, he worked in a local independent bookshop, learning the trade and loving it! After completing his formal education, he traveled extensively, buying a highly diverse stock of desirable, collectible first editions in various literary fields. Upon returning home, he began selling online, at book shows, and through widespread mailings.
He partnered with his father, Harvey Jason, and opened a shop of their own, Mystery Pier Books, specializing exclusively in first editions, on the Sunset Strip in August 1998.
Lee Johnson and his partner Ivye opened their first bookstore in 1994 in a 1500-square-foot space with about 10,000 books on the shelves. Their first foray into internet bookselling began shortly thereafter, and three years later they moved to a larger space. In 2000, they closed their physical store and sold rare and collectible books on the internet for five years.
In 2005, they opened a new storefront with about 100,000 books on the shelves. In 2013, they again closed the retail store and concentrated on internet sales of antiquarian and collectible books. Currently they have about 6,000 books in a great variety of subjects listed on the internet at zephyrbooks.com.
Tom Lecky has extensive experience appraising, advising, and selling books and manuscripts at all levels of the market. After a 25-year career in the auction world – most recently as Head of Christie’s Books & Manuscripts Department in New York – he purchased Riverrun Books in 2016 (Riverrun was founded in 1978 by the much beloved Frank Sciocia). Lecky also serves as an independent advisor and appraiser and is a Certified Member of the Appraisers Association of America.
An enthusiastic generalist, his career has exposed him in depth to science, travel, historical Americana, and early printing, as well as English and American literature, the field in which he holds an advanced degree. Riverrun’s inventory also focuses on fine printing, illustrated books, art, photography, and design. Lecky was educated at Stanford University (MA American literature) and Columbia College, Columbia University (BA, English literature). Since 1999, he has been a member of the Grolier Club and has appeared as an appraiser on WGBH's Antiques Roadshow.
Dale Steffey's entrance into the rare-book world started with his discovery of John Dunning's Booked To Die. Realizing that he might own any number of valuable 20th-century classics, he set out looking through his library for first editions. Finding none, he quickly found a signed copy of James Dickey's Deliverance at a garage sale, and he was hooked. While continuing his 30+ year career as an award-winning glass artist with his wife Dawn Adams, he started scouring the country on trips to and from art fairs. To feed his book habit, he began scouting for book dealers and devouring their catalogues. After the tragic death of his son in 2007 and the Great Recession of 2008, he could no longer continue in the glass business and turned to Tibetan Buddhism and bookselling as refuges and sources of renewed interest in living. Entering book fairs brought him into contact with ABAA members, and with their inspiration and support he is proud to become the only ABAA seller currently living in Indiana.
Every so often an ABAA member lists an item that gets people in the business talking, regardless of whether it fits with their own particular interests or specialities. One of those items is this exceptional letter from Jack Kerouac to a young boy tasked with writing to a published author for a school project. The response is generous, eloquent, and expansive, offering more of a window into the author than the typical high-school project might reasonably be expected to produce!
1964. Jack Kerouac's candid handwritten reply to a young man's questions about being a "Beatnik," his life philosophy, his thoughts on Montana, and more. Students in Robert Dodd's ninth-grade class were given an assignment to contact their favorite writer with their own unique series of questions relating specifically to that writer. The young Dodd chose Jack Kerouac, and the author replied at length to his questionnaire, which includes queries about his classification as a "Beatnik" (his answer: "I never was a Beatnik - it was the newspapers and critics who tagged that label on me...."), life philosophy ("My philosophy is 'No Philosophy,' just 'Things-As-They-Are'"), career goals ("Be a great writer making everybody believe in Heaven"), the ideal way of life ("Hermit in the woods..."), his thoughts on fame ("My name is like Crackerjacks, famous, but very few people buy my books..."), and segregation ("[t]he Irish and Italians of Massachusetts never paraded in protest, just worked hard and made it").
Interestingly, Kerouac is most expansive in response to the final question: whether he has visited Montana. His answer fills three-quarters of the page, beginning: "Great day, my favorite state! - I wrote about Montana in 'On the Road' but the publishers took it out behind my back... I stayed one night, but up all night, in a saloon in Butte, to keep out of the 40-below February cold, among sheep ranchers playing poker." Two pages with Dodd's questions type-written and Kerouac's responses handwritten in full.
The letter reads in full, "To Robert Dodd from Jack Kerouac Feb. 28th 1964."
1. In Town and the Country (Kerouac crosses out Country for City) your style of writing is much different from The Lonesome Traveler. Do you change your style with the type of story? Kerouac responds: "'The Town and the City' was my first, youngman novel when I was just starting out, trying to write like Thomas Wolfe - 'Lonesome Traveler' is a product of my own style which I developed in later years, 'spontaneous writing' with no looking back, in my own laws of story telling - OUTERSPACE PROSE! My own original invention."
2. Many people have referred to you as a "beatnik" or a "way out" writer. Do you feel this way about yourself? "'Way-out' yes, but I never was a beatnik - it was the newspapers and critics who tagged that label on me - I never had a beard, never wore sandals, avoided the company of Bohemians and their politics and always had a job on the road like in 'Lonesome T.' on railroad, ships etc."
3. Some people refer to your thinking as existentialism where man makes his own destiny. Just what is your philosophy of life? "My philosophy now is "no-philosophy," just "Things - As - They - Are".
4. What goal are you trying to reach in your career? "Be a great writer making everybody believe in Heaven."
5. What do you think is the ideal way of life? "Hermit in the woods, one-room cabin, wood stove, oil lamp, books, food, outhouse, no electricity, just creek or brook water, sleep, hiking, nothing-to-do-(Chinese Wu Wei)."
6. Do you like fame or would you rather write and have only your works become famous? "My name is like Crackerjacks, famous, but very few people buy my books because they've been told by newspapers and critics that I'm crazy, so I'm almost broke now 1964 - I hate fame without fortune, which is really INFAMY AND RIDICULE, in my case."
7. From your many books I see that you must travel a lot. Do you try to mix in with different classes or do you stick to one? "All 'classes' for experience and learning - but I do prefer 'non-literary' people like waiters, truckdrivers, girls, carpenters, clam diggers, railroad men, sea men, old millionaires, all the 'characters'."
8. Does the West coast influence an author's style differently than the East coast? "No - I and the "Beats" came from the East Coast and just rode out there, no special difference in style except a little on subject matter, i.e. open-spaces country." 9. What is your favorite subject matter? "That everybody goes to Heaven - read "Visions of Gerard" (about Lowell in 1926)."
10. Here in Boston there is much controversy over segregation of the negroes. What is your stand on the issue? "They need jobs, naturally, and education for better jobs - But the Irish and Italians of Massachusetts never paraded in protest, just worked harder, and made it."
11. Do you plan to visit the East coast, especially the Boston area soon? "Yeh - "lecture" dinner at Harvard soon - I live in Long Island since 1958 so I can't exactly "visit" the Ease Coast, hey," -
12. Have you ever been to Montana and, if you have, what were your views on it? "Great day, my favorite state! - I wrote about Montana in "On the Road" but the publishers took it out behind my back - I stayed one night, up all night, in a saloon in Butte, to keep out of the 40- below February cold, among sheep ranchers playing poker (with sheep dogs at their feet), red-eyed drunken Indians drinking out of bottles in the john, Chinese gamblers, women, cowboys, miners - And outside of Butte, at Three Forks Montana, I saw the source of the Missouri River in the snowy valley - I also heard wolves howl in the Bitterroot Mountains - But I didn't like Missoula much (skiers etc.) - I would like to have a summer cabin in Montana some day, the last truly "Western" state.
Sincerely, Jack Kerouac."
In near fine condition. Matted and framed. The entire piece measures 31 inches by 18 inches.
A rare and intimate glimpse into the thought an literary progression of one of the formative writers of the 20th century. Born in Lowell, Massachusetts, literary iconoclast Jack Kerouac is generally considered the father of the Beat movement, although he actively disliked such labels. Kerouac's method was heavily influenced by the prolific explosion of jazz in 1960s America and later by his studies in Buddhism that originated with fellow beat and academic Gary Snyder. The raucous, exuberant, often wildly funny account of a journey through America and Mexico, Jack Kerouac's On the Road instantly defined a generation on its publication in 1957: it was, in the words of a New York Times reviewer, "the clearest and most important utterance yet made by the generation Kerouac himself named years ago as 'beat.'"
Written in the mode of ecstatic improvisation that Allen Ginsberg described as "spontaneous bop prosody," the novel remains electrifying in its thirst for experience and its defiant rebuke of American conformity. In his portrayal of the fervent relationship between the writer Sal Paradise and his outrageous, exasperating, and inimitable friend Dean Moriarty, Kerouac created one of the great friendships in American literature; and his rendering of the cities and highways and wildernesses that his characters restlessly explore are a hallucinatory travelogue of a nation he both mourns and celebrates.
--Offered by Raptis Rare Books.
But, this isn't the only remarkable piece of Kerouaciana offered by our members. Earlier this year, ABAA-member University Archives sold Kerouac's personal first-edition copy of On the Road, and ABAA-member Charles Agvent recently published a catalog of books and ephemera from the library of beat icon Herbert Huncke, including several items signed by or related to Kerouac. Below you'll find a selection of other books and letters by Jack Kerouac currently offered by ABAA members, as well as some noteworthy items by other members of the beat generation:
New York: The Viking Press, 1957. First Edition. Hardcover. Both the book and the dustwrapper are bright and fresh, with a few very short closed tears to the top of the dustwrapper. Fine in a Near Fine dustwrapper. Third Printing in a Third Printing dustwrapper BUT INSCRIBED and SIGNED by the author on the front endpaper: "To Don---/from/Jack Kerouac/I'm really happy/that you came to the/party Henri threw for me!" Henri was one of Kerouac's oldest friends, Henri Cru, the character Remi Boncoeur in ON THE ROAD. (Some years ago we sold a copy of this book inscribed to Henri as "my best friend" by Kerouac.). Except for one book signing event in Denver for his first book, THE TOWN AND THE CITY, Kerouac did not do promotional signings for any of his books. When ON THE ROAD was published, Kerouac was so overwhelmed by the publicity that he went into self-imposed exile with his mother. Consequently, inscribed copies of any printing of this, his most important book, are rare. The heavyweight champ of Beat Literature finally made into a film after years of speculation. While Kerouac was alive he wanted to play Sal Paradise and costar with Marlon Brando, but Brando decided against the project.
New York: Grove Press, 1958. Hardcover. Very Good/Very Good. Second printing. Professionally recased. Good with the pages somewhat toned and the first few dampstained but fresh lettering on the front board and spine fresh in good dustwrapper a bit rubbed, a few tiny tears and partially split at the spine. Inscribed by Kerouac to Terry Southern: "To Beautiful Terry from Ugly Uncle Jack, Jack." Kerouac and Southern met through Mason Hoffenberg, Southern's *Candy* co-author, when Southern returned from Paris to New York and settled in Greenwich Village. Southern was notorious for abusing his books and this copy is no exception, hence the re-casing. Still a spectacular association copy linking two iconic counterculture figures in what is often considered one of the scarcest of Kerouac's books to find signed.
Pleasant Valley, NY: Kriya Press, 1968. First edition. Paperback. Fine. Single sheet illustrated broadside with four short poems by Kerouac. Fine condition. Measures 12 x 17". Per the colophon "Limited edition of one hundred copies of which this is number X" (Perhaps denoting #10?) Charters makes no mention of a lettered edition. In any event, a scarce piece of beat culture ephemera.
Beverly Hills, CA: Metro-Goldwyn-Mayer [MGM], 1960. Original three sheet poster for the 1960 film. From one perspective, a fairly one-dimensional representation-perhaps even a caricature-of Beat culture, but culturally fascinating in that it was made at the height of the Beat era, with A-list talent by a top studio, and, until Walter Salles' 2012 adaptation of "On the Road," was the only feature-length film ever made from a Kerouac novel. Kerouac was paid $15,000 by MGM for the rights to the book, and bought his first home with the proceeds, on Long Island. A film that rarely screened today, and has never been available on any kind of home viewing format. While its perspective on the actual Beat scene may be skewed or wildly misinterpreted, it is nonetheless important as an interpretation of Kerouac's world from the outside looking in. 41 x 81 inches, folded as issued. Very Good, with minor wear at the folds.
New York: Coward, McCann, 1965. Introduction by Seymour Krim. SCARCE in collectible condition. Near Fine, a bit of separation of page block at head of spine, in a Very Good dust jacket, spine sunned yet still legible, 1/2" closed tear bottom edge rear panel, small chips at folds. . First Edition. Cloth. Near Fine/Very Good. 8vo - over 7¾" - 9¾" tall.
Ozone Park, Long Island, New York, 1944. 2 pp. Annotated "'44" in red ink in upper right corner. 4to. Toned, tiny chips at corners, brittle at edges, old tape reinforcement to margins on verso. 2 pp. Annotated "'44" in red ink in upper right corner. 4to. "You were the only true teacher I ever had, my friend." ...
Unpublished Kerouac letter. A poignant, emotionally vulnerable letter written by a 22-year-old Kerouac to Ian Macdonald, one of his close friends from his hometown of Lowell, Massachusetts, interrogating Macdonald on the cooling of their friendship; discussing his future first wife, Edie Parker; and mentioning several works in progress, including the earliest version of his first novel, The Town and the City, Visions of Gerard, and others. Kerouac and Macdonald had been part of a tight-knit group of aspiring writers and artists in Lowell in which the young Kerouac found intimate friendship and intellectual and artistic nourishment in the early years of his development. At the time of this letter, Kerouac had been living in New York for four plus years.
"This should prove a rather difficult letter to write," Kerouac begins, adding: "I cannot understand why you do not answer my letters." In speculating whether he'd done something to offend Macdonald, Kerouac mentions their old Lowell crew ("Sebastian, Eddy, Connie, Billy Ryan"), alludes to an episode when he crashed a party at Macdonald's place ("you remember my barging into your house at midnight a year ago, uninvited, unwarrantedly wined, breaking up a quiet session of Mozart chamber music and discussion with pipe and pouch?"), and recalls the hurt he'd recently felt after discovering that his "relationship with Edie ... was a source of laughter for you and Cornelilus ... it was an ordeal, walking back alone that night while you and Connie rode off together, laughing. I circled the block several times and revised some of my theories on human nature." (He adds that his "plans for the next six months do not include [Edie], much to her anger" though in fact they would be married four months later.)
Turning to his literary output, Kerouac writes, "My original idea was to tell you of my latest work, over which I am overly excited---about the novel, 'Galloway' [i.e. The Town and the City], which is at the 30,000-word mark; about my long poem in four parts, entitled 'Supreme Reality'; and about a work I began quite recently, 'Dear Brother', which is destined to become a 150,000-world letter to "my brother, whom I have created in the image of my spirit.'" (This would be the first efforts toward what would ultimately become Visions of Gerard.) He ends by imploring Macdonald to resume writing to him, invoking the extraordinary impact their friendship has had on his life: "Most important in my mind, Ian, is to find out what's wrong ... I haven't one friend in the world who is a fellow artist and to whom I can express myself. The generous time you devoted to me, during those days when we used to play Beethoven and admire each other's works and devour sumptuous feasts, was a time that I shall never forget. You were the only true teacher I ever had, my friend." He ends by saying that his "offer to come to New York still stands, and imploring, "Try to come, Ian. And please write. I'm afraid I am now ready to collapse into my bed. I have been writing all night.
[ca 1950s]. An album containing early photographs by and of William S. Burroughs and other figures of the Beat generation, including photo collages and partial collages, with annotations by Burroughs; a photobooth portrait; a passport photo; a negative of an unpublished Brion Gysin photograph of Burroughs from 1959 (with contemporary archival print); and other images. 32 photographs in all, plus calling cards of Bruno Heinrich and Charles Henri Ford, and a copy of Driffs magazine -- "The Antiquarian and Second Hand Book Fortnightly" -- which includes Part 1 of Iain Sinclair's "Definitive Catalogue" of the Beats -- this part being devoted entirely to the works of William Burroughs, with this album as item number 80 in the catalogue.
The photographs are primarily from the early 1950s -- the ones annotated by Burroughs having dates from 1952 to 1954. Several photographs are taped together, forming early visual collages, while a number of the individual photos have sellotape along their edges, suggesting they were at one time part of a larger collage. The collages, or collage fragments, represent some of Burroughs' earliest attempts to use visual images in the way he was using words -- to transcend time and space, and link together various aspects of his life and world, in ways that correlate to a "mindscape" -- akin to the connections between the stories he wrote during that period that were collectively known as the Interzone, which was also an early title for Naked Lunch. Brion Gysin, in his 1964 essay, 'Cut ups: A Project for Disastrous Success,' wrote that "Burroughs was more intent on Scotch-taping his photos together into one great continuum on the wall, where scenes faded and slipped into one another, than occupied with editing the monster manuscript" -- i.e., Naked Lunch, aka his Word Hoard. And Burroughs wrote in one of his Adding Machine essays: "I was back in my old garden room at the Villa Muniria [in Tangier], and it was here that I first started making photo-montages." This was March 1961.
The provenance of this group of materials is "the legendary Hardiment suitcase," belonging to poet Melville Hardiment, a friend of Burroughs during the years 1960-62, who is also known as the first person to have given Burroughs LSD, apparently without Burroughs' advance knowledge. Hardiment's wife at the time was Harriet Crowder, a photographer who is well-known for having taken the portrait of Burroughs on the LP "Call Me Burroughs." Hardiment bought a number of items from Burroughs in that time period and famously kept them in a suitcase. According to his second wife, Pat Hardiment, Melville would sell off the contents bit by bit, when he needed money. One group of materials ended up at the University of Kansas, and is known there as the Burroughs-Hardiment Collection: this group went from Hardiment to the bookseller Pat Zanelli, to bookseller Larry Wallrich, and then to the university. A second group of photographs and collages went into the collection of photographer Richard Lorenz, and were exhibited in the 1996 show at the Los Angeles County Museum of Art -- "Ports of Entry: William S. Burroughs and the Arts."
San Francisco: City Lights Pocket Bookshop, 1956. Original wraps. Near Fine. A remarkable Association copy of the 1956 correct 1st edition. This copy not only conforms to all the original issue points but is in beautiful, near-pristine condition. Furthermore, THIS COPY IS SIGNED BY 5 OF THE KEY FIGURES IN THE BOOK'S GENESIS: 1) ALLEN GINSBERG (on the title page); 2) LAWRENCE FERLINGHETTI (on the copyright page); 3) LUCIEN CARR (on the dedication page); 4) WILLIAM BURROUGHS (also on the dedication page); and 5) CARL SOLOMON (on the first blank endpaper). In other words, this copy is signed by the book's author, its publisher and by 3 of its 5 dedicatees (only Jack Kerouac's and Neal Cassady's signatures are missing from this copy). Notably, of the 5 signatures, all critically important to the birth and evolution of "Howl", Lucien Carr's appears to be the most elusive. We know that Carr's relationship with the Beats grew tense early on and that he insisted his name be removed from all subsequent printings of "Howl". We also know that Carr himself introduced William Burroughs (an old friend from their St. Louis upbringing) to Jack Kerouac and Allen Ginsberg --and that Carr's infamous career at Columbia (as documented in the 2013 film "Kill Your Darlings") saw him as a very important muse to this budding literary scene. A fresh, tight copy, immaculate internally and easily Near Fine overall, while legitimately approaching Fine (even down to its unrusted staple). Also includes a hand-made chemise (signed by Ginsberg at a later date), a folded cardboard reproduction of the book's front cover which, among other things, capably protects the fragile 1st edition and no doubt helps to explain its remarkable condition. Of the 1,000 copies of "Howl" initially published, this must certainly rank as among the very most historic and significant.
by SALLES, WALTER (DIRECTOR); JACK KEROUAC (AUTHOR); JOSE RIVERA, HAROLD MANNING, MICHAEL HERR, FRANCIS FORD COPPOLA (SCREENWRITER); SAM RILEY,, GARRETT HEDLUND, KRISTEN STEWART, AMY ADAMS (STARRING)
New York: IFC Films, 1980. Early unused Draft script for the 2012 film. Francis Ford Coppola bought the rights for Jack Kerouac's seminal, generation-defining novel in 1980 for $95,000. Coppola then struggled to find a screenwriter to adapt the book, as well as find a director. Eventually he settled on screenwriter Jose Rivera. Before that, however, he had drafts written under his direction from Michael Herr, Barry Gifford, Russell Banks, and even one himself with son Roman. This draft is one of the first attempts of Coppola to adapt the novel, which would not be made into a film until 2012, using Rivera's script, under the direction of Walter Salles and produced by Coppola. The film version was first proposed in 1957 by Kerouac himself, who wrote a one page appeal to actor Marlon Brando, asking Brando to play the part of Dean Moriarty, while Kerouac would play Sal Paradise. He never received a response from Brando. After his father is buried, Sal Paradise becomes acquainted with Dean Moriarty and along with his friend Carlo Marx, decides to experience America from behind the wheel of a car, rather than in the dusty classrooms of Columbia University. Set in America, shot on location in Canada, America and Mexico. Yellow untitled wrappers. Title page present, noted as Second Draft, with credits for screenwriters Francis Coppola, and Michael Herr. 176 leaves, with last page of text numbered 174. Xerographically duplicated. Pages Near Fine, wrapper Very Good plus bound with three gold brads.
New York: E.P. Dutton, 1967. First edition of this notable assessment of the literature of the Beats and their contemporaries, with essays on Jack Kerouac, Allen Ginsberg, Gershon Legman and Jay Landesman. Octavo, original cloth. Association copy, inscribed by the author to his wife on the front free endpaper, "For Shirley- the brave adventurer, the good companion, my love- John Feb. 3, 1967." Near fine in a near fine dust jacket. Jacket design by Paul Omin. An exceptional association copy. At 40, John Clellon Holmes scrutinizes maturity-his own, and that of the recent, memorable generation we called Beat. This is one writer's provocative, personal summation of the men and ideas that made his literary generation. Despite himself, Holmes became spoksman for the Beat. Contains intimate portraits of Gershon Legman, Jay Landesman, Allen ginsberg, and Jack Kerouac.
Browse the latest catalogs, newsletters, and e-lists of rare books, fine bindings, incunabula, print ephemera, and much more from the members of the ABAA below. (Also includes podcasts, blog posts, and other digital formats.)
London: Whittaker & Co. 2 White Hart Street, Paternoster Square, E.C. and 66 Fifth Avenue, New York, 1896. First edition. 19 cm. [v], vi-ix, [1], 241pp., 48pp. publisher's catalog. 112 illustrations. Red cloth with gilt stamping, spine faded.
Dick Farman was the youngest of the Farman brothers. Henry and Maurice were involved in car racing and then aviation. Their Goliath would be the first international passenger airplane. Dick who was an engineer would run the office of the Farman Company. The company produced a number of automobiles but none were commercially successful, they had better luck with their airplanes and were successful until the French government nationalized the aviation industry. This copy bears the stamp of Thomas A. Watson, Thomas Edison's assistant. It is not surprising his interest in this book as it is one of the earliest on motorized transportation and technically detailed.
Paris, France: 1918. Unbound. A collection of 40 loose photographs on double-weight stock, in the original paper folder from the photographic studio, John Daniell & Sons of New York City. Folder is good only with chips, tears, and rubbing; the photographs are fine. An archive of photographs from Armistice Day in Paris in 1918 taken by an American onlooker. The photographs are taken on the route just beyond the Arch de Triumph with it in the background of many of the photos. There are throngs of people gathered to watch the troops march by with a focus on American troops. One photo shows the American Hospital Service car and another shows a waving American flag. There are troops on foot with rifles as well as mounted troops and men in military cars and vehicles. Armistice Day is now known as Remembrance Day in France and is still celebrated. On the 11th of November 1918 the streets were full of people and the *Daily Mirror* wrote at the time “processions of soldiers and munition girls arm in arm were everywhere.”
A wonderful collection of original photographs taken from the crowd on Paris’ Armistice Day.
Offered by Between the Covers Rare Books and found in "E-catalog 67."
Sydney, Australia: Beacon Press, 1948. Folio. 53pp. One of forty deluxe copies, signed by the author. A lovely production, illustrated with thirty-six color plates. The plates are genuine prints: beautifully made modern reproductions of the originals, done in Japan. The text traces the rise and fall of the Ukiyo-ye school of Japanese wood-engraving, from its origins with the artist Moronobu in the seventeenth century, to its decline under Western influences in the nineteenth century. Ukiyo-e is translated as "pictures of the floating world," and prints of this genre depict the carefree pleasures of life: a world of entertainment and beauty, beyond mundane, everyday concerns. Ukiyo-ye challenged the traditional aristocratic and courtly schools of painting, and the plates depict people of the lower classes, including actors and courtesans, the finely-dressed beauties of the city, and tea-house waitresses. Artists of this school featured in Barnett's work include Utamaro, Shunsho, Harunobu, and Kiyonaga. Sumptuously bound in silk brocade, backed in gilt-ruled vellum. The endpapers bear prints of a woman carrying an umbrella, surrounded by borders of red maple leaves. A few very faint spots of offsetting from the plates, else a very fine copy. With the armorial bookplate of Bernard Gore Brett and a small, unobtrusive bookseller's label to front paste-down. An enchanting introduction to the art form.
PEORIA, ILLINOIS: 1930S-40S. Large black striped album binding titled "Exquisitely", with decorative image of a stag pasted to front cover, 46 photographs, several pieces of ephemera, and numerous pictorial clippings. The album was assembled by Gene Casad, window trimmer in the display department at the Block and Kuhl Co department store in Peoria, Illinois, according to a card pasted to the front pastedown, which is followed by the title "Display World" cut out of a magazine. The album contains many photographs of Casad's window displays, as well as several shots of store displays, followed by many pictorial clippings taken from magazines also depicting department store window displays of women's fashions, handbags, shoes, appliances, furniture, etc. These were possibly used by Casad for reference and inspiration. The photos and clippings are backed by leaves of colored construction paper or decorative wallpaper, likely pasted into the album by Casad himself. Thus the album, with these collage elements as well as its vertically striped, jet black front cover, serves as a tribute to the Art Deco style of the department stores themselves. Album leaves warped and soiled, covers soiled.
United Kingdom. c1890. A collection of three woodworking design books featuring pen and ink stencils and applied cuts for layouts. Each of the covers of the books have titles pasted onto them. The titles are: Original Designs Book, Designs for Woodcrafting, and Designs for Chip Carving.
The 'Design for Chip Carving' book appears to have a souvenir blank notebook published by the art department of 'Pure Boots Drug Company' that was then repurposed. The Chip Carving book also features both pasted in printed applied cuts and pen and ink stencils. The stencils are hand drawn of a variety of different filigree - mainly with floral elements- and animals. There are three animal stencils, the first is a flock of birds, the second has dragon flies and goldfish, and the third images features two owls sitting on a branch with two bats flying around the moon. The printed applied cuts feature more traditional geometric designs, as well as some floral designs. These designs were for picture frames, mirrors, brushes, furniture, shelves, and various boxes (ex. cigar box). Two of the books are completely filled, one, Chip Carving, is half filled.
Measures 11" x 8 ½”(largest), 9 ½”x 6 ½”(smallest). The two smaller books have 24 pp each and the larger about 40pp.
Offered by Eclectibles and found in "E-list #74" (item #13).
Tokyo: Kodansha International (1987). First English language edition. 12mo. [4], 5-165, [1], [10] (pages of publisher's advertisements in Japanese). Paper pictorial jacket over softcover grey wraps. Includes a bookmark for Kodansha English library. Translated by Alfred Birnbaum. Lacks the "obi" band. Very near Fine in very near Fine dust jacket. Wikipedia, "Hear the Wind Sing". The first novel in Murakami's Trilogy of the Rat, made available in English only by Kodansha International Publishing (until 2015 when the story was published in an omnibus English edition of Murakami's works). Murakami preferred this, as he considered it to be a work from his "immature" period. The novel is concerned with the Japanese student movement, writing as a process, and the ways in which Japanese and Western culture interacted in the latter half of the 20th century.
A century of circus letterhead and envelopes. Mostly 1920s‐1930s, but spanning early 1900s through the 1980s. Mostly American, some from Great Britain. All standard sizing 215 by 280mm (8 1/2 by 11 inches) and 240 by 100mm (9 1/2 by 4 inches). A few with repair tape or glue remnants on back; some with year stamp on back; almost all blank. A cornucopia of graphic design and a study in print adverising at its finest. Circus letterheads spawned their own legion of collectors and fans.
Offered by Mark Funke, Bookseller and found in their new catalog "Circus."
OCCASIONAL LIST 22: A Miscellany: Original Art Work; Small Archive of Major English Watercolourist; Interesting Theatrical Pieces; Manuscript Material, Etc., Etc. -- available on request from fgrare@fgrarebooks.com...
Has the following lists available: California, Texas, Kansas, Missouri, Minnesota, Iowa, Nebraska, Oregon, Louisiana, Colorado, Ohio and New York. Will email to interested parties. Contact info@ginsbook.com to request...
Antverpiæ ex officina Plantiniana, M. DCVI. Second edition. This copy is bound in full contemporary blind stamped calf over wooden boards with two working clasps. Quarto ‡4, ‡‡4, A-Z4, a-z4, Aa-Ee4.+ 100 Numbered Plates. With a special engraved title pages which is an allegorical depiction of Christ carrying the cross, surrounded by ten artists at easels painting scenes from his life (as well as a few questionable profane subjects). The vovelle : Allows the reader to find their way through the Gospels. The centers of the engraving and the volvelle (through which a string passes) are reinforced with small paper roundels printed with the monograms of Christ. The numbers are keyed to an "Indiculus orbitae" that follows (Bb1r-Bb2r). There a number, having been selected, is provided with a phrase from various Latin authors (listed on Bb2v), and a reference to one of the hundred sections that comprise the main text. It is suggested in Bibliotheca Belgica that this game may have been intended as a pious alternative to such superstitious books as Thuys der fortvnen.
Veridicus Christianus emphasizes the Society of Jesus' investment in thinking in, though, and about visual images that exemplify the supreme mystery of God. Published as a tool of devotion and meditations, it features one hundred chapters that encompass a wide range of topics for reflection. Each chapter incorporates an extensive commentary that interprets the emblematic image David too follows the order in which we apprehend things with our senses, beginning with a visual representation at the head of each chapter. Then comes the explication. The symboli explicatio was considered necessary because cultivated readers would be more susceptible to a reasoned argument than a picture. The text is divided into 100 chapters, each with an allegorical engraving incorporating letters keyed to the explanatory text and with marginal references. Each of the 100 numbered plates has a single line of Latin at the head giving the subject, with two-line explanatory verses below the allegorical engraving in Latin (roman letter), Dutch (civilité) and French (italic) First plate (following [2 daggers]4) is added title leaf for the ill., which were also published separately; see Bibliotheca Belgica. The added title reads: Icones ad Veridicvm Christianvm P. Ioannis David e Societate Iesv At the end is Device with compasses and the motto "constantia et labore" on Ee4r . This book is notoriously found defective in one way or another, this copy is perfect and complete.
New York: Reynal & Hitchcock, 1939. First edition. Hardcover. One of the best books to come out of the FSA experience, that shows the grim resolve and the conditions in the late 1930's dust bowl. Text by Taylor and powerful black and white images by Lange. A tight close to near fine copy with some very faint evidence of a moisture stain to the base of the spine in an about fair first issue dust jacket that numerous small chips, edge tears, wear, tape repairs to the verso and staining. This is the first issue with with the list of Vital Books for Our Time and an advertisement for Mein Kampf on the rear panel of the dust jacket and in a lighter blue cloth with no topstain. This issue is also slightly heavier than the second issue. Much less common in the first issue. (Roth 102-103, Parr & Badger v1, 142-143).
Offered by Jeff HIrsch Books and found in "E-list #164."
Glenview, IL: Karen Hanmer, 1999. Number 4 of 20 copies. Signed and numbered by the book artist. Karen's artist-made books are physical manifestations of personal essays intertwining history, culture, politics, science and technology. She utilizes both traditional and contemporary book structures, and the work is often playful in content or format. She exhibits widely, and her work is included in collections ranging from Tate Britain and the Library of Congress to UCLA and Graceland (from artist's statement).
In this amusing book, Karen utilizes the flag book structure originated by Hedi Kyle to juxtapose and contrast two staples of western art history, "Mona Lisa" and "Waterloo," a poker dogs painting by Cassius Coolidge. Partial images of each work alternate as the flag images are turned. When the book is completely open the full poker dogs picture is seen. The images are reproduced with pigment inkjet prints. No text. The book is 8 x 4.5 inches closed and 8 x 19 inches when open. Housed in archival storage case with Velcro closures. In fine condition.
Offered by Kelmscott Bookshop and found in "Art Books."
[ no place ]: [ no publisher ] [ no date ]. Faux leather protective roll with two snap closures, containing three portraits on paper. The whole connected on one end between two large (1 1/2 inch) dowel halves on one end. The salesman could add various portraits to the assemblage by separating the two half dowels, adding additional portraits, and screwing the assemblage together again. This example has a green tinted linen guard laid in to protect the paper portraits as they are rolled and snapped shut. Leather roll is approx 17 1/2 inches wide and two foot long. This portfolio contains three examples - the first a black and white distinguished bearded gentleman, the second a stylized woman in brown tint, and the third a young woman with very nice colored tints. All have some wear and dampstaining, and the faux leather covering is stained and has various detritus attached to it. Very Good. [28017]
Large photographic prints were expensive and difficult to store and transport. This was one solution for photographers - a sample portrait that could be rolled up in a protective cover and taken where-ever needed - the fair, the office, or a client's home.
We find one of these a year roughly so they were in use - rarely do we find the same images used though. This example has three images representing different styles/coloring possibilities, each with a penciled number on the back. These may have been examples of Crayon Portraiture which was a method of using crayons, a solar projector, and crayon paper to hand-draw an enlarged portrait from a smaller image. There are other, competing processes as well, all 19th century inventions. We often see the results in victorian era frames in antique shops so there was some success in promoting and creating these portraits.
An excellent "prop" that takes the holder back to the days of the traveling photographer, here in color!
N.p.: [Royal Crown Cola Company?], [1960s]. 11” x 28”. Thick cardboard. Very good plus: light edge and corner wear, bump near lower left corner.
Over two feet wide, this is an advertisement for Diet Rite cola featuring an African American family, probably intended as a store display. Although not the first diet soda, the launch of Diet Rite in 1958 (which was initially marketed to diabetics and
sold in drug stores) led to a significant expansion of the diet soft drink industry. We find no other examples.
London: Printed by S. Roycroft for Henry Twyford, 1680. [viii], 260, [12] pp. Octavo (6-1/2" x 4"). Later three-quarter calf over marbled boards, rebacked retaining spine, which has gilt ornaments and later lettering piece, endpapers renewed. Some rubbing to boards and extremities, corners bumped and lightly worn. Light browning and occasional light foxing to text. Early owner underlining to title page, which has some edgewear, interior otherwise clean. An appealing copy.
*Only edition. This book was the first digest of the London's laws and guide to its courts after the revisions of the city laws from 1647 and 1658. A useful work that gathered a great deal of disparate information, it is a valuable resource today for students of seventeenth-century London and its legal system.
[n.p.: 1861-65]. All uncancelled, generally 3" x 5-1/2". Occasional light wear, a few with short splits or chips.A few have glue remnants on flaps from prior mounting. Very Good.
Offered by David M. Lesser, Fine Antiquarian Books and found in their new catalog, "Postal Covers."
Wittenberg: Cranach and Döring, 1524. Quarto: 21 x 15 cm. [20] pp. A4, B2, C4
First edition of Luther’s response to the growing danger posed by the radical preacher Thomas Münzer, who was ultimately executed the following year for leading the violent, open revolt that came to be known as the Peasants’ War.
In 1523, Thomas Münzer, formerly the leader of the radical “Zwickau Prophets” began to radicalize the area of Allstedt, where he was then pastor, preaching that the ungodly were to be eliminated and the elect would establish a kingdom of Christ on earth and threatening the political rulers of the area with rebellion.
Illustrated Catalog on Carlos Merida (1891–1984) -- Mexican painter, sculptor, writer and graphic designer -- available by request from mmbooks@comcast.net
“Prise de la Bastille par les Bourgeois et les braves Gardes Françaises de la bonne Ville de Paris, le 14 Juillet 1789. Dédiée à la Nation.” (France, after July 14, 1789). Hand-colored engraved folding paper fan, printed on recto and verso on two adhered sheets, the recto with a full-width etched and engraved scene of the taking of the Bastille, colored in watercolors and white gouache, within stencil-printed decorative border, the verso with an engraved poem; mounted on original plain wooden sticks, the guards with narrow fillets of decorative bone along edges and at rivet, the unfolded leaf measuring approx.137 x 500 mm., total fan measurement 208 x 500 (10 3/4 x 20 in.).
Condition: a few small chips and old paper patches, mainly to the borders, one small patch within the engraved area, affecting only the background, slight wear along a few pleats, one or two small stains, 2 words slightly rubbed on verso, a guard relined.
A FINE EPHEMERAL SURVIVAL: a rare fan on a popular and dramatic theme, no doubt issued soon after the event depicted. Although by July 14 1789, the Bastille was nearly empty, and its historical reality was that of “the least cruel of all the [French] state prisons” (Marion, Dictionnaire des Institutions francaises, p. 40), its potency as a visually imposing symbol of tyranny was undiminished. The day of its storming by a crowd of about 1000 “bourgeois” was unfortunately one of intense bloodshed, with over 100 people, including 98 attackers, several soldiers and the garrison commander the Marquis de Launay, losing their lives. De Launay’s head and that of Jacques de Flesselles, “Prévôt des Marchands,” were later paraded on pikes.
Offered by Musinsky Rare Books and found in "La Révolution."
(London: The Navarre Society Ltd., [ca. 1900]). 180 x 113 mm. (7 1/8 x 4 1/2"). Six volumes. Edited by George Saintsbury. One of 2,000 copies.
VERY FINE BURGUNDY MOROCCO, HANDSOMELY GILT AND ONLAID, BY THE HARCOURT BINDERY OF BOSTON (stamp-signed on front flyleaf), boards with triple fillet border, EACH COVER WITH AN ELABORATE HERALDIC FRAME OF GILT AND ONLAID GREEN MOROCCO around an empty oval, raised bands, very pretty gilt spine compartments featuring looping tendril frame enclosing a charming flower centerpiece, densely gilt turn-ins, marbled endpapers, top edges gilt. Six frontispieces by George Cruikshank showing scenes from the book. A VERY FINE COPY, the bindings especially bright, and the text with virtually no signs of use.
This is a very attractively bound copy of Fielding's 18th century classic and a landmark publication, first printed in 1749. Cross says that "No one before Fielding had ever written a novel comparable with his in its reliance upon contemporary facts of human nature, and this brilliant and innovative narrative met with such immediate commercial success that the first printing was sold out before its printing could be finished, and at least four more editions were published in the same year as the first." "Tom Jones" is divided into 18 books, each preceded by an introductory essay (wherein can be found some of Fielding's best prose) on some theme more or less connected with the story, in the manner subsequently adopted by Thackeray and George Eliot. The plot begins with the finding and raising of Tom by Squire Allworthy and his sister Bridget and then follows Tom's adventures, many amorous, after his banishment from the Allworthy house prompted by bad behavior. In the comic ending, mysteries are revealed and relationships set aright. Day says this was the first avowed novel in English (Fielding's precursor, Defoe, claimed his stories were true and Richardson said that his were akin to sermons), and a work that some still call the greatest novel in English because of its attention to characters set against the backdrop of society. Inspired by the Arts & Crafts movement that had spread to New England, the Harcourt Bindery was founded in 1900 to provide hand bookbinding services for the books produced by a burgeoning number of private presses. With plenty of shelf appeal, the present set is an excellent example of their high-quality work.
Offered by Phillip J. Pirages Fine Books & Medieval Manscripts and found in "Books in Multiple Volumes."
[N.p., likely Richmond. 1861]. Broadside, 6¼ x 4 inches. Light edge wear and minor spotting. Very good. A scarce Confederate election ticket for the state of Virginia. The handbill announces the candidacy of Jefferson Davis for president of the Confederate States, and Alexander Stephens for his vice president. It also announces John R. Edmunds of Halifax and A.T. Caperton of Monroe as electors for the state at large, and includes a list of sixteen additional electors for the various districts, along with the name of Roger A. Pryor for the Confederate Congress. Davis and Stephens won the election, as did Pryor, who served only three months in the first regular session of the Confederate House of Representatives before joining the 3rd Virginia Infantry as a colonel. This ticket is very likely a cast ballot, with a small validation pinhole in the center, the Congressional candidate overwritten in ink (casting a vote for William T. Joyner), and with a signature on the verso, a regular practice at the time to curb ballot stuffing, and usually indicating a cast ballot (though they are typically signed in ink). Parrish & Willingham locate only twelve examples of this scarce item. Not in Crandall.
39 broadsides, labels, ads, calling cards, etc. all relating to the business ventures of Isaac S. Clough, a prolific inventor and salesman who concentrated mostly on the invention of novel insect traps, but who also sold ash sifters, pastry boards, spring boot jacks, combined knife, spoon and fork utensils, match safes, hand lanterns, an "automaton dancer" composed of two "negro-dancers" and string, and more. At least six different insect traps are represented, including a Premium Clockwork Pillar & Cage Fly Trap, and a Clock-Work Revolving Light House Fly & Mosquito Trap. The largest item is a broadsheet, 9.25" x 12" with a "Clough's Reporter" newsletter on one side and a large engraved illustration for a Suspension Cage New Fly-Trap on the opposite side.
In addition to his inventions Clough also worked as a manufacturer, distributor, and a door to door salesman. Many of the ads are pointed at wholesalers, and two items are printed calling letters notifying a household of an imminent visit by Clough to sell them fire shovels, for example.
A number of items cite Clough's number of medals and diplomas earned, with the number peaking at 19 and 33 respectively. Aside from this small change in accolades it is difficult to date most of the material. "Clough's Reporter," is dated 1860, one manuscript letter from the then governor of Massachusetts, Alexander H. Rice, congratulating Clough for his success in business, dated 1856. The calling letter from the Iron Clad Can Co. is dated 1876. The majority of the material is likely printed between the late 1850s and the early 1870s.
Also included are a few New York banknotes signed by Clough and a receipt on letterhead for a tombstone ordered by him for Cypress Hills Cemetary. We could find little on Clough's life beside the fact that he appears to have been based in Brooklyn, NY. A few chips and holes in some items, but most generally very good, and an interesting group reflecting the world of late 19th century American industry.
London: Griffith, Farran, Okeden & Welsh (Successors to Newberry & Harris), 1887. Octavo (6¾” by 8⅝”). 78 pp. With frontispiece and three plates printed in red and black; four fullpage illustrations (included in pagination) printed in black; and two pages with text illustrations. Also with charming floral headpieces. Original pictorial boards with lively red-and-black border featuring the silhouettes of dogs, cats, and farm animals. Titled in red on spine. Some soiling to boards. Floral endpapers. Still a clean, tight, nearfine copy of a scarce work on the kindergarten.
First edition. In chapter one of the present work, Emma S. Windsor states that the theories of Friedrich Froebel inspired her to invent her crawling rugs (p. 11). She created the rugs by sewing pieces of fabric cut to resemble animals onto sheets of flannel. Windsor’s idea was that children from birth to age seven could appreciate the rugs in different ways over time: first, they could explore the texture and recognize the animals from picture books; then, with the help of a mother, learn the names of animals and how to mimic their sounds; and, finally, older children would enjoy the images and be inspired to independently learn more about the animals pictured on the rug (p. 13).
Windsor sold her blankets at the Kindergarten Depot of the Soho Bazaar in London. Though she encourages women to follow her designs when making rugs, she also warns that the designs are registered with the patent office and are not to be reproduced for sale (p. 23). Based on information about her business given at the end of the present work, she also seems to have provided lessons to women about how to educate through the principles of kindergarten. Note that some of the illustrations are credited to a “W.F. Windsor,” possibly Windsor’s husband. We could not find any additional information about Windsor in the sources available to us, including dates.
Paris: Gallimard, 1949\. First edition. Original publisher's cloth bindings with titles to spine and pictorial illustrations of Mario Prassinos to boards. Pegasus motif endpapers. Gentle rubbing to extremities of spines; gentle bumps to corners. Front board of volume II mildly bowed. In all, a pleasing pair of this important philosophical work, which was released in a limited edition of 2,105 copies, including the present set which is one of 2,000 numbered copies on Alfama Marais paper. One of the preeminent French existentialist philosophers, working alongside other intellectual greats such as Jean-Paul Sartre and Albert Camus, Simone de Beauvoir made her greatest contributions in the fields of ethics, feminism, and politics. She is perhaps best known for the present work, The Second Sex, which argues that women have been historically relegated to a second class as men's 'Other,' and that this has led to systemic oppression. "Her revolutionary magnum opus, it was published in two volumes and immediately found both an eager audience and harsh critics. The Second Sex was so controversial that the Vatican put it on the Index of Prohibited Books...Striking for its breadth of research and the profundity of its central insights, it remains to this day one of the foundational texts in philosophy, feminism, and women's studies" (Encyclopedia of Philosophy). Near Fine.
4to. 11.5 x 12 in. [12 pp (unpaginated).] triptych, printed on colour-tinted paper stock, which opens into oblong folio 34.5 x 24 in. dealer poster. Colour-illustrated throughout. Self-printed colour-illustrated softcovers, slight shelfwear, and very slight toning, NF copy. First edition of this very scarce dealer’s brochure & poster for the 1955 Cadillac Series 60 models which after 1954 featured lower sleeker bodies, new grille inserts, and inverted gull wing front bumpers and tapered bumper guards. The 1955 featured a redesigned grille, new rub-rail moldings, Florentine curve rear window, and the Coupe de Ville featuring a golden script nameplate. The Cadillac Eldorado sport convertible featured wide chrome belt trim, new rear fender design, and twin round taillights halfway up the fenders. No copies located in Worldcat.
Offered by Zephyr Used & Rare Books and found in "Travel & More" (item #10).
Remember, you can always browse and download the latest catalogs published by ABAA members on ABAA.org by visiting the following link: https://www.abaa.org/catalog/... (You can also access this page by selecting 'Booksellers' from the top menu, scroll to the bottom of the page to 'Member Catalogs', and click on 'View All'.)
Our members list new acquisitions and recently cataloged items almost every day of the year. Below, you'll find a few highlights from these recent additions...
London: John Murray, 1958. Hardcover. Fine/Near Fine. First edition. Frontispiece and title-page vignette by John Craxton. Map by John Woodcock. Photographs by Joan Eyres Monsell. About fine in a lightly age-toned and soiled, very good or better dustwrapper. Account by a respected English traveller.
by LECHTER, MELCHIOR (ARTIST). MAETERLINCK, MAURICE (AUTHOR). FRIEDRICH VON OPPELN-BRONIKOWSKI (TRANSLATOR)
Florence & Leipzig: [Printed in Berlin by Otto Von Holten for]: Verlag von Eugen Diederichs, 1898. Autorisierte Ausgabe. Square 4to (210 x 170 mm). 105 pp. With stylized art-nouveau typography and large ornamental initials in red and black throughout. Vernacular binding of slightly later decorated burlap cloth patterned with lily pads; green cloth onlays depicting three fish, their eyes made of sequins, other sequins adorning seaweed fronds; green floral endpapers (inner hinges cracked). Original printed wrappers bound in. Front joint worn, crown chipped; early ownership inscription of "Lillie C. Schleiser" dated "Christmas, Munich 1903" on front wrapper. Text evenly toned, extremities with some chipping here and there on account of the paperstock. First edition of the first fully realized book design by Melchoir Lechter (1865-1937), a triumph of Jugendstil / art-nouveau typography which perfectly compliments the mystical essays by the famed Belgian Symbolist Maurice Maeterlinck. The type used herein is now known as Lechter-Schrift after the name of its designer. According to Schauer, this book defines the beginning of German book arts of the twentieth century, and is justly considered "a great book in which everything is dark, colorful, and primeval." Upon publication, it was widely praised as the most beautiful German book of the day (O. Grautoff). Ordinary copies our bound in wrappers designed by Lechter. Our copy has both wrappers bound into a remarkable German vernacular binding of burlap cloth with cloth onlays of green fish adorned with sequins, all adhered to art-nouveau patterned cloth of lily pads and fronds. The early ownership inscription reveals that the book was acquired by an English or American woman named Lillie C. Schleiser in Munich in 1903. Perhaps the present volume was bound there? As is stated in the colophon: "Cover design, ornaments, headings, numbers, initials, and typography arrangement by Melchior Lechter, under whose artistic direction this book was printed in the year 1898 by Otto Von Holten, Berlin." "Bei seinem Erscheinen vielfältig als das schönste deutsche Buch gepriesen" (O. Grautoff). Lechter is best known for his book design, glass paintings, drawings, calendars, catalogues, ex-libris designs, and posters. He also designed furniture, carpets, wallpaper and stained glass windows. This is the trade edition of the first authorized German translation of "Le Trésor des Humbles" (1896) / "The Treasure of the Humble" (1897) containing an essay on Ralph Waldo Emerson not found in the English edition. It was created on the occasion of the 1898 Maeterlinck exhibition of the same name. As is well known, Maeterlinck received the Nobel Prize for Literature in 1911. References: Transfer und Modifikation: Mario Zanucchi, Die französischen Symbolisten in der deutschsprachigen Lyrik der Moderne (1890-1923), Abb. 2. Grautoff, p. 14. Raub A20, p. 67; Rodenberg, 240; Schauer, Vol. 2, 12.
New York: Random House, 1959. First Edition. Fine/Near Fine. First edition, first printing. Original tan half cloth with paper-covered boards and mounted photo of actor Sidney Poitier. Several small, nearly imperceptible streaks to front cover, perhaps excess binder's glue, still Fine. In a Near Fine in correct unclipped dust jacket ($2.95) with slight toning to the spine panel and faint edge wear. An attractive copy of the classic play.
Mexico: Various publishers, 1880–1920. Most are 16mo (14.5 cm, 5.71"). Most are between 8 and 16 pp. plus wrappers.
The oeuvre of Jose Guadalupe Posada Aguilar (1852–1913) is steeped in social engagement, satirical acuteness, and wry humor presented to the reader and observer in woodcut and lithographic illustrations for periodicals and chapbooks. During the late Porfiriate and early years of the Mexican Revolution, his art enticed the buyers of popular, very cheaply produced songsters; political broadsides; cookbooks; and single-sheet accounts of hangings, disasters, crimes, volcanic eruptions, and other sensational events. => Six of the publications here are signed, "Posada"; others are simply unmistakable; several are from his most famous publisher but were printed after his death and may or may not be restrikes. A few may simply be "in his style" and therefore, as part of the lot, invite considerations of his context.
The present collection consists of 13 pamphlet/chapbook items: They are a good representation of books for children, women, and the general reader. They include a volume of popular recipes for health problems, two booklets offering embroidery patterns (with women at their frames on the pamphlets' covers and the patterns on colored papers), several plays for children to perform ("Les Gendarmes") and for adults to read ("Don Juan"), compilations of patriotic songs and biographies, and so on. One wrapper is pink, two are gold, one front cover is printed in black and red; rear covers offer advertisements of the publisher's other offerings, within varied borders, and three devote the back wrapper to a poem.
The list follows: 1) Vanegas Arroyo, Antonio. La salud en el hogar. Tercera serie de la coleccion de 300 recetas utiles para curar las enfermedades mas comunes. Mexico: Imprenta y Encuadernacion, n.d. [ca. 1900–18]. 2) Muestras para bordados. #9. Mexico: Publicadas por la testamentaria de A. Vanegas, n.d [ca. 1920]. Includes planchas 33–36. 3) Muestras para bordados. #10. Mexico: Publicadas por la testamentaria de A. Vanegas Arroyo, n.d. [ca. 1913]. Front cover signed, “Posada.” Includes planchas 38-40. 4) D. Juan Tenorio. Mexico: A. Vanegas Arroyo, n.d. [1880, date on rear wrapper].
In series: Galeria del Teatro Infantil; Coleccion de comedias para niños o titeres. Front wrapper signed "Posada."
5) Los gendarmes. Mexico: A. Vanegas Arroyo, n.d. [ca. 1910]. In series: Galeria del Teatro Infantil; Coleccion de comedias para niños o titeres.
6) Los celos del Negro con D. Folias. Mexico: A. Venegas Arroyo, n.d. [ca. 1910]. In series: Galeria del Teatro Infantil; Coleccion de comedias para niños o titeres. Front wrapper signed "Posada."
7) La casa de vecindad. Mexico: A. Vanegas Arroyo, n.d. [ca. 1910]. In series: Galeria del Teatro Infantil. Front wrapper signed "Posada." But rear wrapper indicates "la imprenta de la test. de A.V. Arroyo." 8) Los novios. Mexico: [as per rear wrapper, Tipografia de la Testamentaria de A. Vanegas Arroyo, 1918]. In series: Galeria del Teatro Infantil. 9) Vanegas Arroyo, Antonio, comp. El sarape nacional. Moderna coleccion de canciones para el presente año. Mexico: A. Vanegas Arroyo, 1915. Front wrapper signed "Posada." 10) Vanegas Arroyo, A., comp. La ex-moderna. Sexta coleccion de canciones para el presente año. [front wrapper: Mexico: A. Vanegas Arroyo] title-page: 1914]. 11) Suarez, C. S. El placer de la niñes. Amar sin esperanza. Monologo. Mexico: Tip. de la Testa. de A. Vanegas Arroyo, n.d. [ca. 1918]. In series: Coleccion de monologos. Front wrapper signed "Posada." 12) Vanegas Arroyo, Antonio, ed. La felicista: 13a coleccion de canciones modernas para el presente año. 1913. Mexico: Antonio Vanegas Arroyo, 1913. 13) Coleccion de himnos nacionales. No place, no publisher, no date, [but certainly Mexico: A. Vanegas Arroygo, and ca. 1880, as per rear wrapper].
Because of their ephemeral nature and their audience, copies of these are generally hard to find. All items are little held in the U.S., many in only one or two copies. Overall condition is good to very good. #1 lower inside corners nibbled by rodent; #10 seriously wormed; a few items with wrapper paper beginning to split along spine, shallow dog-earring to corners, or small chipping or a short rent to edges. => An excellent gathering whether for teaching or "just" for enjoyment.
Manhattan Beach, CA: East West Discovery Press, 2013. First Edition. Signed by former NASA astronaut John D. Olivas on the dedication page, also adding his two Space Shuttle mission numbers: "STS-117, STS-128." The book brings space shuttle Endeavour to life through a journey to space with a young boy Jojo. Exploring space with the shuttle, Jojo learns about Endeavour's extraordinary contribution to space science and its famous service missions, including the Hubble Space Telescope. The book also features NASA photos, fun facts, famous firsts and quizzes to inspire kids in science, technology, engineering and mathematics. Signed copies of this title are uncommon!. Quarto: pictorial boards in dust jacket; 36 pages. Illustrated by Gayle Garner Roski.. Fine in fine d/j.
New York: Random House, 1930. First Edition. Hardcover. Fine/good +. Kent, Rockwell. First trade edition with Rockwell Kent illustrations, duodecimo size, 823 p., in original dust jacket. First trade edition of "Moby Dick" illustrated by Rockwell Kent, which became an instant success. The Lakeside Press published a limited edition in three volumes with 280 illustrations; this trade edition is in a smaller format and uses 272 of the illustrations.
Rockwell Kent (1882-1971) was an American painter and illustrator who bridged the artistic gap between Victorian and Modern art; when "Moby Dick" was published he was already well-known and his appeal has continued to grow throughout the 20th century, his work remains widely collected today. Interestingly, while Melville wrote "Moby Dick" in 1851, it was almost neglected until Kent elected to illustrate the story; his illustrated version had tremendous success and revived the novel for the 20th century.
DESCRIPTION: Black cloth boards with silver letting on front and spine, both the front and spine also display Kent's own design of a whale, with the head on the front and the tail on the spine, cream endpapers, replete with Kent's black-and-white pen/brush and ink drawings which made him justly so famous; duodecimo size (7.25" by 5.5"), 822 pages plus a one-page Epilogue. The unclipped dust jacket mirrors the design on the front panel and on the spine, in black with cobalt blue highlights, and while it displays Kent's name on both front and spine, it does not display Melville's; the back panel of the dust jacket is a publisher's ad for other books illustrated by Kent (five titles), both flaps are blank, with no printed price.
CONDITION: Near fine , the silver gilt on the front and spine bright and unrubbed to the extent that it fairly shimmers; with a square, strong text block and solid hinges, straight corners with a minimum of rubbing to the bottom corners only, and free of prior owner markings; the head and tail of the spine gently bumped with the head of the spine just beginning to fray the tiniest bit, a few spots of light soil to the top edge of the text block, and the aforementioned slight rubbing to the bottom corners; there is a vintage bookseller's ticket on the rear pastedown ("The Holliday Bookshop, 49 E. 49th St., New York") and a few light pencil markings on the top of the front pastedown (likely the bookseller's) with a price of $3.50. The unclipped (and unpriced) dust jacket just shy of very good, complete, the colours on the front panel are deep and true, the spine is sunned, light overall edgewear with a bit more at the head and tail of the spine which has creasing and some chips. Even with the dust jacket faults, still a lovely example of Kent's work at its best.
Chicago, Milwaukee, St. Paul and Pacific. Very Good. 1930. Pictorial wraps; folded pamphlet, staple bound. Very light soiling, almost like new. This pamphlet advertises the "Gallatin Gateway", the new route into Yellowstone National Park. Includes many illustrations, and maps of the railroad lines and the new road. ; B & W Illustrations; 8vo 8" - 9" tall; 19 pp .
Greenwich, CT: Gold Medal Books, 1961. First Edition. Very Good. First edition. 176 pp. Wraps. Very Good with creased spine, reading crease to front wrap, very slight indent along upper corner A pulp novel co-written by Miami Blues author Charles Willeford.
Boston: The Cornhill Company, [1918]. First American Edition. Hardcover. Unauthorized American edition of Joyce's first published book, preceding the authorized (Huebsch) edition by some months. Originally issued in London, 1907; this piracy coincides with the second London edition of 1918. SLOCUM & CAHOON 5. First printing. 12mo (16cm); publisher's green cloth, titled in gilt on front cover; [40]pp. Small spot of rubbing at base of spine and just a hint of age-toning to text, else a tight, Near Fine copy. Originally issued in clear (unprinted) tissue dustwrapper, lacking from this copy. Slocum & Cahoon notes "probably about a thousand copies" printed.
New York: Tiffany & Co, 1883. Original invitation to the May 1883 opening ceremonies of the "New York and Brooklyn Bridge," issued by the Board of Trustees, the mayors of both cities, and chief engineer Washington Roebling. Under construction for over a dozen years, the Brooklyn Bridge was the longest suspension bridge in the world at the time, a marvel of modern steel-wire engineering, and it remains one of the iconic monuments of New York City. The opening ceremonies were attended by President Chester Arthur, and featured speeches, music, a gunfire salute by ships on the East River, and a fireworks display. Engraved by Tiffany, this invitation features a detailed view of the new bridge rising over the low-rise banks of Manhattan and Brooklyn. A near-fine artifact of New York history. Engraved invitation, printed on heavy cardstock, measuring 6.5 x 9 inches. Illustrated with an image of the Brooklyn Bridge and the seals of the City of New York and the City of Brooklyn. Completed in manuscript with the name of recipient A.J. McCall. Faint tidemark to lower righthand corner. Housed in original envelope embossed with the seals of both cities, addressed to McCall. Envelope soiled, with loss to lower corner.
[Single folded sheet with inkjet color illus. and printed text on both sides (277 x 102 mm. folded) l...]by LEIBER, STEVEN, BOOKSELLER
Single folded sheet with inkjet color illus. and printed text on both sides (277 x 102 mm. folded) laid in original plastic cassette case (a little worn) and the original audio cassette. [From the folded sheet]: San Francisco: April 1998. A very rare Leiber catalogue (no. 32) and one of his most ingenious vehicles for offering materials. The catalogue consists of an audio cassette, its case, and a list laid-in the case. "Artists, curators, art librarians, and others associated with the art world were faxed catalog entries with instructions to call and read the entry aloud over Steven Leiber's answering machine. These recordings were then included on the enclosed audio cassette. The title of this catalog is derived from a Nam June Paik mailing." It offers books, ephemera, periodicals, and artworks by or related to Beuys, Barbara Bloom, Brouwn, Jeanne Dunning, Feldmann, Filliou, Flavin, Holzer, Johns, Ray Johnson, Kounellis, Oldenburg, Pettibon, Roth, Vautier, Warhol, etc. In near fine condition; the case is a little worn with two minuscule cracks. WorldCat records only one copy. Produced in an edition of around 100 copies. ❧ Steven Leiber Catalogs (2019), p. 135.
New York: Random House, 1948. First edition. Hardcover. Very good/very good +. 231pp. Octavo [21 cm] Tan cloth over boards. The spine is a hair darkened, and the spine ends are gently bumped. There is a previous owner's name at the head of the front free endpaper. In the dust jacket, featuring a young Truman Capote on the rear panel, with light chipping to the edges. Original bill of sales slip tucked in. Truman Capote's first novel, published when he was merely 23 years old. At the time this was published, he had "written speeches for a third-rate politician, danced on a river boat, made a small fortune painting flowers on glass, read scripts for a film company, studied fortunetelling with the celebrated Mrs. Acey Jones, worked on 'The New Yorker,' and selected anecdotes for a digest magazine."Other Voices, Other Rooms" was met with immediate critical acclaim, and pushed a young Truman into the spotlight. The novel dealt with, among other things, homosexuality and race (scandalous topics at the time).
New York: Chappell & Co., Inc, 1936. Ephemera no binding. Very good. Jerome KERN, music.. 12" x 9"; 5, [1]pp; color pictorial front wrapper; ad for Selections From "Swing Time" on rear wrapper; very good. Fred Astaire and Ginger Rogers in "Swing Time" An RKO Radio Picture, A Pandro S. Berman Production.
MEDEA / SIGNED FULL COLOR FOLD OUT ILLUSTRATION inserted between pages 54 & 55 of the Phantasia Press first edition, 1985, fine and most suitable framing. SIGNED in silver ink by Kelly Freas on the lower left corner. One of only 25 copies, none ever used and thus unfolded. Scarce-------or soon to be so.
Philadelphia/ Columbus, Ohio: Bradley Garretson & Co./ Wm. Garretson & Co. , 1882. Ornately bound in full deeply embossed calf with ornate gilt decorations front and back covers, lavishly gilt decorated back, moire silk end papers, all edges gilt. Illustrated with 8 color maps, engravings on steel and wood, chromo-lithographs of scriptural natural history, botany and zoology. Family Portraits section at rear with 6 period photoraphs of family members, uncaptioned. Presentation Page from Oral T. Hall to John A Hall ( possibly Ball)? Near Fine, light rubbing to leather. small tear bottom edge front end page. A presentation Bible of the day in wonderful condition.
A large and heavy book, will require additional postage charges for priority and international mail shipping. Please inquire before ordering. Free media mail shipping. Later Printing. Calf. Near Fine/No Jacket, As Issued. Thick Folio.
Boston and New York: Houghton, Mifflin and Company, 1904. Book. Illus. by Amelia M. Watson. Very Good. Hardcover.
An Illustrated set of one of Thoreau's most enjoyable works containing delicate and lovely, small color drawings by Amelia M. Watson in the margins throughout the text. Handsome and collectible.
Half green Morocco with marbled boards and matching endpages. Top edge gilt. Silk place ribbons. Bindings are tight and square. Text clean, light even toning. Moderate shelf handling wear. Small 8vo; 7.75 inches tall; 173 pages, 208 pages, including the index.
Iver Johnson's Arms and Cycle Works. Fitchburg, Mass. 1897. First edition, 32 pages. 19.5 cm. Illustrated covers. " 1871-1897 Ye further Hystorie of ye Ancient House of Iver Johnson " prefaces this bicycle trade catalogue for truss frame bicycles, which features their models 33, 35, 36, 37, D and E in double-page illustrated advertisements. Slight soiling, one page corner missing, otherwise good, printed on heavy glossy paper. One copy was found at the Harvard Business School's Baker Library.
New York: HarperCollins, 1995. First printing of the 35th Anniversary edition of the author's Pulitzer Prize-winning novel. Octavo, original half cloth. Signed by Harper Lee on the half-title page. Fine in a fine dust jacket. Jacket design by Suzanne Noli. To Kill a Mockingbird became an immediate bestseller and won the 1961 Pulitzer Prize for Fiction. The New Yorker declared it "skilled, unpretentious, and totally ingenious". It has gone on to become of the best-loved classics of all time and has been translated into more than forty languages selling more than forty million copies worldwide. Made into the Academy Award-winning film, directed by Robert Mulligan, starring Gregory Peck. It went on to win three Oscars: Best Actor for Gregory Peck, Best Art Direction-Set Decoration, Black-and-White, and Best Screenplay for Horton Foote. It was nominated for five more Oscars including Best Actress in a Supporting Role for Mary Badham, the actress who played Scout. In 1995, the film was listed in the National Film Registry. In 2003, the American Film Institute named Atticus Finch the greatest movie hero of the 20th century. In 2007 the film ranked twenty-fifth on the AFI's 10th anniversary list of the greatest American movies of all time. It was named the best novel of the twentieth century by librarians across the country (Library Journal).
Carlisle, Pennsylvania: Self-published, 1912. First Edition. Hardcover. Good. Octavo. vii, frontispiece photograph of Warner, 142 pages, [1]. Illustrated. Illustrated brown cloth hardcover. Title in black on the front cover. Cloth binding is creased on the front cover. Front paste down sheet is also creased. Previous owner inscription on the front paste down. No right front flyleaf (if bound in?) Glenn "Pop" Warner was the Athletic Director at the Carlisle Indian School. Jim Thorpe, Native American, attended the school in early 1900's and played football for Pop Warner.
[Seattle]: [Industrial Workers of the World], 1920. Small leaflet, approximately 4x3.9 inches, corner crease with a couple small chips. Text is the same on both sides, though one side has a union bug at the bottom. Our House was a cafe that marketed itself in advertisements as "Popular With Our Boys in Blue.
London: J.M. Dent & Sons Ltd, 1966. Later edition. Bound ca. 1966 by [Bayntun Rivière] for Brentano's in full blue polished calf, covers with double gilt borders, spine with five raised bands, decoratively tooled in compartments, two red morocco gilt lettering labels, gilt board edges, gilt-turn- ins, all edges gilt, marbled end-papers. Small neat book-plate on front paste-down. Collating xii, 226, with eight full-page color plates and numerous black and white line drawings throughout the text. A Fine copy. A superlative copy of the classic - and quite novel - story of a horse, told in his own words, wherein he recounts his life as a well bred steed from early childhood in a pleasant meadow, through numerous owners - some kind and some cruel - until fate returns him to the meadow in which he was born. Though animal autobiographies had been published before for children, Black Beauty stands apart from those in that it offered social criticism of his various owners. Because of that, the book was read, appreciated and loved by adults as well as juveniles. It has never been out of print since its original publication, and it has been adapted to the screen on fourteen different occasions. Ultimately, Black Beauty's continual and lasting value is as one of the most influential arguments for the humane treatment of animals.
New York: Jonathan Cape & Harrison Smith. Very Good+ in Fair dj. 1931. First Edition. Hardcover. [nice solid clean copy, slight fading to cloth at ends of spine; the jacket is a bit on the tattered side, with numerous small chips, tears, etc.]. Very uncommon account of the early life of Victor Ilyitch Seroff (1902-1979), whom the author (Werner) met in Paris in the late 1920s, and found so fascinating that he "laid aside other projects and devoted himself to writing [Seroff's] story." Seroff was a young musician who had escaped from Russia in 1920 "on the last American oil tanker to leave [Batoum, his birthplace in the Caucasus] before the Bolsheviks took it over." The book is written in the first person (i.e. narrated by Seroff himself), who describes "his desperate and sometimes humorous effort to gain self-support and continue an artistic career in Constantinople, Vienna and in Paris" during the 1920s. Of particular interest is the last chapter, which presents "a new and penetrating study of the late Isadora Duncan, [including] a moving narrative of her last years and death." (Isadora had attended a piano recital in Paris where she was impressed by Seroff's playing, and he soon found himself drawn into her circle of intimates.) He later became a musical biographer of some note, writing books about Shostakovich, Prokofiev, Berlioz, Chopin, Liszt, Debussy, Ravel and others, as well as a biography of Isadora Duncan herself.
Strassburg: Johann Schott, 1532. Two volumes bound in one (the appendix added to vol.II), folio (287 x 188 mm; 11¼ x 17½ in.). Vol. I: Title within woodcut allegorical border, 4- and 5-part borders to several pages, woodcut arms of Strasbourg, ornamental and historiated initials, head- and tailpieces, 86 woodcuts of plants by Hans Weiditz; vol. II: Title within woodcut allegorical border, 4- part border on 2 pages, 49 woodcut illustrations by Weiditz, all colored in a contemporary hand. 18th-century mottled calf gilt, edges gilt. Rebacked preserving original gilt spine panels, repairs to corners, some slight drying; A4 in volume I bound after b4, lacking blanks b4 and G6 in the first volume and H4 and S6 in the second, small stain in lower margin of first title and first text leaf, some leaves lightly browned, occasional minor staining. Provenance: Johannes Beusler (early ownership inscription on title); Jean Charles Patin (inscription dated 1817 on front flyleaf noting that he is a native of Manneville and currently farming in Bézu-la-Forêt); purchased from William Schatzki, 1971. From the Collection of Arthur & Charlotte Vershbow. A finely colored copy. Referred to as "the first great mind in modern botany" (Hunt), Brunfels' most revolutionary contribution was his choice of artist accurately to portray these "living portraits of plants." The magnificent woodcuts executed by Weiditz were taken from watercolors drawn directly from nature and delineate botanical details well beyond their known function in the taxonomic literature of the time. The first volume was reprinted to be sold with the second, and this is how many sets are constituted. The appendix at the end of the second volume contains the first published writings of both Jerome Bock and Leonhardt Fuchs (see also item 32). After Brunfels's death, a third volume was published (1536-39) and was illustrated after different artists. Adams B-2924 and B-2925; Fairfax Murray German 462 (1530 edition); Garrison-Morton 1803; Grolier/Horblit 33a; Hunt 30 (mixed edition); Nissen BBI 257, Ib, IIa and 257, III; Norman 361; Stafleu &Cowan TL2 852 and 853; Pritzel 1283.
by DONEN, STANLEY (DIRECTOR); PETER STONE (SCREENWRITER); CARY GRANT, AUDREY HEPBURN, WALTER MATTHAU, JAMES COBURN (STARRING)
Paris: Films sans Frontieres, 1963. Vintage reference photograph of actors Cary Grant and Audrey Hepburn filming a scene on location on the banks of the Seine for the 1963 film. The greatest box office success of noted director Stanley Donen's career, owing to an excellent screenplay and what Donen's biographer Stephen M. Silverman refers to as the film's three stars: "Cary Grant, Audrey Hepburn, and Paris". Though very much influenced by Hitchcock's "North by Northwest," "Charade" is simultaneously lighter and more complex, with an even more entertaining tailspin of deception than its predecessor. Set and shot on location in Paris. 10 x 8 inches. Near Fine, lightly toned. Criterion 57. Penzler 101.
Paris: (Cordier for) Le Fuel, 1822. 18mo (123 x 80 mm). [iv], 175 pp. Double column. Additional engraved title/wrapper with hand-colored fashion emblem (a parasol draped with shawls, necklaces and a flowered hat) and 15 engraved plates, on thicker paper, all stencil- and hand-colored under the publisher's direction, one (of corals) also color-printed; tissue guards. Small closed tear in first gem plate, else a fine copy. Bound at end are six leaves on thicker paper containing [12] pages, one per month, blank except for the engraved name of the month and hand-colored vignette (with traces of old pencil scribbles); and a smaller format foldout calendar for 1822, with the imprint of Lefuel,the months in columns each topped by a woodcut astrological vignette. Publisher's blind-stamped brown calf "cathedral" binding, the same block used on both covers, backstrip with blind-stamped ornamentation above and below the title, gilt edges, yellow endleaves, blind-stamped matching leather slipcase, lower cover of binding with silk tab for removing from the slipcase (a bit of scuffing). Etched bookplate of Robert de Beauvillain tipped to front endleaf.*** Only Edition of an unusual and still useful illustrated dictionary of objects, materials and concepts, most of interest to women and many relating to fashion. Covering both luxury goods and common objects and materials, the dictionary contains over 800 entries, many including the names and addresses of relevant Parisian suppliers, making it a far-ranging encyclopedia of feminine material culture in Restoration France. This is a special de luxe copy in a reliure à la cathédrale, with an extra fold-out calendar and hand-colored ornamented cahier for notes for each month of the year. From Abaca (a type of hemp or linen from the Philippines, of which the white plants were used to make a very fine cloth while the gray were used for cocardes) and Acier (steel being used at this time not only for buckles, belts, clasps etc., but also to make jewelry, a dozen examples being illustrated in plate 1), to Zéphir (a shawl made of net) and Zibeline (the animal whose nearly black fur is highly prized), the dictionary includes terms of apparel, footwear, and accessories, a vast number of textiles and related terms (materials, weaves, and treatments), furs and skins, common materials with a variety of applications (e.g., sandalwood, various vinegars and oils), objects used for personal grooming (sponges, tweezers, brushes, mirrors, etc.), many perfumes and eaux de toilette, gems and precious metals, furnishings and furniture, and even prostheses, including a long description of artificial eyes and where to purchase them. A few entries contain mini-treatises on social custom: the seven-column entry for Deuils, for example, discusses the proper length and appropriate mourning dress for various degrees of consanguinity. Some contain surprises - thus the entry on Marriage, far from listing bridal gowns and suppliers, tells a simple story of a painter and the changing perspective of a groom, before and after marriage. The language of flowers gets a special entry (which advertises a relevant publication, the Dictionnaire du Langage des fleurs ou de leurs emblèmes, of which I locate no edition). Besides steel jewelry, the finely colored plates show rings and earrings, pocketbooks and wallets, necklaces, specimens of coral, fans, a splendid bouquet, brightly colored garters, bejeweled combs, 24 precious stones (on two plates), an elaborate feather headdress, a pretty assemblage of ribbons, and several large handbags (sacs-gibecières, two plates). Perrot was a geographer who wrote and edited numerous works. Mazeret was an almost equally prolific writer for hire. The publisher Valentin Lefuel, active from 1792 to the late 1820s, specialized in the publication of almanacs, keepsakes, and children's books. He was also a binder, and he offered his publications in a variety of different bindings, including "gauffred calf," here in the "cathedral" style, inspired by gothic architecture, which enjoyed a vogue in France and England during the Romantic era. (I have not previously seen an example of this kind of binding on an almanac or almanac-like popular imprint.) Copies are held by the Brooklyn Public Library, Morgan Library, Metropolitan Museum of Art and Smith College (the last two purchased from us); outside the US OCLC lists only the Bibliothèque nationale de France, to which the Catalogue Collectif de France adds a copy at Rouen. Colas, Bibliographie générale du costume et de la mode 2023; Grand-Carteret, Les almanachs français 3476. Cf. S. Malavieille, Reliures et cartonnages d'éditeur en France au XIXe siècle, p. 24 (on Lefuel).
Paris: Les Jouets et Jeux Français, 1895. A board game for up to six players, following the eighty-day journey of Phileas Phogg across the globe. Each day is represented by a square on the board, centering around a globe. Some squares show notable characters, such as Phogg, Francis Cromarty, and Miss Aouda, while others show ships, animals, and landmarks from destinations as far as Calcutta, Hong Kong, and San Francisco. Some squares have particular associated functions, which are outlined in the rules on the underside of the box lid. The course of play proceeds through a series of transactions using the fifteen tokens provided, with one player acting as Phogg's valet, Passepartout, who takes on the role of banker. The tokens are housed in a cloth bag. Six painted metal figures act as gamepieces, housed in a smaller box, with splits to corners of lid. Paper cup holding two dice, along with tokens and game pieces, contained in separate compartments in the box. Some soiling to back of game board. All elements stored in box with lush pictorial lid, some signs of repair, else a near fine and remarkably intact set.
Paris, France: Obelisk Press, 1935. Book. Very good condition. Paperback. Fourth edition. Octavo (8vo). 271 pages of text. Original paperback binding with minor shelfwear and soiling, and minor vertical creasing to the spine. Pearson A-37 [unrecorded variant] with all points identical to A-37 with these exceptions: 1) Does not have the statement "Banned in England May 1935" printed on the front cover; 2) the front flap contains the price 50 francs; 3) the front flap edition statement differs slightly in that it states "This is the only existing edition of James | Hanley's most famous work, recently sup- | pressed in England."; 4) rear flap price for the 11 titles listed at "50 francs each". One page edge with a tiny black mark in the extreme margin, but the text is clean and unmarked. Fourth edition, variant of the first impression. Protected in custom-fitted archival mylar.
Green cloth with white and black titles and decorations, slipcase, 16 by 22.7 cm, xxii 190 pp., illus. Fine, unread copy in near fine slipcase. "The days from May 24 to May 28, 1940 altered the course of the history of this century, as the members of the British War Cabinet debated whether to negotiate with Hitler or to continue what became known as the Second World War. The decisive importance of these five days is the focus of John Lukacs's magisterial book. Lukacs takes us hour by hour into the critical unfolding of events at 10 Downing Street, where Churchill and the members of his cabinet were painfully considering their war responsibilities. We see how the military disasters taking place on the Continent—particularly the plight of the nearly 400,000 British soldiers bottled up in Dunkirk—affected Churchill's fragile political situation, for he had been prime minister only a fortnight and was regarded as impetuous and hotheaded even by many of his own party. Lukacs also investigates the mood of the British people, drawing on newspaper and Mass-Observation reports that show how the citizenry, though only partly informed about the dangers that faced them, nevertheless began to support Churchill's determination to stand fast. Other historians have dealt with Churchill's difficulties during this period, using the partial revelations of certain memoirs and private and public papers. But Lukacs is the first to convey the drama and importance of these days, and he does so in a compelling narrative that combines deep knowledge with high literary style."
San Francisco: Stolen Paper Editions, 1966. Second printing. Paperback. Very Good. Wide stapled illustrated wrappers. Second printing of Kandel's controversial volume of sexually explicit poems that was banned and seized by the police when first published. A very good copy with some wear to covers. Six pages, printed on rectos only.
New York: McLoughlin Brothers, 1906. First Edition. Very good in heavy paper, printed wraps over a replacement sewn binding. A quarto measuring 12 1/8 by 9 7/8 inches with archival tape repairs along the length of the fold of the spine and with similar repairs to several of the page folds. The sewn binding has been restored professionally. Unpaginated, but containing 14 pages illustrated with 8 full color lithographic plates (counting the covers) and line drawings throughout. Identified on the front panel as "158". Copyright dates of 1899 appear on the front cover and 1906 on the rear cover. The illustrator is not indicated. Clement Moore's poem comprises the first six pages which includes three full color plates. The remaining pages of text and plates contain the poem Santa Claus And His Works written by George P. Webster. (Very similar to Marshall 133).
London: John Evans, [ca. 1810?]. 8vo (16.7 cm, 6.57"). 8 pp. Apocalyptic warning, written by a Scottish missionary (1766–1840) known for his Travels in South Africa. This printing, apparently the first, is scarce; WorldCat locates three U.S. institutional holdings of a later "Evans and Son" imprint, but none of this "John Evans, No. 42" printing. The large title-page wood-engraving illustrates the dividing of the wicked from the righteous.
Provenance: From the chapbook collection of American collector Albert A. Howard, sans indicia. Removed from a nonce volume; page edges gently browned. The workmanlike printingis somewhat uneven, and the title-page vignette shows a few small ink spots from the press. Uncommon and interesting.
Philadelphia: J.B. Lippincot, 1935. First Edition, First Printing. Hardcover. Octavo, 342 pages; VG/none; bound in publisher's brown stamped orange cloth, mild wear to extremities; bookplate to front pastedown; front gutter beginning to show webbing; small bookstore sticker to rear pastedown; shelved case 1.
Boston: Houghton Mifflin Company, 1942. First edition, first printing. Hardcover. Very good/Very good. 8vo. Green cloth printed in back on the spine and upper board. The cloth has slight aging to the boards and spine, some offsetting on the endpapers and pastedowns,a penciled ownership name and another blindstamped on the half title and the title, but it is still a very good copy. The dustwrapper is rubbed at the folds and rough along the edges including a couple of short marginal closed tears. It shows the first state points: $3.00 on the flap, and on the box on the rear panel, and with the war bond ad on the rear flap. The author was an English girl raised in British East Africa, conversant in native languages and customs, a horsewoman and a pilot when airplanes were unique in that part of Africa. Accompanied by her biography: Mary S. Lovell, STRAIGHT ON TILL MORNING, New York, St. Martin's Press, 1987. First US edition. A fine copy in a fine, clipped dustwrapper.
by TUCKER, GILBERT NORMAN, PH.D. (CANTAB.); ILLUSTRATED [ILLUSTRATOR]
King's Printer The Minister of National Defence, 1952-01-01. Hardcover. Very Good/Good. 2 Volume Set. Both dust jackets have minor wear. Both are clean, both have good bindings, no marks or notations.
Paris: Martinet, 1821. Galerie des Grotesques [GONDELIER, Jean-Baptiste]. [Galerie des Grotesques]. [Paris]: [Chez] Martinet, [1821]. Oblong folio (16 x 10 1/2 inches; 406 x 267 mm.). Seven leaves, titled and numbered in manuscript, each with three hand colored etched plates making a total of twenty-one images. Contemporary quarter green calf over floral patterned black boards.
The plates - each one lettered and numbered in manuscript "Galerie des Grotesques" No. 1. Les Rivaux; Partie d'écarté; Les effets du lavement, et la tentation (The Rivals; Discarded party; The effects of enema, and temptation) No. 2. Le maitre de danse, et le Coëffeur; Les joeurs de tonneau; Le remède inévitable (The dance master, and the hairdresser; The barrel joists; The inevitable cure) No. 3. Le bon gout; Cérémonie nuptiale; Le Dentiste (The right taste; Bridal ceremony; The Dentist) No. 4. Les conscrits; La sauteuse; Le bon ménage (The Conscripts; The jumpers; The good housekeeping) No. 5. Lecture des Tourneaux; Le cocher di Fiacre en dèfaut; Le Charlatan (Reading the turns; The coachman of Fiacre in defect; The Charlatan) No. 7. La Rosière; Le Pédicure; Les suites d'une Ribotte (La Rosière; The Pedicure; The aftermath of a Ribotte) No. 6. Partie d'Anes; Le Plaidoyer; Le Boston (Part of Anes; The Plea; Le Boston) Excessively Rare. OCLC locates just one suite (with only six plates) in libraries and institutions worldwide at Kunstbiblio Staatliche Museen Zu Berlin (Germany). GONDELIER, Jean-Baptiste (fl. 1821-1827). Gondelier was an engraver and a papermaker. As early as 1820, he was editor of a singer dedicated to Béranger, Le Constitution. He wanted to do city work but he also printed satirical prints, constituting the Gallery of the Grotesques. In 1826-1827 he collaborated in the writing of several plays performed at the Vaudeville theatre. Perhaps it was for this reason that he abandoned his lithograph patent and then applied for a letter printer's patent obtained in 1828. These 'Grotesque' caricatures appear to be based on the Woodward three-row strip genre typified by Grotesque Borders and Pigmy Revels, published by Ackermann and Fores, respectively, in 1799 and 1800. Fores continued to issue the Pigmy Revels strips in a folding panorama format, as well as in a spooled boxwood drum, well into the 1820s. "The relationship between Martinet-published works and Woodward's caricatures is commented on in an essay by Alberto Milano entitled "Change of Use, Change of Public, Change of Meaning: Printed Images Traveling Through Europe," appearing in a book edited by Evanghelia Stead, Reading Books and Prints as Cultural Objects (Cham, Switzerland: Palgrave MacMillan, 2018) at pp. 150-51. I am attaching scanned images of the relevant pages as Scans 1, 2, and 3. As you will note, the author of the essay suggests that Martinet "transferred Woodward's caricatures in a series of larger prints entitled Les Passions," but I am skeptical. The only two examples of those prints I have found -- at the British Museum -- do not relate to any Woodward satire of which I am aware. (For ease of reference, I am attaching the British Museum write-ups as BM-1 and BM-2.)" (William Gordon - author of the William A. Gordon Library of British Caricature)
England: Brown Watson, 1986. Paper Covered Boards. As New. 4to. Very hard-to-find reprint of Kubasta's Tip + Top and the Moon Rocket, originally published in 1964. In terrific shape; doesn't appear to have ever been read. All six popups and associated animations work great. Almost no cover wear. Number 10 on Tillman's list of the 100 best popups.
Lunenberg: Limited Editions Club, 1980. Hardcover. Orig. decorated gray pebble grained cloth stamped in black and silver. Fine in fine black slipcase spine lettered in silver. Fred Me. 224 pages. 22.5 x 17.5 cm. Illustrated with fourteen color gauches by Fred Meyer, designed by Frederick Stinehour, printed at the Stinehour Press. Limited edition, copy 1267 of 2000 signed by Fred Meyer. Printed in Bodoni, cast by the Bauer foundry in Germany. Laid-in the LEC Monthly letter. NEWMAN & WICHE 516. Bright, very fresh copy.
(Clifton, New Jersey): AB Bookman Publications, 1994. Softcover. Near Fine. First edition. Quarto. 2,163-2,274pp. Stapled wrappers, near fine. This issue contains Thomas Frognall Dibdin and Bibliomania, Kepler As Author, Printer and Publisher.
London: Darton, 1811. 32mo. 16pp., + 16 inserted plates. Each engraved image depicts the titular good boy engaged in less desirable activities, such as throwing stones, feeding scraps to the family pet, and drawing on the walls. Each is accompanied by a pithy couplet drawn from the soliloquy. The author includes an introductory note, in which he defends himself from the accusation that the verses give children naughty ideas that they would never have thought of themselves, and provides the suggestion that the reader insert his or her own name at the final line and face the potential ruin of the rhyme with bravery. Bound in tan wrappers with illustration to both covers. Expected but minor edgewear, faintest foxing, else near fine. A rare survival, with only two institutional copies listed in OCLC.
1955. London: William Heinemann Ltd, (1955). Original dark blue cloth lettered in gilt, with dust jacket. First Edition of this novella about a man who devises a scheme to win big at Monte Carlo -- but his obsession causes him to lose his girl (whom he planned to marry there) in the process; with an acquaintance's help he gains the girl back, but only by losing all the money he had won -- hence "Loser Takes All." The following year appeared the British film with the same title (screenplay also by Greene) -- starring Glynis Johns, Rossano Brazzi, and Robert Morley. This is a very good copy (wear on some edges of the boards, minor fading, foxing on the top edge). The dust jacket is just about fine (a couple of short closed tears); because the jacket is in better condition than the volume, one may assume that it was "married" to this book. This is a presentation copy signed by Greene, with the inked title page inscription "For Clive | Graham Greene"; at a corner of the front paste-down is the penciled signature "Clive Hirschhorn | Johannesburg, March 1985". For over 30 years, the South African Clive Hirschhorn was a major London theatre and film critic for the Sunday Express; he also wrote biographies of Hollywood stars like Gene Kelly and of the Hollywood studios Warner Brothers, Universal, and Columbia. He was also a major collector of modern first editions (his collection, including 28 Graham Greene titles, sold at Bloomsbury in October 2012). Additionally, the front free endpaper bears the undated ink signature of Anthony Woodward, a professor of English at the University of Wiltwatersrand in Johannesburg (Hirschhorn's alma mater); among Woodward's writings is "Graham Greene: The War Against Boredom" (Cape Town 1971, Cassis B7112). Quite a nice circle of associations.
Burlington (VT): Printed by Smith & Harrington, 1836. 4to. 275 x 225 mm., [10 ¾ x 9 inches]. vi. 46 pp. Lithographic title-page and 13 full-page lithographic plates. Original cloth, paper label on spine; cloth discolored and shows some remnants of water staining, spine and tips expertly repaired with tissue, spine label chipped; tide marks to preliminary leaves, frontispiece and title-page, plates 12 and 13 and rear end leaves. With fault a good copy. First edition. Illustrated with fourteen finely drawn and printed lithographs designed by the author and printed by the Pendleton's Lithographic Company, Boston. "John Pendleton, Lithographer. Born in New York State. While traveling in France, he became interested in lithography and studied the art under the best masters in Paris. On returning to America, he settled in Boston with his brother, a copperplate printer, and they established a lithographic establishment in 1825." John Henry Hopkins was an Irish immigrant, home schooled by his mother, who became a lawyer, musician, ordained minister, bishop and author of over thirty publications. He studied gothic architecture during his time in Pittsburg where he was charged with supervising the construction of Trinity Church. Dismayed with the unsightly designs of most churches in America he decided to compile his information as a guide to the elements of style and design characteristics of the gothic. He became of the most notable experts in the field and he published this work, one of the first of its kind in America, for the benefit of local ministers charged with the building of churches in the gothic style. Hitchcock American Architectural Books, 606. Fielding, Dictionary of American Painters, Sculptors and Engravers, p. 278. Peters, American on Stone, pp. 312-323. Allibone, Critical Dictionary of English Literature and British and American Authors I, p. 885.
Chicago: A. C. McClurg & Co., 1919. Octavo, pp. [1-8] 1-319 [320: blank], five inserted plates with illustrations by J. Allen St. John and twelve full-page St. John illustrations in the text, original orange cloth, front and spine panels stamped in black. First edition, first printing, first binding with publisher's imprint on spine panel set on three lines. A series of twelve stories, "The New Stories of Tarzan," all first published monthly in BLUE BOOK, September 1916-August 1917. The stories, containing some of Burroughs's best writing, were collected in JUNGLE TALES OF TARZAN. A total of 63,000 copies of the book were printed. There were multiple printings, probably four, all dated 1919. Bleiler, Science-Fiction: The Early Years 319. Bleiler (1978), p. 35. Reginald 02286. Heins JT-1. Private owner's bookplates affixed to front paste-down and free endpaper. Top and fore-edge of text block a bit tanned, a bright, nearly fine copy in bright, very good four-color pictorial dust jacket (reproducing painting by J. Allen St. John on front panel) with restoration at corners and spine ends. The jacket presents well overall.
1551. A Collection of Texts from the Corpus Juris Civilis in Handsome Uniform Contemporary Paneled Pigskin Bindings Justinian I [483-565 CE], Emperor of the East. Accorso, Francisco (Accursius) [c.1182-c.1260], Glossator. Gaius [Active 130-180 CE]. Institutionum D. Iustiniani Sacratissimi Imperatoris Libri Quatuor: Ad Vetustissimorum Simul et Emendatissimorum Exemplarium Fidem Summa Diligentia Recogniti, Emendati. Cum Scholiis Accursii. Adiecimus Pluribus Locis Annotationes ex Doctissimorum Hominum Commentariis, Ex Quibus non Parum Lucis ac Dignitatis his Iuris Civilis Elementis Accedit. Accessit Corpus Legum, Antea non Impressum, Ac Caii Institutionum Libri Duo. Lyon: Apud Hugonem a Porta, 1553. Pp. [24], 290, [2] pp. Large woodcut image of Justinian surrounded by his court. Main text in parallel columns with linear gloss. [Bound with] Justinian I, Emperor of the East. Accorso, Francisco (Accursius), Glossator. Volumen hoc Complectitur (Sic Enim Peculiari Vocabulo Vocant) Novellas Constitutiones Iustiniani Principis Post Repetitam Codicis Praelectionem Aeditas: Authentica Vulgo Appellant. Tres Item Posteriores Libros Codicis; Feudorum seu Beneficiorum Duos; Constitutiones Friderichi Secundi Imperatoris; Extravagantes duas Henrici Septimi Imperatoris; & Tractatum De Pace Constantiae. Omnia ad Vetustissimorum Simul & Emendatissimorum Exemplarium Fidem Recognita, Emendata. Accesserunt nunc Primum, & Nunquam Antehac Aediti, Iustiniani Novellarum Constitutionum Libri Duo, Cum Multis Annotationibus ex Doctissimorum Hominum Commentariis, Quae non Parum Lucis ac Dignitatis Huic Volumini Afferunt. Lyon: Apud Hugonem a Porta, 1553. [xvi], 276, 148, 99, [1] pp. Woodcut table of descents (in the form of a tree). Main text in parallel columns with linear gloss. [With] Justinian I, Emperor of the East. Accorso, Francisco (Accursius), Glossator. Infortiatum, Pandectarum Iuris Civilis Tomus Secundus: Quartae Partis Reliquum, Itemque Quintam Digestorum Partem, Ac Sextae Partis: Libros Continens, Ex Pandectis Florentinis Ita in Universum Recognitus ac Emendatus, Ut Nihil Praeterea, Quod ad Puram Eorum Librorum Lectionem Attinet, Desiderari Possit. Lyon: Apud Hugonem a Porta, 1556. [xxxvi], 923, [1] pp. Main text in parallel columns with linear gloss. [And] Justinian I, Emperor o.
Westminster: Archibald Constable, 1899. Seventh edition. hardcover. Very good.. A very good early (7th) edition, signed and dated by the author Bram Stoker on the front free endpaper. Housed in a custom-made collector's slipcase
Davis, California: Composer/Performer Edition, 1974. 11 volumes bound in ten (issues 7 and 8 bound in one). Complete; all issued. Oblong folio. 10-3/4" x 14". Original stiff decorative wrappers in colour. Spiral bound. Unpaginated, but with approximately 100 pages to each volume. Lavishly illustrated with musical scores and striking photographs and graphics in both colour and black and white. With supplementary material bound in, some quite unusual, including such things as magnetic audiotape and synthetic fur, screenprintings on transparencies, etc. Each issue with approximately 10 articles written by the major figures in avant garde music of the time, including Dietrich Albrecht, Charles Amirkhanian, Eric Andersen, Robert Ashley, Larry Austin, David Behrman, Mario Bertoncini, Joseph Beuys, Anthony Branxton, Eugen Brikcius, Jacques Brodier, Earle Brown, Allan Bryant, Boudewijn Buckinx, Harold Budd, Jim Burns, John Cage, Cornelius Cardew, Giuseppe Chiari, Paul Chihara, Barney Childs, Christo, Jani Christou, Philip Corner, Lowell Cross, Alvin Curran, John Dinwiddie, Peter Donath, Manfred Eaton, Robert Erickson, Morton Feldman, Robert Filliou, Fluxus, Lukas Foss, David Freund, Ken Friedman, Kira Gale, Peter Garland, Gentle Fire, Tony Gnazzo, Victor Grauer, Joel Gutsche, Gyula Gulyas, Olaf Hanel, Sven Hansell, John Hassell, Dick Higgins, Lejaren Hiller, Stu Horn, Nelson Howe, Jerry Hunt, Toshi Ichiyanagi, Image Bank, Zdzislaw Jurkiewicz, Udo Kasemets, Per Kirkeby, Paul Klerr, Milan Knizak, Jaroslaw Kozlowski, Carson Jeffries, Bengt Emil Johnson, Will Johnson, Ben Johnston, Alan Kaprow, Ed Kobrin, Alcides Lanza, Douglas Leedy, Daniel Lentz, Anna Lockwood, Arrigo Lora-Totino, Alvin Lucier, Mary Lucier, Stanley Lunetta, Eva Lurati, Stuart Marshall, Richard Martin, Harvey Matusow, Tom Marioni, Ken Maue, Dora Maurer, Maria Michalowska, John Mizelle, Robet Moran, Gordon Mumma, Keith Muscutt, Naked Software, Max Neuhaus, Nam June Paik, the New Percussion Quartet, Jocy de Oliveira, Pauline Oliveros, Harry Partch, Jon Phetteplace, the Portsmouth Sinfonia, David Reck, Steve Reich, Jock Reynolds, John Paul Rhinehart, Mark Riener, Roger Reynolds, David Rosenboom, Frederic Rzewski, Zorka Saglova, J. Murray Schafer, the Scratch Orchestra, Gerald Shapiro, Nicholas Slonimsky, Barry Spinello, Stanley Marsh 3, Andrew Stiller, Karlheinz Stockhausen, Allen Strange, Alvin Sumsion, Endre Tot, David tudor, Bertram Turetzky, Jiri Valoch, Wolf Vostell, Don Walker, Arthur Woodbury, and Christian Wolff. With 6 accompanying 10-inch LPS: - Robert Ashley The Wolfman; Dave Behrman Wave Train - Larry Austin Accidents; Allan Bryant Pitch Out - Alvin Lucier I Am Sitting in a Room; Arthur Woodbury Velox and Mark Riener Phlegethon - Larry Austin Caritas; Stanley Lunetta moosack machine - Lowell Cross Video II; Arrigo Lora-Totino english phonemes - Alvin Curran Magic Carpet; Anna Lockwood Tiger Balm Slightly worn. In very good condition overall. A complete run of this exciting independent periodical devoted entirely to the music of the 20th century avant garde, an outgrowth of the musical experimentalism in the late 1950s and early 60s at the University of California, Davis and Mills College in Oakland, California. In an effort to expand the traditional definition of music and formal concert performance, Source documents many of the most important "new music" trends of the period including improvised and indeterminate music, minimalism, Fluxus, performance art, graphic scores, electronic music, performance art, concrete and sound poetry, intermedia, British Systems music, video/laser light shows, new electronic, video, and communications technologies, etc. A landmark publication of great importance to the study of avant garde music of the mid-20th century, rarely found complete.
Cambridge: np, 1963. First edition. Fine. C.S. LEWIS GIVES PRACTICAL (AND SOMEWHAT HUMOROUS) ADVICE TO A STUDENT SELECTING A THESIS TOPIC, BEFORE REVEALINGLY SUGGESTING ONE OF HIS FAVORITE WORKS - DOROTHY SAYERS'S THE MAN BORN TO BE KING - AS A SUBJECT WORTHY OF STUDY. Written to a student, John T. Tukey of Rhode Island and dated July 6, 1963, the letter reads in full: As from Magdalene College, Cambridge 6 July 63 I always dissuade students from making a living author the subject of their thesis. When they do, however hard they work, the chosen author and his intimates will know a lot more about the subject that they can find out. Dead authors know a lot about their own work which we don't but fortunately they can't tell it. It has happened before now that those who were examining a thesis on my work have written to ask me whether some interpretation offered by the candidate is correct. This puts me in a v. awkward dilemma. If I refuse to answer they know that my answer would have been no. The candidate's work is thus unfairly subjected to a check which would not have been applied if he had written on a dead author. I suggest you choose Dorothy Sayers' cycle of plays on the life and death of Christ (title, The Man Born to be King). Whether it wd. come under the faculty of Theology or that of Literature depends, I suppose, on how you treat it. Yours sincerely [signed] C.S. Lewis Background - C.S. Lewis, Dorothy Sayers, and The Man Born to Be King: C.S. Lewis and the writer Dorothy Sayers quickly became good friends after the latter wrote him a "fan" letter praising his recently-published Screwtape Letters. It was not a particular surprise they developed a friendship for both had similar views on literature, scholarship, and theology (especially sharing the desire to explain and explore Christianity for their literary audiences). Sayers's The Man Born to Be King, a somewhat controversial re-telling of the life of Jesus, originally appeared as a radio drama airing from 1941-1942 before being published in book form in 1943. Lewis was immediately impressed with the work, writing to Sayers on May 30, 1943 (in one of his earliest letters to her), "I've finished The Man Born to be King and think it a complete success... I shed real tears (hot ones) in places: since Mauriac's Vie de Jesus nothing has moved me so much... I expect to read it times without number again...." Over the years, Lewis's admiration for the work only grew. He professed to reading it "in every Holy Week since it first appeared" and noted in 1949 that he thought "Man Born to be King has edified us in this country more than anything for a long time" (Lewis, Collected Letters, II, 989). Sayers died in 1957 - six years before this letter - and it is fitting that of all the books he could have recommended to the student Tukey, he selected The Man Born to Be King, a book he greatly admired and a book that had remained dear to his heart. Cambridge: 6 July 1963. One sheet, 5 1/4 x 7 inches, written in ink on both sides, signed "C.S. Lewis". With original mailing envelope with postmark. Generally fine condition with expected center mailing fold and a few light spots. Housed in custom presentation folder.
Salem, OH: Homestead Print, n.d., ca. 1850. First Edition. Unused handbill announcing anti-slavery meetings held by the Western Anti-Slavery Society, a splinter group from the Ohio State Anti-Slavery Society. This branch was led by the abolitionist Adam Brooke, a member of the utopian community the Marlboro Association; and, to a lesser extent, Parker Pillsbury, who attended and occasionally spoke at the annual anniversary meetings. The Society, Garrisonian in its rejection of the Church, stated that "We are not merely warring against the extension of new slave territory, nor against any fugitive slave law constitutional or unconstitutional; nor for the writ of habeas corpus, or the right of trial by jury for recaptured slaves, but we are waging eternal war against the doctrine that man can ever under any possibility of circumstances, hold property in man" (cf. William M. Wiecek, "The Sources of Anti-Slavery Constitutionalism in America, 1760-1848" (1977), p. 252). The group reached its peak in 1847 when William Lloyd Garrison and Frederick Douglass both spoke at the annual anniversary meeting, which drew several thousand attendees. However, the group always struggled with funding and was defunct by 1861. The present broadside reminds the reader that "Three million of your fellow beings are in chains--the Church and Government sustains the horrible system of oppression. Turn Out! And learn your duty to yourselves, the slave and God. Emancipation or Dissolution, and a Free Northern Republic!" 4 located in OCLC, none in Ohio. Original unused letterpress broadside flyer (40x27.5cm.); a few closed tears expertly mended, stock uniformly toned, else a Very Good, quite fresh copy.
Brussels: Les Lèvres Nues, 1968-1975. Quartos (30 × 23 cm). Issued in uncut loose sheets; approximately 8 to 32 pp. per issue (unnumbered). Illustrations throughout, mostly black-and-white, with some color reproductions tipped in. Most issues printed on laid paper, some on coated stock. Very good or better. A fine complete run of this important post-war Belgian surrealist journal, composed of 135 issues in 98 fascicules, with several double and triple numbers. Issued monthly and edited by Marcel Mariën, the journal features contributions by major Belgian surrealists, including Goemans, Nougé, Scutenaire, Colinet, Dumont, Magritte, Joostens, Lecomte, Tom Gutt, Wergifosse, Bossut, Souris and Bourgoignie, among others. Most issues focus on a unique work by a single author or artist, and are illustrated throughout with reproductions of works by Man Ray, Magritte, Picabia, Mariën, Bossut, Ernst, Graverol, Jamagne, Ubac and Van de Wouver, and others. Especially noteworthy are Magritte's contributions, which are often illustrated by him. Issues 81-95 constitute one volume containing "Lettres surrealistes (1924-1940)" edited and annotated by Mariën. Issue no. 95 contains "Filchings for Annoyed Birds" by Paul Colinet (in English). Most issues feature a distinctive title. Nos. 15, 30, 40, 55, 65, 80, 100, 107, 110, 120, 130, 134 issued as a "nouvelle serie" interspersed throughout the run, under the title "Les Lèvres Nues" and numbered 1-12. The last issue (no. 135) contains a cumulative index to the entire series. All issues uniformly hand-numbered "vingt-deux" (22) of unspecified print runs, which ranged from 50 to 250 copies. Given the low print run of the earliest issues, presumably only fifty complete sets exist.
4to (200x145 mm). Collation: [π]4 †4 A-T4 V2 X4 Y2 Z4 [χ]2. Half-title, engraved frontispiece, [12], 176, [4: errata corrige] pp. and [4] folding plates engraved by Francesco Nigro and Francesco La Barbera after Gerardo Astorino and Vincenzo La Barbera. Richly gilt modern morocco binding, original sprinkled edges. Minor restorations to the outer margin of the first leaves without loss, small worm track in the gutter of a few leaves not affecting the text, tears repaired along the folding of one plate, all in all a very good copy.
EXTREMELY RARE ORIGINAL EDITION of this festival account attributed to Filippo Paruta, but edited by his son Simplicio, who also signs the dedication to the Senate of Palermo, and published posthumously under the name of his other son Onofrio.
In the note to the reader Onofrio provides a detailed list of the works (orations, occasional writings, inscriptions for ephemeral architectures, etc.) of his father Filippo, who was the secretary to the Palermo Senate and the major responsible for the iconographic program realized on the occasion of the 1625 festivity.
At the beginning of the 1620s the viceroy Emanuele Filiberto of Savoy rebuild the Accademia dei Riaccesi, which gathered in the Royal Palace, and entrusted the scholar and mathematician Carlo Maria Ventimiglia with the direction of the academy. Around his figure gravitated many of the artists and scholars who designed the program and the solemn procession of the relics of St. Rosalia, held in June of 1625 as a sign of gratitude for deliverance from plague. Among them were the painters and architects Gerardo Astorino and Vincenzo La Barbera, the engraver Francesco Negro, the scholar Martino La Farina, who conceived the allegorical arch of the Genoese nation, and, above all, Filippo Paruta, who was linked to Ventimiglia also by a common passion for numismatics and antiquities. Paruta was involved in all literary activities related to celebratory events since the end of the sixteenth century. In 1625 he inspired the triumphal arch that the Senate erected in Piazza Villena and was responsible for the account of the festivities, which however was actually published only after his death in 1651.
The constitution of such a large and complex team to be entrusted with the creation of the apparatuses testifies of the importance of that event that officially marked the beginning of the cult of St. Rosalia. The solemnity of 1625 had no immediate follow-up and only in 1649 the feast of St. Rosalia was formalized with all those peculiarities that would characterize the following decades. In 1625, in addition to the impressive processions and solemn ceremonies to which all local communities, religious and civil, took part, two magnificent horse rides were organized; one, in particular, took place at the conclusion of the festivities, after the solemn mass in the cathedral. Then followed fireworks, organized by the German nation, tournaments and jousts. At the very end the nobility walked in gala dresses along Via Colonna (cf. M. Sofia di Fede, La festa barocca a Palermo: città, architetture, istituzioni, in: "Espacio, Tiempo y Forma", series VII, t. 18-19, 2005-2006, pp. 49-75; see also M. Vitella, Il primo Festino, in: M.C. Di Natale, "S. Rosaliae patriae servatrici", Palermo, 1994; and V. Petrarca, Genesi di una tradizione urbana. Il culto di S. Rosalia a Palermo in età spagnola, Palermo, 1986, p. 82).
Catalogo unico, IT\ICCU\PALE\004559; S.P. Michel, Répertoire des ouvrages imprimés en langue italienne au XVIIe siècle conservés dans les bibliothèques de France, Paris, 1976, VI, p. 80; Biblioteca centrale della Regione siciliana "Alberto Bombace", Sanctae Rosaliae Dicata, Bibliografia cronologica su Santa Rosalia, Settembre 2004, pp. 12-13; G.M. Mira, Bibliografia siciliana, Palermo, 1881, II, p. 186; A. Mongitore, Bibliotheca sicula sive de scriptoribus siculis, Palermo, 1707-1714, I, p. 293 and II, p. 174; M. Cornelles, V. Manuel et al., eds., La fiesta barroca. Los reinos de Nápoles y Sicilia (1535-1713), Palermo, 2014, ad indicem.
Glasgow:: Brown, Son & Ferguson, (1948)., 1948. Third impression. Two volumes. 25 cm. xiv, 518; xv, 448 pp. Frontispieces, illustrations, plans (some folding); spine gilt rubbed, corner bumped. Blind and gilt-stamped blue cloth, map endpapers. Very good copies.
London: [plates dated] 1825 [but published 1826]. Folio, 320 x 254 mm, engraved title and 21 plates. Proofs on India paper mounted on handmade paper, some leaves (2, 5, 6, 11, 14, 17, 18) watermarked J. Whatman Turkey Mill 1825. Gilt-ruled green morocco over thick boards, fleurons at the outer corners, double-rule inner frame enclosing a bloom roll, gilt-ruled spine, sewing bands with gilt red morocco onlays, thick dark blue endleaves, all edges gilt, by Riviere: a brilliant set with no foxing at all, interleaved with blanks at the time of binding with no offsetting. Lower cover of the binding at some time tied up with string with ensuing indentation. § First edition, limited to 150 proof sets (65 sets were also printed on French paper, and 100 sets on drawing paper with the word ‘proof’ removed). This is one of finest sets of the proofs I have ever seen, and far outshines the other two original printings and the later re-issue. The India paper set is the best printing of these famous plates which comprise Blake’s major single achievement as a printmaker after the illuminated books. Illustrations of the Book of Job was Blake’s last completed prophetic book: the text, a series of biblical quotations, is above and below each image. “It was produced while Blake was still working on Jerusalem, his most obscure book; yet the illustrations are Blake’s most lucid; and they are the supreme example of his reading the Bible in its spiritual sense” (S. Foster Damon, A Blake Dictionary, p. 217). “The modest size of the central panels does not prevent them from ranking with the supreme masterpieces of graphic art” (Ray, Illustrator and the Book in England #8). Note: as always, the first plate after the title-page is misdated 1828.
Used; Like New/Used; Like New. Poster for a March 28, 1966 appearance by the Civil Rights leader together with singer Harry Belafonte at the Palais des Sports in Paris. Organized by the Comité de Soutien Franco-Américain pour l'Intégration Raciale, the event featured a speech by King and music from Harry Belafonte and French singer Hugues Aufray, sponsored by Suze Liqueur. Two-color poster, with folding creases, one tear to the right edge, minimal wear and toning; overall very good. Sight size 14.5 x 22.5 inches (37 x 57 cm), archivally matted and framed to an overall size of 20.5 x 26.5 inches.In March 1966, King and Belafonte went to Europe for fundraising appearances on behalf of the Southern Christian Leadership Conference, starting with the Palais des Sports in Paris on the 28th, and closing in Sweden on the 31st. This poster for the French appearance is emblazoned with the logo of a sponsor, Suze Liqueur, and also cites the French-American Committee for Racial Integration as the organizing body. The opening act for the evening was the popular French folksinger Hugues Aufray doing a set of Bob Dylan covers, followed by a set by Belafonte. Dr. King closed out the evening with a speech on civil rights, touching on the war in Vietnam and American support for South African apartheid. The tour raised more than $100,000, but drew the wrath of the American ambassador to France for airing American problems overseas. See Ross, Hollywood Left and Right, p. 220. We have traced no other copies of this poster at auction or elsewhere.
Kansas City: H. Alfred Fowler, 1912. First edition. First edition. Original decorative card paper wrappers. The rare "Eragny Press" number (Volume I, Number 3) which features notes on bookplates by Esther and Lucien Pissarro, by J. M. Andreini, including three superb color printed specimens of book plates by the Pissarros, printed in colors on china paper and tipped-in. A scarce and very attractive rendering. There are also two other features in the number. Near fine.
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United Kingdom. c1890. A collection of three woodworking design books featuring pen and ink stencils and applied cuts for layouts. Each of the covers of the books have titles pasted onto them. The titles are: Original Designs Book, Designs for Woodcrafting, and Designs for Chip Carving.
The 'Design for Chip Carving' book appears to have a souvenir blank notebook published by the art department of 'Pure Boots Drug Company' that was then repurposed. The Chip Carving book also features both pasted in printed applied cuts and pen and ink stencils. The stencils are hand drawn of a variety of different filigree - mainly with floral elements- and animals. There are three animal stencils, the first is a flock of birds, the second has dragon flies and goldfish, and the third images features two owls sitting on a branch with two bats flying around the moon. The printed applied cuts feature more traditional geometric designs, as well as some floral designs. These designs were for picture frames, mirrors, brushes, furniture, shelves, and various boxes (ex. cigar box). Two of the books are completely filled, one, Chip Carving, is half filled.
Measures 11" x 8 ½”(largest), 9 ½”x 6 ½”(smallest). The two smaller books have 24 pp each and the larger about 40pp.
Offered by Eclectibles and found in "E-list #74" (item #13).
Tokyo: Kodansha International (1987). First English language edition. 12mo. [4], 5-165, [1], [10] (pages of publisher's advertisements in Japanese). Paper pictorial jacket over softcover grey wraps. Includes a bookmark for Kodansha English library. Translated by Alfred Birnbaum. Lacks the "obi" band. Very near Fine in very near Fine dust jacket. Wikipedia, "Hear the Wind Sing". The first novel in Murakami's Trilogy of the Rat, made available in English only by Kodansha International Publishing (until 2015 when the story was published in an omnibus English edition of Murakami's works). Murakami preferred this, as he considered it to be a work from his "immature" period. The novel is concerned with the Japanese student movement, writing as a process, and the ways in which Japanese and Western culture interacted in the latter half of the 20th century.
A century of circus letterhead and envelopes. Mostly 1920s‐1930s, but spanning early 1900s through the 1980s. Mostly American, some from Great Britain. All standard sizing 215 by 280mm (8 1/2 by 11 inches) and 240 by 100mm (9 1/2 by 4 inches). A few with repair tape or glue remnants on back; some with year stamp on back; almost all blank. A cornucopia of graphic design and a study in print adverising at its finest. Circus letterheads spawned their own legion of collectors and fans.
Offered by Mark Funke, Bookseller and found in their new catalog "Circus."
OCCASIONAL LIST 22: A Miscellany: Original Art Work; Small Archive of Major English Watercolourist; Interesting Theatrical Pieces; Manuscript Material, Etc., Etc. -- available on request from fgrare@fgrarebooks.com...
Has the following lists available: California, Texas, Kansas, Missouri, Minnesota, Iowa, Nebraska, Oregon, Louisiana, Colorado, Ohio and New York. Will email to interested parties. Contact info@ginsbook.com to request...
New York: Reynal & Hitchcock, 1939. First edition. Hardcover. One of the best books to come out of the FSA experience, that shows the grim resolve and the conditions in the late 1930's dust bowl. Text by Taylor and powerful black and white images by Lange. A tight close to near fine copy with some very faint evidence of a moisture stain to the base of the spine in an about fair first issue dust jacket that numerous small chips, edge tears, wear, tape repairs to the verso and staining. This is the first issue with with the list of Vital Books for Our Time and an advertisement for Mein Kampf on the rear panel of the dust jacket and in a lighter blue cloth with no topstain. This issue is also slightly heavier than the second issue. Much less common in the first issue. (Roth 102-103, Parr & Badger v1, 142-143).
Offered by Jeff HIrsch Books and found in "E-list #164."
Glenview, IL: Karen Hanmer, 1999. Number 4 of 20 copies. Signed and numbered by the book artist. Karen's artist-made books are physical manifestations of personal essays intertwining history, culture, politics, science and technology. She utilizes both traditional and contemporary book structures, and the work is often playful in content or format. She exhibits widely, and her work is included in collections ranging from Tate Britain and the Library of Congress to UCLA and Graceland (from artist's statement).
In this amusing book, Karen utilizes the flag book structure originated by Hedi Kyle to juxtapose and contrast two staples of western art history, "Mona Lisa" and "Waterloo," a poker dogs painting by Cassius Coolidge. Partial images of each work alternate as the flag images are turned. When the book is completely open the full poker dogs picture is seen. The images are reproduced with pigment inkjet prints. No text. The book is 8 x 4.5 inches closed and 8 x 19 inches when open. Housed in archival storage case with Velcro closures. In fine condition.
Offered by Kelmscott Bookshop and found in "Art Books."
[ no place ]: [ no publisher ] [ no date ]. Faux leather protective roll with two snap closures, containing three portraits on paper. The whole connected on one end between two large (1 1/2 inch) dowel halves on one end. The salesman could add various portraits to the assemblage by separating the two half dowels, adding additional portraits, and screwing the assemblage together again. This example has a green tinted linen guard laid in to protect the paper portraits as they are rolled and snapped shut. Leather roll is approx 17 1/2 inches wide and two foot long. This portfolio contains three examples - the first a black and white distinguished bearded gentleman, the second a stylized woman in brown tint, and the third a young woman with very nice colored tints. All have some wear and dampstaining, and the faux leather covering is stained and has various detritus attached to it. Very Good. [28017]
Large photographic prints were expensive and difficult to store and transport. This was one solution for photographers - a sample portrait that could be rolled up in a protective cover and taken where-ever needed - the fair, the office, or a client's home.
We find one of these a year roughly so they were in use - rarely do we find the same images used though. This example has three images representing different styles/coloring possibilities, each with a penciled number on the back. These may have been examples of Crayon Portraiture which was a method of using crayons, a solar projector, and crayon paper to hand-draw an enlarged portrait from a smaller image. There are other, competing processes as well, all 19th century inventions. We often see the results in victorian era frames in antique shops so there was some success in promoting and creating these portraits.
An excellent "prop" that takes the holder back to the days of the traveling photographer, here in color!
Illustrated Catalog on Carlos Merida (1891–1984) -- Mexican painter, sculptor, writer and graphic designer -- available by request from mmbooks@comcast.net
(London: The Navarre Society Ltd., [ca. 1900]). 180 x 113 mm. (7 1/8 x 4 1/2"). Six volumes. Edited by George Saintsbury. One of 2,000 copies.
VERY FINE BURGUNDY MOROCCO, HANDSOMELY GILT AND ONLAID, BY THE HARCOURT BINDERY OF BOSTON (stamp-signed on front flyleaf), boards with triple fillet border, EACH COVER WITH AN ELABORATE HERALDIC FRAME OF GILT AND ONLAID GREEN MOROCCO around an empty oval, raised bands, very pretty gilt spine compartments featuring looping tendril frame enclosing a charming flower centerpiece, densely gilt turn-ins, marbled endpapers, top edges gilt. Six frontispieces by George Cruikshank showing scenes from the book. A VERY FINE COPY, the bindings especially bright, and the text with virtually no signs of use.
This is a very attractively bound copy of Fielding's 18th century classic and a landmark publication, first printed in 1749. Cross says that "No one before Fielding had ever written a novel comparable with his in its reliance upon contemporary facts of human nature, and this brilliant and innovative narrative met with such immediate commercial success that the first printing was sold out before its printing could be finished, and at least four more editions were published in the same year as the first." "Tom Jones" is divided into 18 books, each preceded by an introductory essay (wherein can be found some of Fielding's best prose) on some theme more or less connected with the story, in the manner subsequently adopted by Thackeray and George Eliot. The plot begins with the finding and raising of Tom by Squire Allworthy and his sister Bridget and then follows Tom's adventures, many amorous, after his banishment from the Allworthy house prompted by bad behavior. In the comic ending, mysteries are revealed and relationships set aright. Day says this was the first avowed novel in English (Fielding's precursor, Defoe, claimed his stories were true and Richardson said that his were akin to sermons), and a work that some still call the greatest novel in English because of its attention to characters set against the backdrop of society. Inspired by the Arts & Crafts movement that had spread to New England, the Harcourt Bindery was founded in 1900 to provide hand bookbinding services for the books produced by a burgeoning number of private presses. With plenty of shelf appeal, the present set is an excellent example of their high-quality work.
Offered by Phillip J. Pirages Fine Books & Medieval Manscripts and found in "Books in Multiple Volumes."
[N.p., likely Richmond. 1861]. Broadside, 6¼ x 4 inches. Light edge wear and minor spotting. Very good. A scarce Confederate election ticket for the state of Virginia. The handbill announces the candidacy of Jefferson Davis for president of the Confederate States, and Alexander Stephens for his vice president. It also announces John R. Edmunds of Halifax and A.T. Caperton of Monroe as electors for the state at large, and includes a list of sixteen additional electors for the various districts, along with the name of Roger A. Pryor for the Confederate Congress. Davis and Stephens won the election, as did Pryor, who served only three months in the first regular session of the Confederate House of Representatives before joining the 3rd Virginia Infantry as a colonel. This ticket is very likely a cast ballot, with a small validation pinhole in the center, the Congressional candidate overwritten in ink (casting a vote for William T. Joyner), and with a signature on the verso, a regular practice at the time to curb ballot stuffing, and usually indicating a cast ballot (though they are typically signed in ink). Parrish & Willingham locate only twelve examples of this scarce item. Not in Crandall.
Striking example of this map of the Ottoman Empire, showing their territories in the Balkans, Anatolia, the Levant, the Arabian Peninsula, and North Africa.
It was published by Henricus Hondius in his Atlas sive Cosmographicae Meditationes de Fabrica Mundi et Fabricati figura, which translates to the “atlas or cosmographical meditations on the fabric of the world and the figure of the fabric.” This was the atlas begun by the famous Gerard Mercator and published by the Hondius firm throughout the seventeenth century.
The border of the Ottoman Empire is marked with a dotted line, demarcating one of the largest land empires in history. Cities and towns are labeled and marked with the characteristic small building symbol that was used throughout the atlas. Mountains and dunes are included, especially on the Arabian Peninsula. Notes indicate extra information about the Caspian Sea, Black Sea, and kingdoms that ring the Ottomans.
A handsome strapwork cartouche holds the title and scale in the lower left corner. At the top is a portrait of Sultan Mahumet Turcorum Imperat. This refers to Mehmed III, sultan from 1595-1603. Mehmed III is known for the fratricide of his nineteenth brothers, the war with Austria-Hungary, the Jelali Revolts, and the reception of Queen Elizabeth I’s envoy in 1599.
This map first appeared in the atlas in 1606, an additional plate added by Jodocus Hondius. It continued to appear there until the French edition of 1639-44.
Offered by Barry Lawrence Ruderman Antique Maps and found on their Twitter feed...
39 broadsides, labels, ads, calling cards, etc. all relating to the business ventures of Isaac S. Clough, a prolific inventor and salesman who concentrated mostly on the invention of novel insect traps, but who also sold ash sifters, pastry boards, spring boot jacks, combined knife, spoon and fork utensils, match safes, hand lanterns, an "automaton dancer" composed of two "negro-dancers" and string, and more. At least six different insect traps are represented, including a Premium Clockwork Pillar & Cage Fly Trap, and a Clock-Work Revolving Light House Fly & Mosquito Trap. The largest item is a broadsheet, 9.25" x 12" with a "Clough's Reporter" newsletter on one side and a large engraved illustration for a Suspension Cage New Fly-Trap on the opposite side.
In addition to his inventions Clough also worked as a manufacturer, distributor, and a door to door salesman. Many of the ads are pointed at wholesalers, and two items are printed calling letters notifying a household of an imminent visit by Clough to sell them fire shovels, for example.
A number of items cite Clough's number of medals and diplomas earned, with the number peaking at 19 and 33 respectively. Aside from this small change in accolades it is difficult to date most of the material. "Clough's Reporter," is dated 1860, one manuscript letter from the then governor of Massachusetts, Alexander H. Rice, congratulating Clough for his success in business, dated 1856. The calling letter from the Iron Clad Can Co. is dated 1876. The majority of the material is likely printed between the late 1850s and the early 1870s.
Also included are a few New York banknotes signed by Clough and a receipt on letterhead for a tombstone ordered by him for Cypress Hills Cemetary. We could find little on Clough's life beside the fact that he appears to have been based in Brooklyn, NY. A few chips and holes in some items, but most generally very good, and an interesting group reflecting the world of late 19th century American industry.
London: Griffith, Farran, Okeden & Welsh (Successors to Newberry & Harris), 1887. Octavo (6¾” by 8⅝”). 78 pp. With frontispiece and three plates printed in red and black; four fullpage illustrations (included in pagination) printed in black; and two pages with text illustrations. Also with charming floral headpieces. Original pictorial boards with lively red-and-black border featuring the silhouettes of dogs, cats, and farm animals. Titled in red on spine. Some soiling to boards. Floral endpapers. Still a clean, tight, nearfine copy of a scarce work on the kindergarten.
First edition. In chapter one of the present work, Emma S. Windsor states that the theories of Friedrich Froebel inspired her to invent her crawling rugs (p. 11). She created the rugs by sewing pieces of fabric cut to resemble animals onto sheets of flannel. Windsor’s idea was that children from birth to age seven could appreciate the rugs in different ways over time: first, they could explore the texture and recognize the animals from picture books; then, with the help of a mother, learn the names of animals and how to mimic their sounds; and, finally, older children would enjoy the images and be inspired to independently learn more about the animals pictured on the rug (p. 13).
Windsor sold her blankets at the Kindergarten Depot of the Soho Bazaar in London. Though she encourages women to follow her designs when making rugs, she also warns that the designs are registered with the patent office and are not to be reproduced for sale (p. 23). Based on information about her business given at the end of the present work, she also seems to have provided lessons to women about how to educate through the principles of kindergarten. Note that some of the illustrations are credited to a “W.F. Windsor,” possibly Windsor’s husband. We could not find any additional information about Windsor in the sources available to us, including dates.
4to. 11.5 x 12 in. [12 pp (unpaginated).] triptych, printed on colour-tinted paper stock, which opens into oblong folio 34.5 x 24 in. dealer poster. Colour-illustrated throughout. Self-printed colour-illustrated softcovers, slight shelfwear, and very slight toning, NF copy. First edition of this very scarce dealer’s brochure & poster for the 1955 Cadillac Series 60 models which after 1954 featured lower sleeker bodies, new grille inserts, and inverted gull wing front bumpers and tapered bumper guards. The 1955 featured a redesigned grille, new rub-rail moldings, Florentine curve rear window, and the Coupe de Ville featuring a golden script nameplate. The Cadillac Eldorado sport convertible featured wide chrome belt trim, new rear fender design, and twin round taillights halfway up the fenders. No copies located in Worldcat.
Offered by Zephyr Used & Rare Books and found in "Travel & More" (item #10).
Remember, you can always browse and download the latest catalogs published by ABAA members on ABAA.org by visiting the following link: https://www.abaa.org/catalog/... (You can also access this page by selecting 'Booksellers' from the top menu, scroll to the bottom of the page to 'Member Catalogs', and click on 'View All'.)
Our members list new acquisitions and recently cataloged items almost every day of the year. Below, you'll find a few highlights from these recent additions...
by Ruth Plumbly Thompson (Series created by L. Frank Baum)
Chicago:: Reilly & Lee,. Good. 1923. Hardcover. B00085RR1C . Founded on and continuing the famous Oz stories by L. Frank Baum. Illustrated with twelve color plates and black and white drawings by John R. Neill. First edition. Moderate shelf wear and aging, age darkened along the spine, one inch tear to the cloth at the crown of the spine, else good in dark green cloth with color paste-on illustratio n on front board. No dust jacket. ; 291 pages.
New York: Limited Editions Club, 1961. Limited Edition (568/1500). Hardcover. Octavo, 446 pages; VG-; fully bound in brown leather, spine has gilt lettering, front cover has gilt tooling; binding has minor shelf wear along the top and bottom edges, has minor tearing on both sides of the spine, spine has minor discoloration; pages clear; signed by the illustrator on the limitation page; housed in tan publisher's slipcase; shelved Limited Editions Club. Shelved Dupont Bookstore.
by (SCHACHNER, NAT, JACK WILLIAMSON, FRANK BELKNAP LONG, JR., ROSS ROCKLYNNE, R.R. WINTERBOTHAM, OLIVER SAARI, JOHN D. CLARK, AND JOHN W. CAMPBELL, JR.)
New York: Street & Smith, 1937. Softcover. Near Fine. Magazine. Cover by Howard V. Brown. Octavo. 160pp. Perfect bound in wrappers. Near fine or better with nicks at the front corners and a small scrap on the rear wrap but with bright covers that still retain some of their original gloss and supple interior page with little age-toning. A nice copy. This issue features contributions from Nat Schachner, Jack Williamson, Frank Belknap Long, Jr., Ross Rocklynne, R.R. Winterbotham, Oliver Saari, John D. Clark, and John W. Campbell, Jr.
New York: Wiley and Putnam, 1853. Sq. 4to. 248 x 220 mm., [ 9 ¾ x 9 inches]. Illustrated with 53 illuminated pages (hinged boards), with highly gilded and decorated borders; all edges gilt. Orig. beveled brown morocco, with gilt title in shield on front cover in blind on rear board. Lacks free front endsheet. Binding rubbed, lacking bit at top of spine. Endsheets foxed. Very sound & clean, complete with orig. tissue guards. First edition One of three illuminated works by Mapleson, exquisitely printed in the chromolithographic process by Alphonse Brett and Thomas Sinclair of Philadelphia. In his pioneering bibliography of American color plate books Whitman Bennett writes, "The editor has been amazed at the variety and the beauty of Mapleson's work, which seems to him...both in abstract decoration and in miniature work, just as good and worthy of enthusiasm as that of the English Sangorski half a century later. And the reproductions are certainly better than the Sangorski reproductions." William Reese writes, "This collection of poems is one of the most elaborate examples of mimicking illuminated manuscripts by way of chromolithography. Printed on heavy card stock hinged into a binding, the volume combines the work of two different Philadelphia lithographers, Brett and Sinclair. Mapleson produced a string of similar books in the early 1850's, at the height of the gift book craze." Whitman Bennett, A Practical Guide to American Nineteenth Century Color Plate Books, p. 71. William Reese, Nineteenth Century American Color Plate Books, 89. Carl Peters, American on Stone, pp. 108 and 367.
(n.p.): Editions for the Armed Services, Inc.. Very Good. (c.1940). First Edition Thus. Softcover. [light external wear to covers and edges, but generally a good sound copy]. Levant's first book, "six brash monologues, laughably disguised as essays," including dissertations on Harpo Marx, George Gershwin, and the practice of making music for the movies. This pocket-size printing was issued as part of a government-initiated project during World War II to ensure "the best books of the present and the past are supplied to members of our Armed Forces in small, convenient, and economical form."
Salt Lake City: Pyramid Press, 1945. Second Printing. 48pp. Trigesimo-secundo (32mo) [10 cm] Gold printed leaves are attached to a gold painted wood block with three rings. Very good. Short work that offers a brief history Joseph Smith and the Book of Mormon. The gold painted wood block represents the sealed part of the Book of Mormon. An interesting and unusual production that was limited to 500 copies. Rare "This miniature facsimile of the original gold plates of the Book of Mormon has been produced to give a more general idea of the appearance, proportions, sealed section and style of binding of the original. It contains a brief description of the Book of Mormon, its origins and contents." - from the Foreword.
by LOURIE, EUGENE(DIRECTOR); ROBERT L. RICHARDS, DANIEL JAMES (SCREENWRITERS); BILL TRAVERS, WILLIAM SYLVESTER, VINCENT WINTER, JOSEPH O'CONOR (STARRING)
N.p.: King Brothers [Bros.] Productions, 1961. Vintage reference photograph from the 1961 US Poverty Row film, an attempt by the notorious King Brothers to capitalize on the fame of the Shaw Brothers' "Godzilla" films in Japan. With a mimeo snipe on the verso. Sailors on a salvage ship capture a giant lizard and sell it to a London circus, leading the lizard's mother, who is significantly larger and meaner, to seek revenge and the return of her offspring. Set and shot on location in London. 8 x 10 inches. Near Fine.
by LECHTER, MELCHIOR (ARTIST). MAETERLINCK, MAURICE (AUTHOR). FRIEDRICH VON OPPELN-BRONIKOWSKI (TRANSLATOR)
Florence & Leipzig: [Printed in Berlin by Otto Von Holten for]: Verlag von Eugen Diederichs, 1898. Autorisierte Ausgabe. Square 4to (210 x 170 mm). 105 pp. With stylized art-nouveau typography and large ornamental initials in red and black throughout. Vernacular binding of slightly later decorated burlap cloth patterned with lily pads; green cloth onlays depicting three fish, their eyes made of sequins, other sequins adorning seaweed fronds; green floral endpapers (inner hinges cracked). Original printed wrappers bound in. Front joint worn, crown chipped; early ownership inscription of "Lillie C. Schleiser" dated "Christmas, Munich 1903" on front wrapper. Text evenly toned, extremities with some chipping here and there on account of the paperstock. First edition of the first fully realized book design by Melchoir Lechter (1865-1937), a triumph of Jugendstil / art-nouveau typography which perfectly compliments the mystical essays by the famed Belgian Symbolist Maurice Maeterlinck. The type used herein is now known as Lechter-Schrift after the name of its designer. According to Schauer, this book defines the beginning of German book arts of the twentieth century, and is justly considered "a great book in which everything is dark, colorful, and primeval." Upon publication, it was widely praised as the most beautiful German book of the day (O. Grautoff). Ordinary copies our bound in wrappers designed by Lechter. Our copy has both wrappers bound into a remarkable German vernacular binding of burlap cloth with cloth onlays of green fish adorned with sequins, all adhered to art-nouveau patterned cloth of lily pads and fronds. The early ownership inscription reveals that the book was acquired by an English or American woman named Lillie C. Schleiser in Munich in 1903. Perhaps the present volume was bound there? As is stated in the colophon: "Cover design, ornaments, headings, numbers, initials, and typography arrangement by Melchior Lechter, under whose artistic direction this book was printed in the year 1898 by Otto Von Holten, Berlin." "Bei seinem Erscheinen vielfältig als das schönste deutsche Buch gepriesen" (O. Grautoff). Lechter is best known for his book design, glass paintings, drawings, calendars, catalogues, ex-libris designs, and posters. He also designed furniture, carpets, wallpaper and stained glass windows. This is the trade edition of the first authorized German translation of "Le Trésor des Humbles" (1896) / "The Treasure of the Humble" (1897) containing an essay on Ralph Waldo Emerson not found in the English edition. It was created on the occasion of the 1898 Maeterlinck exhibition of the same name. As is well known, Maeterlinck received the Nobel Prize for Literature in 1911. References: Transfer und Modifikation: Mario Zanucchi, Die französischen Symbolisten in der deutschsprachigen Lyrik der Moderne (1890-1923), Abb. 2. Grautoff, p. 14. Raub A20, p. 67; Rodenberg, 240; Schauer, Vol. 2, 12.
New York: Random House, 1959. First Edition. Fine/Near Fine. First edition, first printing. Original tan half cloth with paper-covered boards and mounted photo of actor Sidney Poitier. Several small, nearly imperceptible streaks to front cover, perhaps excess binder's glue, still Fine. In a Near Fine in correct unclipped dust jacket ($2.95) with slight toning to the spine panel and faint edge wear. An attractive copy of the classic play.
Mexico: Various publishers, 1880–1920. Most are 16mo (14.5 cm, 5.71"). Most are between 8 and 16 pp. plus wrappers.
The oeuvre of Jose Guadalupe Posada Aguilar (1852–1913) is steeped in social engagement, satirical acuteness, and wry humor presented to the reader and observer in woodcut and lithographic illustrations for periodicals and chapbooks. During the late Porfiriate and early years of the Mexican Revolution, his art enticed the buyers of popular, very cheaply produced songsters; political broadsides; cookbooks; and single-sheet accounts of hangings, disasters, crimes, volcanic eruptions, and other sensational events. => Six of the publications here are signed, "Posada"; others are simply unmistakable; several are from his most famous publisher but were printed after his death and may or may not be restrikes. A few may simply be "in his style" and therefore, as part of the lot, invite considerations of his context.
The present collection consists of 13 pamphlet/chapbook items: They are a good representation of books for children, women, and the general reader. They include a volume of popular recipes for health problems, two booklets offering embroidery patterns (with women at their frames on the pamphlets' covers and the patterns on colored papers), several plays for children to perform ("Les Gendarmes") and for adults to read ("Don Juan"), compilations of patriotic songs and biographies, and so on. One wrapper is pink, two are gold, one front cover is printed in black and red; rear covers offer advertisements of the publisher's other offerings, within varied borders, and three devote the back wrapper to a poem.
The list follows: 1) Vanegas Arroyo, Antonio. La salud en el hogar. Tercera serie de la coleccion de 300 recetas utiles para curar las enfermedades mas comunes. Mexico: Imprenta y Encuadernacion, n.d. [ca. 1900–18]. 2) Muestras para bordados. #9. Mexico: Publicadas por la testamentaria de A. Vanegas, n.d [ca. 1920]. Includes planchas 33–36. 3) Muestras para bordados. #10. Mexico: Publicadas por la testamentaria de A. Vanegas Arroyo, n.d. [ca. 1913]. Front cover signed, “Posada.” Includes planchas 38-40. 4) D. Juan Tenorio. Mexico: A. Vanegas Arroyo, n.d. [1880, date on rear wrapper].
In series: Galeria del Teatro Infantil; Coleccion de comedias para niños o titeres. Front wrapper signed "Posada."
5) Los gendarmes. Mexico: A. Vanegas Arroyo, n.d. [ca. 1910]. In series: Galeria del Teatro Infantil; Coleccion de comedias para niños o titeres.
6) Los celos del Negro con D. Folias. Mexico: A. Venegas Arroyo, n.d. [ca. 1910]. In series: Galeria del Teatro Infantil; Coleccion de comedias para niños o titeres. Front wrapper signed "Posada."
7) La casa de vecindad. Mexico: A. Vanegas Arroyo, n.d. [ca. 1910]. In series: Galeria del Teatro Infantil. Front wrapper signed "Posada." But rear wrapper indicates "la imprenta de la test. de A.V. Arroyo." 8) Los novios. Mexico: [as per rear wrapper, Tipografia de la Testamentaria de A. Vanegas Arroyo, 1918]. In series: Galeria del Teatro Infantil. 9) Vanegas Arroyo, Antonio, comp. El sarape nacional. Moderna coleccion de canciones para el presente año. Mexico: A. Vanegas Arroyo, 1915. Front wrapper signed "Posada." 10) Vanegas Arroyo, A., comp. La ex-moderna. Sexta coleccion de canciones para el presente año. [front wrapper: Mexico: A. Vanegas Arroyo] title-page: 1914]. 11) Suarez, C. S. El placer de la niñes. Amar sin esperanza. Monologo. Mexico: Tip. de la Testa. de A. Vanegas Arroyo, n.d. [ca. 1918]. In series: Coleccion de monologos. Front wrapper signed "Posada." 12) Vanegas Arroyo, Antonio, ed. La felicista: 13a coleccion de canciones modernas para el presente año. 1913. Mexico: Antonio Vanegas Arroyo, 1913. 13) Coleccion de himnos nacionales. No place, no publisher, no date, [but certainly Mexico: A. Vanegas Arroygo, and ca. 1880, as per rear wrapper].
Because of their ephemeral nature and their audience, copies of these are generally hard to find. All items are little held in the U.S., many in only one or two copies. Overall condition is good to very good. #1 lower inside corners nibbled by rodent; #10 seriously wormed; a few items with wrapper paper beginning to split along spine, shallow dog-earring to corners, or small chipping or a short rent to edges. => An excellent gathering whether for teaching or "just" for enjoyment.
Manhattan Beach, CA: East West Discovery Press, 2013. First Edition. Signed by former NASA astronaut John D. Olivas on the dedication page, also adding his two Space Shuttle mission numbers: "STS-117, STS-128." The book brings space shuttle Endeavour to life through a journey to space with a young boy Jojo. Exploring space with the shuttle, Jojo learns about Endeavour's extraordinary contribution to space science and its famous service missions, including the Hubble Space Telescope. The book also features NASA photos, fun facts, famous firsts and quizzes to inspire kids in science, technology, engineering and mathematics. Signed copies of this title are uncommon!. Quarto: pictorial boards in dust jacket; 36 pages. Illustrated by Gayle Garner Roski.. Fine in fine d/j.
New York: Random House, 1930. First Edition. Hardcover. Fine/good +. Kent, Rockwell. First trade edition with Rockwell Kent illustrations, duodecimo size, 823 p., in original dust jacket. First trade edition of "Moby Dick" illustrated by Rockwell Kent, which became an instant success. The Lakeside Press published a limited edition in three volumes with 280 illustrations; this trade edition is in a smaller format and uses 272 of the illustrations.
Rockwell Kent (1882-1971) was an American painter and illustrator who bridged the artistic gap between Victorian and Modern art; when "Moby Dick" was published he was already well-known and his appeal has continued to grow throughout the 20th century, his work remains widely collected today. Interestingly, while Melville wrote "Moby Dick" in 1851, it was almost neglected until Kent elected to illustrate the story; his illustrated version had tremendous success and revived the novel for the 20th century.
DESCRIPTION: Black cloth boards with silver letting on front and spine, both the front and spine also display Kent's own design of a whale, with the head on the front and the tail on the spine, cream endpapers, replete with Kent's black-and-white pen/brush and ink drawings which made him justly so famous; duodecimo size (7.25" by 5.5"), 822 pages plus a one-page Epilogue. The unclipped dust jacket mirrors the design on the front panel and on the spine, in black with cobalt blue highlights, and while it displays Kent's name on both front and spine, it does not display Melville's; the back panel of the dust jacket is a publisher's ad for other books illustrated by Kent (five titles), both flaps are blank, with no printed price.
CONDITION: Near fine , the silver gilt on the front and spine bright and unrubbed to the extent that it fairly shimmers; with a square, strong text block and solid hinges, straight corners with a minimum of rubbing to the bottom corners only, and free of prior owner markings; the head and tail of the spine gently bumped with the head of the spine just beginning to fray the tiniest bit, a few spots of light soil to the top edge of the text block, and the aforementioned slight rubbing to the bottom corners; there is a vintage bookseller's ticket on the rear pastedown ("The Holliday Bookshop, 49 E. 49th St., New York") and a few light pencil markings on the top of the front pastedown (likely the bookseller's) with a price of $3.50. The unclipped (and unpriced) dust jacket just shy of very good, complete, the colours on the front panel are deep and true, the spine is sunned, light overall edgewear with a bit more at the head and tail of the spine which has creasing and some chips. Even with the dust jacket faults, still a lovely example of Kent's work at its best.
Boston: The Cornhill Company, [1918]. First American Edition. Hardcover. Unauthorized American edition of Joyce's first published book, preceding the authorized (Huebsch) edition by some months. Originally issued in London, 1907; this piracy coincides with the second London edition of 1918. SLOCUM & CAHOON 5. First printing. 12mo (16cm); publisher's green cloth, titled in gilt on front cover; [40]pp. Small spot of rubbing at base of spine and just a hint of age-toning to text, else a tight, Near Fine copy. Originally issued in clear (unprinted) tissue dustwrapper, lacking from this copy. Slocum & Cahoon notes "probably about a thousand copies" printed.
New York: Tiffany & Co, 1883. Original invitation to the May 1883 opening ceremonies of the "New York and Brooklyn Bridge," issued by the Board of Trustees, the mayors of both cities, and chief engineer Washington Roebling. Under construction for over a dozen years, the Brooklyn Bridge was the longest suspension bridge in the world at the time, a marvel of modern steel-wire engineering, and it remains one of the iconic monuments of New York City. The opening ceremonies were attended by President Chester Arthur, and featured speeches, music, a gunfire salute by ships on the East River, and a fireworks display. Engraved by Tiffany, this invitation features a detailed view of the new bridge rising over the low-rise banks of Manhattan and Brooklyn. A near-fine artifact of New York history. Engraved invitation, printed on heavy cardstock, measuring 6.5 x 9 inches. Illustrated with an image of the Brooklyn Bridge and the seals of the City of New York and the City of Brooklyn. Completed in manuscript with the name of recipient A.J. McCall. Faint tidemark to lower righthand corner. Housed in original envelope embossed with the seals of both cities, addressed to McCall. Envelope soiled, with loss to lower corner.
[Single folded sheet with inkjet color illus. and printed text on both sides (277 x 102 mm. folded) l...]by LEIBER, STEVEN, BOOKSELLER
Single folded sheet with inkjet color illus. and printed text on both sides (277 x 102 mm. folded) laid in original plastic cassette case (a little worn) and the original audio cassette. [From the folded sheet]: San Francisco: April 1998. A very rare Leiber catalogue (no. 32) and one of his most ingenious vehicles for offering materials. The catalogue consists of an audio cassette, its case, and a list laid-in the case. "Artists, curators, art librarians, and others associated with the art world were faxed catalog entries with instructions to call and read the entry aloud over Steven Leiber's answering machine. These recordings were then included on the enclosed audio cassette. The title of this catalog is derived from a Nam June Paik mailing." It offers books, ephemera, periodicals, and artworks by or related to Beuys, Barbara Bloom, Brouwn, Jeanne Dunning, Feldmann, Filliou, Flavin, Holzer, Johns, Ray Johnson, Kounellis, Oldenburg, Pettibon, Roth, Vautier, Warhol, etc. In near fine condition; the case is a little worn with two minuscule cracks. WorldCat records only one copy. Produced in an edition of around 100 copies. ❧ Steven Leiber Catalogs (2019), p. 135.
New York: Random House, 1948. First edition. Hardcover. Very good/very good +. 231pp. Octavo [21 cm] Tan cloth over boards. The spine is a hair darkened, and the spine ends are gently bumped. There is a previous owner's name at the head of the front free endpaper. In the dust jacket, featuring a young Truman Capote on the rear panel, with light chipping to the edges. Original bill of sales slip tucked in. Truman Capote's first novel, published when he was merely 23 years old. At the time this was published, he had "written speeches for a third-rate politician, danced on a river boat, made a small fortune painting flowers on glass, read scripts for a film company, studied fortunetelling with the celebrated Mrs. Acey Jones, worked on 'The New Yorker,' and selected anecdotes for a digest magazine."Other Voices, Other Rooms" was met with immediate critical acclaim, and pushed a young Truman into the spotlight. The novel dealt with, among other things, homosexuality and race (scandalous topics at the time).
MEDEA / SIGNED FULL COLOR FOLD OUT ILLUSTRATION inserted between pages 54 & 55 of the Phantasia Press first edition, 1985, fine and most suitable framing. SIGNED in silver ink by Kelly Freas on the lower left corner. One of only 25 copies, none ever used and thus unfolded. Scarce-------or soon to be so.
Philadelphia/ Columbus, Ohio: Bradley Garretson & Co./ Wm. Garretson & Co. , 1882. Ornately bound in full deeply embossed calf with ornate gilt decorations front and back covers, lavishly gilt decorated back, moire silk end papers, all edges gilt. Illustrated with 8 color maps, engravings on steel and wood, chromo-lithographs of scriptural natural history, botany and zoology. Family Portraits section at rear with 6 period photoraphs of family members, uncaptioned. Presentation Page from Oral T. Hall to John A Hall ( possibly Ball)? Near Fine, light rubbing to leather. small tear bottom edge front end page. A presentation Bible of the day in wonderful condition.
A large and heavy book, will require additional postage charges for priority and international mail shipping. Please inquire before ordering. Free media mail shipping. Later Printing. Calf. Near Fine/No Jacket, As Issued. Thick Folio.
Boston and New York: Houghton, Mifflin and Company, 1904. Book. Illus. by Amelia M. Watson. Very Good. Hardcover.
An Illustrated set of one of Thoreau's most enjoyable works containing delicate and lovely, small color drawings by Amelia M. Watson in the margins throughout the text. Handsome and collectible.
Half green Morocco with marbled boards and matching endpages. Top edge gilt. Silk place ribbons. Bindings are tight and square. Text clean, light even toning. Moderate shelf handling wear. Small 8vo; 7.75 inches tall; 173 pages, 208 pages, including the index.
Iver Johnson's Arms and Cycle Works. Fitchburg, Mass. 1897. First edition, 32 pages. 19.5 cm. Illustrated covers. " 1871-1897 Ye further Hystorie of ye Ancient House of Iver Johnson " prefaces this bicycle trade catalogue for truss frame bicycles, which features their models 33, 35, 36, 37, D and E in double-page illustrated advertisements. Slight soiling, one page corner missing, otherwise good, printed on heavy glossy paper. One copy was found at the Harvard Business School's Baker Library.
New York: HarperCollins, 1995. First printing of the 35th Anniversary edition of the author's Pulitzer Prize-winning novel. Octavo, original half cloth. Signed by Harper Lee on the half-title page. Fine in a fine dust jacket. Jacket design by Suzanne Noli. To Kill a Mockingbird became an immediate bestseller and won the 1961 Pulitzer Prize for Fiction. The New Yorker declared it "skilled, unpretentious, and totally ingenious". It has gone on to become of the best-loved classics of all time and has been translated into more than forty languages selling more than forty million copies worldwide. Made into the Academy Award-winning film, directed by Robert Mulligan, starring Gregory Peck. It went on to win three Oscars: Best Actor for Gregory Peck, Best Art Direction-Set Decoration, Black-and-White, and Best Screenplay for Horton Foote. It was nominated for five more Oscars including Best Actress in a Supporting Role for Mary Badham, the actress who played Scout. In 1995, the film was listed in the National Film Registry. In 2003, the American Film Institute named Atticus Finch the greatest movie hero of the 20th century. In 2007 the film ranked twenty-fifth on the AFI's 10th anniversary list of the greatest American movies of all time. It was named the best novel of the twentieth century by librarians across the country (Library Journal).
Carlisle, Pennsylvania: Self-published, 1912. First Edition. Hardcover. Good. Octavo. vii, frontispiece photograph of Warner, 142 pages, [1]. Illustrated. Illustrated brown cloth hardcover. Title in black on the front cover. Cloth binding is creased on the front cover. Front paste down sheet is also creased. Previous owner inscription on the front paste down. No right front flyleaf (if bound in?) Glenn "Pop" Warner was the Athletic Director at the Carlisle Indian School. Jim Thorpe, Native American, attended the school in early 1900's and played football for Pop Warner.
[Seattle]: [Industrial Workers of the World], 1920. Small leaflet, approximately 4x3.9 inches, corner crease with a couple small chips. Text is the same on both sides, though one side has a union bug at the bottom. Our House was a cafe that marketed itself in advertisements as "Popular With Our Boys in Blue.
London: J.M. Dent & Sons Ltd, 1966. Later edition. Bound ca. 1966 by [Bayntun Rivière] for Brentano's in full blue polished calf, covers with double gilt borders, spine with five raised bands, decoratively tooled in compartments, two red morocco gilt lettering labels, gilt board edges, gilt-turn- ins, all edges gilt, marbled end-papers. Small neat book-plate on front paste-down. Collating xii, 226, with eight full-page color plates and numerous black and white line drawings throughout the text. A Fine copy. A superlative copy of the classic - and quite novel - story of a horse, told in his own words, wherein he recounts his life as a well bred steed from early childhood in a pleasant meadow, through numerous owners - some kind and some cruel - until fate returns him to the meadow in which he was born. Though animal autobiographies had been published before for children, Black Beauty stands apart from those in that it offered social criticism of his various owners. Because of that, the book was read, appreciated and loved by adults as well as juveniles. It has never been out of print since its original publication, and it has been adapted to the screen on fourteen different occasions. Ultimately, Black Beauty's continual and lasting value is as one of the most influential arguments for the humane treatment of animals.
Strassburg: Johann Schott, 1532. Two volumes bound in one (the appendix added to vol.II), folio (287 x 188 mm; 11¼ x 17½ in.). Vol. I: Title within woodcut allegorical border, 4- and 5-part borders to several pages, woodcut arms of Strasbourg, ornamental and historiated initials, head- and tailpieces, 86 woodcuts of plants by Hans Weiditz; vol. II: Title within woodcut allegorical border, 4- part border on 2 pages, 49 woodcut illustrations by Weiditz, all colored in a contemporary hand. 18th-century mottled calf gilt, edges gilt. Rebacked preserving original gilt spine panels, repairs to corners, some slight drying; A4 in volume I bound after b4, lacking blanks b4 and G6 in the first volume and H4 and S6 in the second, small stain in lower margin of first title and first text leaf, some leaves lightly browned, occasional minor staining. Provenance: Johannes Beusler (early ownership inscription on title); Jean Charles Patin (inscription dated 1817 on front flyleaf noting that he is a native of Manneville and currently farming in Bézu-la-Forêt); purchased from William Schatzki, 1971. From the Collection of Arthur & Charlotte Vershbow. A finely colored copy. Referred to as "the first great mind in modern botany" (Hunt), Brunfels' most revolutionary contribution was his choice of artist accurately to portray these "living portraits of plants." The magnificent woodcuts executed by Weiditz were taken from watercolors drawn directly from nature and delineate botanical details well beyond their known function in the taxonomic literature of the time. The first volume was reprinted to be sold with the second, and this is how many sets are constituted. The appendix at the end of the second volume contains the first published writings of both Jerome Bock and Leonhardt Fuchs (see also item 32). After Brunfels's death, a third volume was published (1536-39) and was illustrated after different artists. Adams B-2924 and B-2925; Fairfax Murray German 462 (1530 edition); Garrison-Morton 1803; Grolier/Horblit 33a; Hunt 30 (mixed edition); Nissen BBI 257, Ib, IIa and 257, III; Norman 361; Stafleu &Cowan TL2 852 and 853; Pritzel 1283.
Paris: (Cordier for) Le Fuel, 1822. 18mo (123 x 80 mm). [iv], 175 pp. Double column. Additional engraved title/wrapper with hand-colored fashion emblem (a parasol draped with shawls, necklaces and a flowered hat) and 15 engraved plates, on thicker paper, all stencil- and hand-colored under the publisher's direction, one (of corals) also color-printed; tissue guards. Small closed tear in first gem plate, else a fine copy. Bound at end are six leaves on thicker paper containing [12] pages, one per month, blank except for the engraved name of the month and hand-colored vignette (with traces of old pencil scribbles); and a smaller format foldout calendar for 1822, with the imprint of Lefuel,the months in columns each topped by a woodcut astrological vignette. Publisher's blind-stamped brown calf "cathedral" binding, the same block used on both covers, backstrip with blind-stamped ornamentation above and below the title, gilt edges, yellow endleaves, blind-stamped matching leather slipcase, lower cover of binding with silk tab for removing from the slipcase (a bit of scuffing). Etched bookplate of Robert de Beauvillain tipped to front endleaf.*** Only Edition of an unusual and still useful illustrated dictionary of objects, materials and concepts, most of interest to women and many relating to fashion. Covering both luxury goods and common objects and materials, the dictionary contains over 800 entries, many including the names and addresses of relevant Parisian suppliers, making it a far-ranging encyclopedia of feminine material culture in Restoration France. This is a special de luxe copy in a reliure à la cathédrale, with an extra fold-out calendar and hand-colored ornamented cahier for notes for each month of the year. From Abaca (a type of hemp or linen from the Philippines, of which the white plants were used to make a very fine cloth while the gray were used for cocardes) and Acier (steel being used at this time not only for buckles, belts, clasps etc., but also to make jewelry, a dozen examples being illustrated in plate 1), to Zéphir (a shawl made of net) and Zibeline (the animal whose nearly black fur is highly prized), the dictionary includes terms of apparel, footwear, and accessories, a vast number of textiles and related terms (materials, weaves, and treatments), furs and skins, common materials with a variety of applications (e.g., sandalwood, various vinegars and oils), objects used for personal grooming (sponges, tweezers, brushes, mirrors, etc.), many perfumes and eaux de toilette, gems and precious metals, furnishings and furniture, and even prostheses, including a long description of artificial eyes and where to purchase them. A few entries contain mini-treatises on social custom: the seven-column entry for Deuils, for example, discusses the proper length and appropriate mourning dress for various degrees of consanguinity. Some contain surprises - thus the entry on Marriage, far from listing bridal gowns and suppliers, tells a simple story of a painter and the changing perspective of a groom, before and after marriage. The language of flowers gets a special entry (which advertises a relevant publication, the Dictionnaire du Langage des fleurs ou de leurs emblèmes, of which I locate no edition). Besides steel jewelry, the finely colored plates show rings and earrings, pocketbooks and wallets, necklaces, specimens of coral, fans, a splendid bouquet, brightly colored garters, bejeweled combs, 24 precious stones (on two plates), an elaborate feather headdress, a pretty assemblage of ribbons, and several large handbags (sacs-gibecières, two plates). Perrot was a geographer who wrote and edited numerous works. Mazeret was an almost equally prolific writer for hire. The publisher Valentin Lefuel, active from 1792 to the late 1820s, specialized in the publication of almanacs, keepsakes, and children's books. He was also a binder, and he offered his publications in a variety of different bindings, including "gauffred calf," here in the "cathedral" style, inspired by gothic architecture, which enjoyed a vogue in France and England during the Romantic era. (I have not previously seen an example of this kind of binding on an almanac or almanac-like popular imprint.) Copies are held by the Brooklyn Public Library, Morgan Library, Metropolitan Museum of Art and Smith College (the last two purchased from us); outside the US OCLC lists only the Bibliothèque nationale de France, to which the Catalogue Collectif de France adds a copy at Rouen. Colas, Bibliographie générale du costume et de la mode 2023; Grand-Carteret, Les almanachs français 3476. Cf. S. Malavieille, Reliures et cartonnages d'éditeur en France au XIXe siècle, p. 24 (on Lefuel).
Paris: Les Jouets et Jeux Français, 1895. A board game for up to six players, following the eighty-day journey of Phileas Phogg across the globe. Each day is represented by a square on the board, centering around a globe. Some squares show notable characters, such as Phogg, Francis Cromarty, and Miss Aouda, while others show ships, animals, and landmarks from destinations as far as Calcutta, Hong Kong, and San Francisco. Some squares have particular associated functions, which are outlined in the rules on the underside of the box lid. The course of play proceeds through a series of transactions using the fifteen tokens provided, with one player acting as Phogg's valet, Passepartout, who takes on the role of banker. The tokens are housed in a cloth bag. Six painted metal figures act as gamepieces, housed in a smaller box, with splits to corners of lid. Paper cup holding two dice, along with tokens and game pieces, contained in separate compartments in the box. Some soiling to back of game board. All elements stored in box with lush pictorial lid, some signs of repair, else a near fine and remarkably intact set.
Paris, France: Obelisk Press, 1935. Book. Very good condition. Paperback. Fourth edition. Octavo (8vo). 271 pages of text. Original paperback binding with minor shelfwear and soiling, and minor vertical creasing to the spine. Pearson A-37 [unrecorded variant] with all points identical to A-37 with these exceptions: 1) Does not have the statement "Banned in England May 1935" printed on the front cover; 2) the front flap contains the price 50 francs; 3) the front flap edition statement differs slightly in that it states "This is the only existing edition of James | Hanley's most famous work, recently sup- | pressed in England."; 4) rear flap price for the 11 titles listed at "50 francs each". One page edge with a tiny black mark in the extreme margin, but the text is clean and unmarked. Fourth edition, variant of the first impression. Protected in custom-fitted archival mylar.
Green cloth with white and black titles and decorations, slipcase, 16 by 22.7 cm, xxii 190 pp., illus. Fine, unread copy in near fine slipcase. "The days from May 24 to May 28, 1940 altered the course of the history of this century, as the members of the British War Cabinet debated whether to negotiate with Hitler or to continue what became known as the Second World War. The decisive importance of these five days is the focus of John Lukacs's magisterial book. Lukacs takes us hour by hour into the critical unfolding of events at 10 Downing Street, where Churchill and the members of his cabinet were painfully considering their war responsibilities. We see how the military disasters taking place on the Continent—particularly the plight of the nearly 400,000 British soldiers bottled up in Dunkirk—affected Churchill's fragile political situation, for he had been prime minister only a fortnight and was regarded as impetuous and hotheaded even by many of his own party. Lukacs also investigates the mood of the British people, drawing on newspaper and Mass-Observation reports that show how the citizenry, though only partly informed about the dangers that faced them, nevertheless began to support Churchill's determination to stand fast. Other historians have dealt with Churchill's difficulties during this period, using the partial revelations of certain memoirs and private and public papers. But Lukacs is the first to convey the drama and importance of these days, and he does so in a compelling narrative that combines deep knowledge with high literary style."
San Francisco: Stolen Paper Editions, 1966. Second printing. Paperback. Very Good. Wide stapled illustrated wrappers. Second printing of Kandel's controversial volume of sexually explicit poems that was banned and seized by the police when first published. A very good copy with some wear to covers. Six pages, printed on rectos only.
New York: McLoughlin Brothers, 1906. First Edition. Very good in heavy paper, printed wraps over a replacement sewn binding. A quarto measuring 12 1/8 by 9 7/8 inches with archival tape repairs along the length of the fold of the spine and with similar repairs to several of the page folds. The sewn binding has been restored professionally. Unpaginated, but containing 14 pages illustrated with 8 full color lithographic plates (counting the covers) and line drawings throughout. Identified on the front panel as "158". Copyright dates of 1899 appear on the front cover and 1906 on the rear cover. The illustrator is not indicated. Clement Moore's poem comprises the first six pages which includes three full color plates. The remaining pages of text and plates contain the poem Santa Claus And His Works written by George P. Webster. (Very similar to Marshall 133).
Boston: Houghton Mifflin Company, 1942. First edition, first printing. Hardcover. Very good/Very good. 8vo. Green cloth printed in back on the spine and upper board. The cloth has slight aging to the boards and spine, some offsetting on the endpapers and pastedowns,a penciled ownership name and another blindstamped on the half title and the title, but it is still a very good copy. The dustwrapper is rubbed at the folds and rough along the edges including a couple of short marginal closed tears. It shows the first state points: $3.00 on the flap, and on the box on the rear panel, and with the war bond ad on the rear flap. The author was an English girl raised in British East Africa, conversant in native languages and customs, a horsewoman and a pilot when airplanes were unique in that part of Africa. Accompanied by her biography: Mary S. Lovell, STRAIGHT ON TILL MORNING, New York, St. Martin's Press, 1987. First US edition. A fine copy in a fine, clipped dustwrapper.
by TUCKER, GILBERT NORMAN, PH.D. (CANTAB.); ILLUSTRATED [ILLUSTRATOR]
King's Printer The Minister of National Defence, 1952-01-01. Hardcover. Very Good/Good. 2 Volume Set. Both dust jackets have minor wear. Both are clean, both have good bindings, no marks or notations.
Paris: Martinet, 1821. Galerie des Grotesques [GONDELIER, Jean-Baptiste]. [Galerie des Grotesques]. [Paris]: [Chez] Martinet, [1821]. Oblong folio (16 x 10 1/2 inches; 406 x 267 mm.). Seven leaves, titled and numbered in manuscript, each with three hand colored etched plates making a total of twenty-one images. Contemporary quarter green calf over floral patterned black boards.
The plates - each one lettered and numbered in manuscript "Galerie des Grotesques" No. 1. Les Rivaux; Partie d'écarté; Les effets du lavement, et la tentation (The Rivals; Discarded party; The effects of enema, and temptation) No. 2. Le maitre de danse, et le Coëffeur; Les joeurs de tonneau; Le remède inévitable (The dance master, and the hairdresser; The barrel joists; The inevitable cure) No. 3. Le bon gout; Cérémonie nuptiale; Le Dentiste (The right taste; Bridal ceremony; The Dentist) No. 4. Les conscrits; La sauteuse; Le bon ménage (The Conscripts; The jumpers; The good housekeeping) No. 5. Lecture des Tourneaux; Le cocher di Fiacre en dèfaut; Le Charlatan (Reading the turns; The coachman of Fiacre in defect; The Charlatan) No. 7. La Rosière; Le Pédicure; Les suites d'une Ribotte (La Rosière; The Pedicure; The aftermath of a Ribotte) No. 6. Partie d'Anes; Le Plaidoyer; Le Boston (Part of Anes; The Plea; Le Boston) Excessively Rare. OCLC locates just one suite (with only six plates) in libraries and institutions worldwide at Kunstbiblio Staatliche Museen Zu Berlin (Germany). GONDELIER, Jean-Baptiste (fl. 1821-1827). Gondelier was an engraver and a papermaker. As early as 1820, he was editor of a singer dedicated to Béranger, Le Constitution. He wanted to do city work but he also printed satirical prints, constituting the Gallery of the Grotesques. In 1826-1827 he collaborated in the writing of several plays performed at the Vaudeville theatre. Perhaps it was for this reason that he abandoned his lithograph patent and then applied for a letter printer's patent obtained in 1828. These 'Grotesque' caricatures appear to be based on the Woodward three-row strip genre typified by Grotesque Borders and Pigmy Revels, published by Ackermann and Fores, respectively, in 1799 and 1800. Fores continued to issue the Pigmy Revels strips in a folding panorama format, as well as in a spooled boxwood drum, well into the 1820s. "The relationship between Martinet-published works and Woodward's caricatures is commented on in an essay by Alberto Milano entitled "Change of Use, Change of Public, Change of Meaning: Printed Images Traveling Through Europe," appearing in a book edited by Evanghelia Stead, Reading Books and Prints as Cultural Objects (Cham, Switzerland: Palgrave MacMillan, 2018) at pp. 150-51. I am attaching scanned images of the relevant pages as Scans 1, 2, and 3. As you will note, the author of the essay suggests that Martinet "transferred Woodward's caricatures in a series of larger prints entitled Les Passions," but I am skeptical. The only two examples of those prints I have found -- at the British Museum -- do not relate to any Woodward satire of which I am aware. (For ease of reference, I am attaching the British Museum write-ups as BM-1 and BM-2.)" (William Gordon - author of the William A. Gordon Library of British Caricature)
England: Brown Watson, 1986. Paper Covered Boards. As New. 4to. Very hard-to-find reprint of Kubasta's Tip + Top and the Moon Rocket, originally published in 1964. In terrific shape; doesn't appear to have ever been read. All six popups and associated animations work great. Almost no cover wear. Number 10 on Tillman's list of the 100 best popups.
Lunenberg: Limited Editions Club, 1980. Hardcover. Orig. decorated gray pebble grained cloth stamped in black and silver. Fine in fine black slipcase spine lettered in silver. Fred Me. 224 pages. 22.5 x 17.5 cm. Illustrated with fourteen color gauches by Fred Meyer, designed by Frederick Stinehour, printed at the Stinehour Press. Limited edition, copy 1267 of 2000 signed by Fred Meyer. Printed in Bodoni, cast by the Bauer foundry in Germany. Laid-in the LEC Monthly letter. NEWMAN & WICHE 516. Bright, very fresh copy.
London: Darton, 1811. 32mo. 16pp., + 16 inserted plates. Each engraved image depicts the titular good boy engaged in less desirable activities, such as throwing stones, feeding scraps to the family pet, and drawing on the walls. Each is accompanied by a pithy couplet drawn from the soliloquy. The author includes an introductory note, in which he defends himself from the accusation that the verses give children naughty ideas that they would never have thought of themselves, and provides the suggestion that the reader insert his or her own name at the final line and face the potential ruin of the rhyme with bravery. Bound in tan wrappers with illustration to both covers. Expected but minor edgewear, faintest foxing, else near fine. A rare survival, with only two institutional copies listed in OCLC.
1551. A Collection of Texts from the Corpus Juris Civilis in Handsome Uniform Contemporary Paneled Pigskin Bindings Justinian I [483-565 CE], Emperor of the East. Accorso, Francisco (Accursius) [c.1182-c.1260], Glossator. Gaius [Active 130-180 CE]. Institutionum D. Iustiniani Sacratissimi Imperatoris Libri Quatuor: Ad Vetustissimorum Simul et Emendatissimorum Exemplarium Fidem Summa Diligentia Recogniti, Emendati. Cum Scholiis Accursii. Adiecimus Pluribus Locis Annotationes ex Doctissimorum Hominum Commentariis, Ex Quibus non Parum Lucis ac Dignitatis his Iuris Civilis Elementis Accedit. Accessit Corpus Legum, Antea non Impressum, Ac Caii Institutionum Libri Duo. Lyon: Apud Hugonem a Porta, 1553. Pp. [24], 290, [2] pp. Large woodcut image of Justinian surrounded by his court. Main text in parallel columns with linear gloss. [Bound with] Justinian I, Emperor of the East. Accorso, Francisco (Accursius), Glossator. Volumen hoc Complectitur (Sic Enim Peculiari Vocabulo Vocant) Novellas Constitutiones Iustiniani Principis Post Repetitam Codicis Praelectionem Aeditas: Authentica Vulgo Appellant. Tres Item Posteriores Libros Codicis; Feudorum seu Beneficiorum Duos; Constitutiones Friderichi Secundi Imperatoris; Extravagantes duas Henrici Septimi Imperatoris; & Tractatum De Pace Constantiae. Omnia ad Vetustissimorum Simul & Emendatissimorum Exemplarium Fidem Recognita, Emendata. Accesserunt nunc Primum, & Nunquam Antehac Aediti, Iustiniani Novellarum Constitutionum Libri Duo, Cum Multis Annotationibus ex Doctissimorum Hominum Commentariis, Quae non Parum Lucis ac Dignitatis Huic Volumini Afferunt. Lyon: Apud Hugonem a Porta, 1553. [xvi], 276, 148, 99, [1] pp. Woodcut table of descents (in the form of a tree). Main text in parallel columns with linear gloss. [With] Justinian I, Emperor of the East. Accorso, Francisco (Accursius), Glossator. Infortiatum, Pandectarum Iuris Civilis Tomus Secundus: Quartae Partis Reliquum, Itemque Quintam Digestorum Partem, Ac Sextae Partis: Libros Continens, Ex Pandectis Florentinis Ita in Universum Recognitus ac Emendatus, Ut Nihil Praeterea, Quod ad Puram Eorum Librorum Lectionem Attinet, Desiderari Possit. Lyon: Apud Hugonem a Porta, 1556. [xxxvi], 923, [1] pp. Main text in parallel columns with linear gloss. [And] Justinian I, Emperor o.
Westminster: Archibald Constable, 1899. Seventh edition. hardcover. Very good.. A very good early (7th) edition, signed and dated by the author Bram Stoker on the front free endpaper. Housed in a custom-made collector's slipcase
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London, 1821. Folio, contemporary full straight-grain plum morocco gilt.
Second edition of Meyrick and Smith’s exquisite work on the ancient costume of the British Isles, with hand-colored engraved title page and 24 beautiful handcolored illustrations of ancient British and Baltic inhabitants, an attractive copy in full contemporary morocco-gilt. This work on the costume of the original inhabitants of the British Isles continues to be regarded as one of the most striking and well-executed works on the subject. First published in 1815. Owner ink signature. Text and plates clean and fine, light rubbing to joints and extremities, contemporary morocco-gilt binding sound and attractive. An exceptionally good copy.
United Kingdom. c1890. A collection of three woodworking design books featuring pen and ink stencils and applied cuts for layouts. Each of the covers of the books have titles pasted onto them. The titles are: Original Designs Book, Designs for Woodcrafting, and Designs for Chip Carving.
The 'Design for Chip Carving' book appears to have a souvenir blank notebook published by the art department of 'Pure Boots Drug Company' that was then repurposed. The Chip Carving book also features both pasted in printed applied cuts and pen and ink stencils. The stencils are hand drawn of a variety of different filigree - mainly with floral elements- and animals. There are three animal stencils, the first is a flock of birds, the second has dragon flies and goldfish, and the third images features two owls sitting on a branch with two bats flying around the moon. The printed applied cuts feature more traditional geometric designs, as well as some floral designs. These designs were for picture frames, mirrors, brushes, furniture, shelves, and various boxes (ex. cigar box). Two of the books are completely filled, one, Chip Carving, is half filled.
Measures 11" x 8 ½”(largest), 9 ½”x 6 ½”(smallest). The two smaller books have 24 pp each and the larger about 40pp.
Offered by Eclectibles and found in "E-list #74" (item #13).
Tokyo: Kodansha International (1987). First English language edition. 12mo. [4], 5-165, [1], [10] (pages of publisher's advertisements in Japanese). Paper pictorial jacket over softcover grey wraps. Includes a bookmark for Kodansha English library. Translated by Alfred Birnbaum. Lacks the "obi" band. Very near Fine in very near Fine dust jacket. Wikipedia, "Hear the Wind Sing". The first novel in Murakami's Trilogy of the Rat, made available in English only by Kodansha International Publishing (until 2015 when the story was published in an omnibus English edition of Murakami's works). Murakami preferred this, as he considered it to be a work from his "immature" period. The novel is concerned with the Japanese student movement, writing as a process, and the ways in which Japanese and Western culture interacted in the latter half of the 20th century.
A century of circus letterhead and envelopes. Mostly 1920s‐1930s, but spanning early 1900s through the 1980s. Mostly American, some from Great Britain. All standard sizing 215 by 280mm (8 1/2 by 11 inches) and 240 by 100mm (9 1/2 by 4 inches). A few with repair tape or glue remnants on back; some with year stamp on back; almost all blank. A cornucopia of graphic design and a study in print adverising at its finest. Circus letterheads spawned their own legion of collectors and fans.
Offered by Mark Funke, Bookseller and found in their new catalog "Circus."
OCCASIONAL LIST 22: A Miscellany: Original Art Work; Small Archive of Major English Watercolourist; Interesting Theatrical Pieces; Manuscript Material, Etc., Etc. -- available on request from fgrare@fgrarebooks.com...
Has the following lists available: California, Texas, Kansas, Missouri, Minnesota, Iowa, Nebraska, Oregon, Louisiana, Colorado, Ohio and New York. Will email to interested parties. Contact info@ginsbook.com to request...
New York: Reynal & Hitchcock, 1939. First edition. Hardcover. One of the best books to come out of the FSA experience, that shows the grim resolve and the conditions in the late 1930's dust bowl. Text by Taylor and powerful black and white images by Lange. A tight close to near fine copy with some very faint evidence of a moisture stain to the base of the spine in an about fair first issue dust jacket that numerous small chips, edge tears, wear, tape repairs to the verso and staining. This is the first issue with with the list of Vital Books for Our Time and an advertisement for Mein Kampf on the rear panel of the dust jacket and in a lighter blue cloth with no topstain. This issue is also slightly heavier than the second issue. Much less common in the first issue. (Roth 102-103, Parr & Badger v1, 142-143).
Offered by Jeff HIrsch Books and found in "E-list #164."
Glenview, IL: Karen Hanmer, 1999. Number 4 of 20 copies. Signed and numbered by the book artist. Karen's artist-made books are physical manifestations of personal essays intertwining history, culture, politics, science and technology. She utilizes both traditional and contemporary book structures, and the work is often playful in content or format. She exhibits widely, and her work is included in collections ranging from Tate Britain and the Library of Congress to UCLA and Graceland (from artist's statement).
In this amusing book, Karen utilizes the flag book structure originated by Hedi Kyle to juxtapose and contrast two staples of western art history, "Mona Lisa" and "Waterloo," a poker dogs painting by Cassius Coolidge. Partial images of each work alternate as the flag images are turned. When the book is completely open the full poker dogs picture is seen. The images are reproduced with pigment inkjet prints. No text. The book is 8 x 4.5 inches closed and 8 x 19 inches when open. Housed in archival storage case with Velcro closures. In fine condition.
Offered by Kelmscott Bookshop and found in "Art Books."
[ no place ]: [ no publisher ] [ no date ]. Faux leather protective roll with two snap closures, containing three portraits on paper. The whole connected on one end between two large (1 1/2 inch) dowel halves on one end. The salesman could add various portraits to the assemblage by separating the two half dowels, adding additional portraits, and screwing the assemblage together again. This example has a green tinted linen guard laid in to protect the paper portraits as they are rolled and snapped shut. Leather roll is approx 17 1/2 inches wide and two foot long. This portfolio contains three examples - the first a black and white distinguished bearded gentleman, the second a stylized woman in brown tint, and the third a young woman with very nice colored tints. All have some wear and dampstaining, and the faux leather covering is stained and has various detritus attached to it. Very Good. [28017]
Large photographic prints were expensive and difficult to store and transport. This was one solution for photographers - a sample portrait that could be rolled up in a protective cover and taken where-ever needed - the fair, the office, or a client's home.
We find one of these a year roughly so they were in use - rarely do we find the same images used though. This example has three images representing different styles/coloring possibilities, each with a penciled number on the back. These may have been examples of Crayon Portraiture which was a method of using crayons, a solar projector, and crayon paper to hand-draw an enlarged portrait from a smaller image. There are other, competing processes as well, all 19th century inventions. We often see the results in victorian era frames in antique shops so there was some success in promoting and creating these portraits.
An excellent "prop" that takes the holder back to the days of the traveling photographer, here in color!
Illustrated Catalog on Carlos Merida (1891–1984) -- Mexican painter, sculptor, writer and graphic designer -- available by request from mmbooks@comcast.net
(London: The Navarre Society Ltd., [ca. 1900]). 180 x 113 mm. (7 1/8 x 4 1/2"). Six volumes. Edited by George Saintsbury. One of 2,000 copies.
VERY FINE BURGUNDY MOROCCO, HANDSOMELY GILT AND ONLAID, BY THE HARCOURT BINDERY OF BOSTON (stamp-signed on front flyleaf), boards with triple fillet border, EACH COVER WITH AN ELABORATE HERALDIC FRAME OF GILT AND ONLAID GREEN MOROCCO around an empty oval, raised bands, very pretty gilt spine compartments featuring looping tendril frame enclosing a charming flower centerpiece, densely gilt turn-ins, marbled endpapers, top edges gilt. Six frontispieces by George Cruikshank showing scenes from the book. A VERY FINE COPY, the bindings especially bright, and the text with virtually no signs of use.
This is a very attractively bound copy of Fielding's 18th century classic and a landmark publication, first printed in 1749. Cross says that "No one before Fielding had ever written a novel comparable with his in its reliance upon contemporary facts of human nature, and this brilliant and innovative narrative met with such immediate commercial success that the first printing was sold out before its printing could be finished, and at least four more editions were published in the same year as the first." "Tom Jones" is divided into 18 books, each preceded by an introductory essay (wherein can be found some of Fielding's best prose) on some theme more or less connected with the story, in the manner subsequently adopted by Thackeray and George Eliot. The plot begins with the finding and raising of Tom by Squire Allworthy and his sister Bridget and then follows Tom's adventures, many amorous, after his banishment from the Allworthy house prompted by bad behavior. In the comic ending, mysteries are revealed and relationships set aright. Day says this was the first avowed novel in English (Fielding's precursor, Defoe, claimed his stories were true and Richardson said that his were akin to sermons), and a work that some still call the greatest novel in English because of its attention to characters set against the backdrop of society. Inspired by the Arts & Crafts movement that had spread to New England, the Harcourt Bindery was founded in 1900 to provide hand bookbinding services for the books produced by a burgeoning number of private presses. With plenty of shelf appeal, the present set is an excellent example of their high-quality work.
Offered by Phillip J. Pirages Fine Books & Medieval Manscripts and found in "Books in Multiple Volumes."
[N.p., likely Richmond. 1861]. Broadside, 6¼ x 4 inches. Light edge wear and minor spotting. Very good. A scarce Confederate election ticket for the state of Virginia. The handbill announces the candidacy of Jefferson Davis for president of the Confederate States, and Alexander Stephens for his vice president. It also announces John R. Edmunds of Halifax and A.T. Caperton of Monroe as electors for the state at large, and includes a list of sixteen additional electors for the various districts, along with the name of Roger A. Pryor for the Confederate Congress. Davis and Stephens won the election, as did Pryor, who served only three months in the first regular session of the Confederate House of Representatives before joining the 3rd Virginia Infantry as a colonel. This ticket is very likely a cast ballot, with a small validation pinhole in the center, the Congressional candidate overwritten in ink (casting a vote for William T. Joyner), and with a signature on the verso, a regular practice at the time to curb ballot stuffing, and usually indicating a cast ballot (though they are typically signed in ink). Parrish & Willingham locate only twelve examples of this scarce item. Not in Crandall.
Striking example of this map of the Ottoman Empire, showing their territories in the Balkans, Anatolia, the Levant, the Arabian Peninsula, and North Africa.
It was published by Henricus Hondius in his Atlas sive Cosmographicae Meditationes de Fabrica Mundi et Fabricati figura, which translates to the “atlas or cosmographical meditations on the fabric of the world and the figure of the fabric.” This was the atlas begun by the famous Gerard Mercator and published by the Hondius firm throughout the seventeenth century.
The border of the Ottoman Empire is marked with a dotted line, demarcating one of the largest land empires in history. Cities and towns are labeled and marked with the characteristic small building symbol that was used throughout the atlas. Mountains and dunes are included, especially on the Arabian Peninsula. Notes indicate extra information about the Caspian Sea, Black Sea, and kingdoms that ring the Ottomans.
A handsome strapwork cartouche holds the title and scale in the lower left corner. At the top is a portrait of Sultan Mahumet Turcorum Imperat. This refers to Mehmed III, sultan from 1595-1603. Mehmed III is known for the fratricide of his nineteenth brothers, the war with Austria-Hungary, the Jelali Revolts, and the reception of Queen Elizabeth I’s envoy in 1599.
This map first appeared in the atlas in 1606, an additional plate added by Jodocus Hondius. It continued to appear there until the French edition of 1639-44.
Offered by Barry Lawrence Ruderman Antique Maps and found on their Twitter feed...
39 broadsides, labels, ads, calling cards, etc. all relating to the business ventures of Isaac S. Clough, a prolific inventor and salesman who concentrated mostly on the invention of novel insect traps, but who also sold ash sifters, pastry boards, spring boot jacks, combined knife, spoon and fork utensils, match safes, hand lanterns, an "automaton dancer" composed of two "negro-dancers" and string, and more. At least six different insect traps are represented, including a Premium Clockwork Pillar & Cage Fly Trap, and a Clock-Work Revolving Light House Fly & Mosquito Trap. The largest item is a broadsheet, 9.25" x 12" with a "Clough's Reporter" newsletter on one side and a large engraved illustration for a Suspension Cage New Fly-Trap on the opposite side.
In addition to his inventions Clough also worked as a manufacturer, distributor, and a door to door salesman. Many of the ads are pointed at wholesalers, and two items are printed calling letters notifying a household of an imminent visit by Clough to sell them fire shovels, for example.
A number of items cite Clough's number of medals and diplomas earned, with the number peaking at 19 and 33 respectively. Aside from this small change in accolades it is difficult to date most of the material. "Clough's Reporter," is dated 1860, one manuscript letter from the then governor of Massachusetts, Alexander H. Rice, congratulating Clough for his success in business, dated 1856. The calling letter from the Iron Clad Can Co. is dated 1876. The majority of the material is likely printed between the late 1850s and the early 1870s.
Also included are a few New York banknotes signed by Clough and a receipt on letterhead for a tombstone ordered by him for Cypress Hills Cemetary. We could find little on Clough's life beside the fact that he appears to have been based in Brooklyn, NY. A few chips and holes in some items, but most generally very good, and an interesting group reflecting the world of late 19th century American industry.
London: Griffith, Farran, Okeden & Welsh (Successors to Newberry & Harris), 1887. Octavo (6¾” by 8⅝”). 78 pp. With frontispiece and three plates printed in red and black; four fullpage illustrations (included in pagination) printed in black; and two pages with text illustrations. Also with charming floral headpieces. Original pictorial boards with lively red-and-black border featuring the silhouettes of dogs, cats, and farm animals. Titled in red on spine. Some soiling to boards. Floral endpapers. Still a clean, tight, nearfine copy of a scarce work on the kindergarten.
First edition. In chapter one of the present work, Emma S. Windsor states that the theories of Friedrich Froebel inspired her to invent her crawling rugs (p. 11). She created the rugs by sewing pieces of fabric cut to resemble animals onto sheets of flannel. Windsor’s idea was that children from birth to age seven could appreciate the rugs in different ways over time: first, they could explore the texture and recognize the animals from picture books; then, with the help of a mother, learn the names of animals and how to mimic their sounds; and, finally, older children would enjoy the images and be inspired to independently learn more about the animals pictured on the rug (p. 13).
Windsor sold her blankets at the Kindergarten Depot of the Soho Bazaar in London. Though she encourages women to follow her designs when making rugs, she also warns that the designs are registered with the patent office and are not to be reproduced for sale (p. 23). Based on information about her business given at the end of the present work, she also seems to have provided lessons to women about how to educate through the principles of kindergarten. Note that some of the illustrations are credited to a “W.F. Windsor,” possibly Windsor’s husband. We could not find any additional information about Windsor in the sources available to us, including dates.
4to. 11.5 x 12 in. [12 pp (unpaginated).] triptych, printed on colour-tinted paper stock, which opens into oblong folio 34.5 x 24 in. dealer poster. Colour-illustrated throughout. Self-printed colour-illustrated softcovers, slight shelfwear, and very slight toning, NF copy. First edition of this very scarce dealer’s brochure & poster for the 1955 Cadillac Series 60 models which after 1954 featured lower sleeker bodies, new grille inserts, and inverted gull wing front bumpers and tapered bumper guards. The 1955 featured a redesigned grille, new rub-rail moldings, Florentine curve rear window, and the Coupe de Ville featuring a golden script nameplate. The Cadillac Eldorado sport convertible featured wide chrome belt trim, new rear fender design, and twin round taillights halfway up the fenders. No copies located in Worldcat.
Offered by Zephyr Used & Rare Books and found in "Travel & More" (item #10).
Remember, you can always browse and download the latest catalogs published by ABAA members on ABAA.org by visiting the following link: https://www.abaa.org/catalog/... (You can also access this page by selecting 'Booksellers' from the top menu, scroll to the bottom of the page to 'Member Catalogs', and click on 'View All'.)
Our members list new acquisitions and recently cataloged items almost every day of the year. Below, you'll find a few highlights from these recent additions...
Harcourt Brace Jovanovich, 1973. First Edition. Fine/Near Fine. First edition, first printing. Signed by William Goldman facing the title page, inscribed to a former owner. Bound in publisher's original grey cloth with spine lettered in red and black. Fine, with a stray ink mark to verso of front free endpaper. In a Near Fine unclipped dust jacket with light surface wear and two paperclip impressions to the top edge of the front panel. A fairy tale adventure which served as the basis for the 1987 Rob Reiner film. Copies signed by the author are scarce.
Boston: Estes & Lauriat, 1892. Edition De Luxe. Limited to 1,000 copies of which this is 638. Finely bound in full crushed morocco ornately stamped in gilt to spines and boards. All edges brightly gilt. Inner dentelles gilt. Silk moire doublures and silk moire endpapers. A set with minimal shelfwear and no sunning; minor nicks or chips to crowns of a few volumes. In all, a bright and luxurious set.
Edward Bulwer-Lytton was a British Parliamentarian and author. Bulwer-Lytton served non-consecutive periods as a Member of Parliament, but he wrote consistently throughout his life. While Bulwer-Lytton is not widely remembered today, he was a popular author whose novels Godolphin (1822), The Last Days of Pompeii (1834), and Vril (1871), the last of which is an early and pioneering work of science fiction, were widely read. This finely bound set captures the extent Bulwer-Lytton's writing career.
Burbank, CA: Walt Disney Productions, 1981. Second printing. Hardcover. very good +/near fine. 575pp. Thick quarto [28.5cm] in red cloth, with title stamped in gilt on spine and gilt design on front board. Spine is rolled. Mild edgewear to boards. Dust jacket is creased at head of spine. An in-depth study of the process of animation within the Disney studios, featuring hundreds of illustrations.
by Ruth Plumbly Thompson (Series created by L. Frank Baum)
Chicago:: Reilly & Lee,. Good. 1923. Hardcover. B00085RR1C . Founded on and continuing the famous Oz stories by L. Frank Baum. Illustrated with twelve color plates and black and white drawings by John R. Neill. First edition. Moderate shelf wear and aging, age darkened along the spine, one inch tear to the cloth at the crown of the spine, else good in dark green cloth with color paste-on illustratio n on front board. No dust jacket. ; 291 pages.
New York: Limited Editions Club, 1961. Limited Edition (568/1500). Hardcover. Octavo, 446 pages; VG-; fully bound in brown leather, spine has gilt lettering, front cover has gilt tooling; binding has minor shelf wear along the top and bottom edges, has minor tearing on both sides of the spine, spine has minor discoloration; pages clear; signed by the illustrator on the limitation page; housed in tan publisher's slipcase; shelved Limited Editions Club. Shelved Dupont Bookstore.
by (SCHACHNER, NAT, JACK WILLIAMSON, FRANK BELKNAP LONG, JR., ROSS ROCKLYNNE, R.R. WINTERBOTHAM, OLIVER SAARI, JOHN D. CLARK, AND JOHN W. CAMPBELL, JR.)
New York: Street & Smith, 1937. Softcover. Near Fine. Magazine. Cover by Howard V. Brown. Octavo. 160pp. Perfect bound in wrappers. Near fine or better with nicks at the front corners and a small scrap on the rear wrap but with bright covers that still retain some of their original gloss and supple interior page with little age-toning. A nice copy. This issue features contributions from Nat Schachner, Jack Williamson, Frank Belknap Long, Jr., Ross Rocklynne, R.R. Winterbotham, Oliver Saari, John D. Clark, and John W. Campbell, Jr.
New York: Wiley and Putnam, 1853. Sq. 4to. 248 x 220 mm., [ 9 ¾ x 9 inches]. Illustrated with 53 illuminated pages (hinged boards), with highly gilded and decorated borders; all edges gilt. Orig. beveled brown morocco, with gilt title in shield on front cover in blind on rear board. Lacks free front endsheet. Binding rubbed, lacking bit at top of spine. Endsheets foxed. Very sound & clean, complete with orig. tissue guards. First edition One of three illuminated works by Mapleson, exquisitely printed in the chromolithographic process by Alphonse Brett and Thomas Sinclair of Philadelphia. In his pioneering bibliography of American color plate books Whitman Bennett writes, "The editor has been amazed at the variety and the beauty of Mapleson's work, which seems to him...both in abstract decoration and in miniature work, just as good and worthy of enthusiasm as that of the English Sangorski half a century later. And the reproductions are certainly better than the Sangorski reproductions." William Reese writes, "This collection of poems is one of the most elaborate examples of mimicking illuminated manuscripts by way of chromolithography. Printed on heavy card stock hinged into a binding, the volume combines the work of two different Philadelphia lithographers, Brett and Sinclair. Mapleson produced a string of similar books in the early 1850's, at the height of the gift book craze." Whitman Bennett, A Practical Guide to American Nineteenth Century Color Plate Books, p. 71. William Reese, Nineteenth Century American Color Plate Books, 89. Carl Peters, American on Stone, pp. 108 and 367.
(n.p.): Editions for the Armed Services, Inc.. Very Good. (c.1940). First Edition Thus. Softcover. [light external wear to covers and edges, but generally a good sound copy]. Levant's first book, "six brash monologues, laughably disguised as essays," including dissertations on Harpo Marx, George Gershwin, and the practice of making music for the movies. This pocket-size printing was issued as part of a government-initiated project during World War II to ensure "the best books of the present and the past are supplied to members of our Armed Forces in small, convenient, and economical form."
Salt Lake City: Pyramid Press, 1945. Second Printing. 48pp. Trigesimo-secundo (32mo) [10 cm] Gold printed leaves are attached to a gold painted wood block with three rings. Very good. Short work that offers a brief history Joseph Smith and the Book of Mormon. The gold painted wood block represents the sealed part of the Book of Mormon. An interesting and unusual production that was limited to 500 copies. Rare "This miniature facsimile of the original gold plates of the Book of Mormon has been produced to give a more general idea of the appearance, proportions, sealed section and style of binding of the original. It contains a brief description of the Book of Mormon, its origins and contents." - from the Foreword.
by LOURIE, EUGENE(DIRECTOR); ROBERT L. RICHARDS, DANIEL JAMES (SCREENWRITERS); BILL TRAVERS, WILLIAM SYLVESTER, VINCENT WINTER, JOSEPH O'CONOR (STARRING)
N.p.: King Brothers [Bros.] Productions, 1961. Vintage reference photograph from the 1961 US Poverty Row film, an attempt by the notorious King Brothers to capitalize on the fame of the Shaw Brothers' "Godzilla" films in Japan. With a mimeo snipe on the verso. Sailors on a salvage ship capture a giant lizard and sell it to a London circus, leading the lizard's mother, who is significantly larger and meaner, to seek revenge and the return of her offspring. Set and shot on location in London. 8 x 10 inches. Near Fine.
by LECHTER, MELCHIOR (ARTIST). MAETERLINCK, MAURICE (AUTHOR). FRIEDRICH VON OPPELN-BRONIKOWSKI (TRANSLATOR)
Florence & Leipzig: [Printed in Berlin by Otto Von Holten for]: Verlag von Eugen Diederichs, 1898. Autorisierte Ausgabe. Square 4to (210 x 170 mm). 105 pp. With stylized art-nouveau typography and large ornamental initials in red and black throughout. Vernacular binding of slightly later decorated burlap cloth patterned with lily pads; green cloth onlays depicting three fish, their eyes made of sequins, other sequins adorning seaweed fronds; green floral endpapers (inner hinges cracked). Original printed wrappers bound in. Front joint worn, crown chipped; early ownership inscription of "Lillie C. Schleiser" dated "Christmas, Munich 1903" on front wrapper. Text evenly toned, extremities with some chipping here and there on account of the paperstock. First edition of the first fully realized book design by Melchoir Lechter (1865-1937), a triumph of Jugendstil / art-nouveau typography which perfectly compliments the mystical essays by the famed Belgian Symbolist Maurice Maeterlinck. The type used herein is now known as Lechter-Schrift after the name of its designer. According to Schauer, this book defines the beginning of German book arts of the twentieth century, and is justly considered "a great book in which everything is dark, colorful, and primeval." Upon publication, it was widely praised as the most beautiful German book of the day (O. Grautoff). Ordinary copies our bound in wrappers designed by Lechter. Our copy has both wrappers bound into a remarkable German vernacular binding of burlap cloth with cloth onlays of green fish adorned with sequins, all adhered to art-nouveau patterned cloth of lily pads and fronds. The early ownership inscription reveals that the book was acquired by an English or American woman named Lillie C. Schleiser in Munich in 1903. Perhaps the present volume was bound there? As is stated in the colophon: "Cover design, ornaments, headings, numbers, initials, and typography arrangement by Melchior Lechter, under whose artistic direction this book was printed in the year 1898 by Otto Von Holten, Berlin." "Bei seinem Erscheinen vielfältig als das schönste deutsche Buch gepriesen" (O. Grautoff). Lechter is best known for his book design, glass paintings, drawings, calendars, catalogues, ex-libris designs, and posters. He also designed furniture, carpets, wallpaper and stained glass windows. This is the trade edition of the first authorized German translation of "Le Trésor des Humbles" (1896) / "The Treasure of the Humble" (1897) containing an essay on Ralph Waldo Emerson not found in the English edition. It was created on the occasion of the 1898 Maeterlinck exhibition of the same name. As is well known, Maeterlinck received the Nobel Prize for Literature in 1911. References: Transfer und Modifikation: Mario Zanucchi, Die französischen Symbolisten in der deutschsprachigen Lyrik der Moderne (1890-1923), Abb. 2. Grautoff, p. 14. Raub A20, p. 67; Rodenberg, 240; Schauer, Vol. 2, 12.
Mexico: Various publishers, 1880–1920. Most are 16mo (14.5 cm, 5.71"). Most are between 8 and 16 pp. plus wrappers.
The oeuvre of Jose Guadalupe Posada Aguilar (1852–1913) is steeped in social engagement, satirical acuteness, and wry humor presented to the reader and observer in woodcut and lithographic illustrations for periodicals and chapbooks. During the late Porfiriate and early years of the Mexican Revolution, his art enticed the buyers of popular, very cheaply produced songsters; political broadsides; cookbooks; and single-sheet accounts of hangings, disasters, crimes, volcanic eruptions, and other sensational events. => Six of the publications here are signed, "Posada"; others are simply unmistakable; several are from his most famous publisher but were printed after his death and may or may not be restrikes. A few may simply be "in his style" and therefore, as part of the lot, invite considerations of his context.
The present collection consists of 13 pamphlet/chapbook items: They are a good representation of books for children, women, and the general reader. They include a volume of popular recipes for health problems, two booklets offering embroidery patterns (with women at their frames on the pamphlets' covers and the patterns on colored papers), several plays for children to perform ("Les Gendarmes") and for adults to read ("Don Juan"), compilations of patriotic songs and biographies, and so on. One wrapper is pink, two are gold, one front cover is printed in black and red; rear covers offer advertisements of the publisher's other offerings, within varied borders, and three devote the back wrapper to a poem.
The list follows: 1) Vanegas Arroyo, Antonio. La salud en el hogar. Tercera serie de la coleccion de 300 recetas utiles para curar las enfermedades mas comunes. Mexico: Imprenta y Encuadernacion, n.d. [ca. 1900–18]. 2) Muestras para bordados. #9. Mexico: Publicadas por la testamentaria de A. Vanegas, n.d [ca. 1920]. Includes planchas 33–36. 3) Muestras para bordados. #10. Mexico: Publicadas por la testamentaria de A. Vanegas Arroyo, n.d. [ca. 1913]. Front cover signed, “Posada.” Includes planchas 38-40. 4) D. Juan Tenorio. Mexico: A. Vanegas Arroyo, n.d. [1880, date on rear wrapper].
In series: Galeria del Teatro Infantil; Coleccion de comedias para niños o titeres. Front wrapper signed "Posada."
5) Los gendarmes. Mexico: A. Vanegas Arroyo, n.d. [ca. 1910]. In series: Galeria del Teatro Infantil; Coleccion de comedias para niños o titeres.
6) Los celos del Negro con D. Folias. Mexico: A. Venegas Arroyo, n.d. [ca. 1910]. In series: Galeria del Teatro Infantil; Coleccion de comedias para niños o titeres. Front wrapper signed "Posada."
7) La casa de vecindad. Mexico: A. Vanegas Arroyo, n.d. [ca. 1910]. In series: Galeria del Teatro Infantil. Front wrapper signed "Posada." But rear wrapper indicates "la imprenta de la test. de A.V. Arroyo." 8) Los novios. Mexico: [as per rear wrapper, Tipografia de la Testamentaria de A. Vanegas Arroyo, 1918]. In series: Galeria del Teatro Infantil. 9) Vanegas Arroyo, Antonio, comp. El sarape nacional. Moderna coleccion de canciones para el presente año. Mexico: A. Vanegas Arroyo, 1915. Front wrapper signed "Posada." 10) Vanegas Arroyo, A., comp. La ex-moderna. Sexta coleccion de canciones para el presente año. [front wrapper: Mexico: A. Vanegas Arroyo] title-page: 1914]. 11) Suarez, C. S. El placer de la niñes. Amar sin esperanza. Monologo. Mexico: Tip. de la Testa. de A. Vanegas Arroyo, n.d. [ca. 1918]. In series: Coleccion de monologos. Front wrapper signed "Posada." 12) Vanegas Arroyo, Antonio, ed. La felicista: 13a coleccion de canciones modernas para el presente año. 1913. Mexico: Antonio Vanegas Arroyo, 1913. 13) Coleccion de himnos nacionales. No place, no publisher, no date, [but certainly Mexico: A. Vanegas Arroygo, and ca. 1880, as per rear wrapper].
Because of their ephemeral nature and their audience, copies of these are generally hard to find. All items are little held in the U.S., many in only one or two copies. Overall condition is good to very good. #1 lower inside corners nibbled by rodent; #10 seriously wormed; a few items with wrapper paper beginning to split along spine, shallow dog-earring to corners, or small chipping or a short rent to edges. => An excellent gathering whether for teaching or "just" for enjoyment.
Manhattan Beach, CA: East West Discovery Press, 2013. First Edition. Signed by former NASA astronaut John D. Olivas on the dedication page, also adding his two Space Shuttle mission numbers: "STS-117, STS-128." The book brings space shuttle Endeavour to life through a journey to space with a young boy Jojo. Exploring space with the shuttle, Jojo learns about Endeavour's extraordinary contribution to space science and its famous service missions, including the Hubble Space Telescope. The book also features NASA photos, fun facts, famous firsts and quizzes to inspire kids in science, technology, engineering and mathematics. Signed copies of this title are uncommon!. Quarto: pictorial boards in dust jacket; 36 pages. Illustrated by Gayle Garner Roski.. Fine in fine d/j.
New York: Random House, 1930. First Edition. Hardcover. Fine/good +. Kent, Rockwell. First trade edition with Rockwell Kent illustrations, duodecimo size, 823 p., in original dust jacket. First trade edition of "Moby Dick" illustrated by Rockwell Kent, which became an instant success. The Lakeside Press published a limited edition in three volumes with 280 illustrations; this trade edition is in a smaller format and uses 272 of the illustrations.
Rockwell Kent (1882-1971) was an American painter and illustrator who bridged the artistic gap between Victorian and Modern art; when "Moby Dick" was published he was already well-known and his appeal has continued to grow throughout the 20th century, his work remains widely collected today. Interestingly, while Melville wrote "Moby Dick" in 1851, it was almost neglected until Kent elected to illustrate the story; his illustrated version had tremendous success and revived the novel for the 20th century.
DESCRIPTION: Black cloth boards with silver letting on front and spine, both the front and spine also display Kent's own design of a whale, with the head on the front and the tail on the spine, cream endpapers, replete with Kent's black-and-white pen/brush and ink drawings which made him justly so famous; duodecimo size (7.25" by 5.5"), 822 pages plus a one-page Epilogue. The unclipped dust jacket mirrors the design on the front panel and on the spine, in black with cobalt blue highlights, and while it displays Kent's name on both front and spine, it does not display Melville's; the back panel of the dust jacket is a publisher's ad for other books illustrated by Kent (five titles), both flaps are blank, with no printed price.
CONDITION: Near fine , the silver gilt on the front and spine bright and unrubbed to the extent that it fairly shimmers; with a square, strong text block and solid hinges, straight corners with a minimum of rubbing to the bottom corners only, and free of prior owner markings; the head and tail of the spine gently bumped with the head of the spine just beginning to fray the tiniest bit, a few spots of light soil to the top edge of the text block, and the aforementioned slight rubbing to the bottom corners; there is a vintage bookseller's ticket on the rear pastedown ("The Holliday Bookshop, 49 E. 49th St., New York") and a few light pencil markings on the top of the front pastedown (likely the bookseller's) with a price of $3.50. The unclipped (and unpriced) dust jacket just shy of very good, complete, the colours on the front panel are deep and true, the spine is sunned, light overall edgewear with a bit more at the head and tail of the spine which has creasing and some chips. Even with the dust jacket faults, still a lovely example of Kent's work at its best.
Boston: The Cornhill Company, [1918]. First American Edition. Hardcover. Unauthorized American edition of Joyce's first published book, preceding the authorized (Huebsch) edition by some months. Originally issued in London, 1907; this piracy coincides with the second London edition of 1918. SLOCUM & CAHOON 5. First printing. 12mo (16cm); publisher's green cloth, titled in gilt on front cover; [40]pp. Small spot of rubbing at base of spine and just a hint of age-toning to text, else a tight, Near Fine copy. Originally issued in clear (unprinted) tissue dustwrapper, lacking from this copy. Slocum & Cahoon notes "probably about a thousand copies" printed.
New York: Tiffany & Co, 1883. Original invitation to the May 1883 opening ceremonies of the "New York and Brooklyn Bridge," issued by the Board of Trustees, the mayors of both cities, and chief engineer Washington Roebling. Under construction for over a dozen years, the Brooklyn Bridge was the longest suspension bridge in the world at the time, a marvel of modern steel-wire engineering, and it remains one of the iconic monuments of New York City. The opening ceremonies were attended by President Chester Arthur, and featured speeches, music, a gunfire salute by ships on the East River, and a fireworks display. Engraved by Tiffany, this invitation features a detailed view of the new bridge rising over the low-rise banks of Manhattan and Brooklyn. A near-fine artifact of New York history. Engraved invitation, printed on heavy cardstock, measuring 6.5 x 9 inches. Illustrated with an image of the Brooklyn Bridge and the seals of the City of New York and the City of Brooklyn. Completed in manuscript with the name of recipient A.J. McCall. Faint tidemark to lower righthand corner. Housed in original envelope embossed with the seals of both cities, addressed to McCall. Envelope soiled, with loss to lower corner.
[Single folded sheet with inkjet color illus. and printed text on both sides (277 x 102 mm. folded) l...]by LEIBER, STEVEN, BOOKSELLER
Single folded sheet with inkjet color illus. and printed text on both sides (277 x 102 mm. folded) laid in original plastic cassette case (a little worn) and the original audio cassette. [From the folded sheet]: San Francisco: April 1998. A very rare Leiber catalogue (no. 32) and one of his most ingenious vehicles for offering materials. The catalogue consists of an audio cassette, its case, and a list laid-in the case. "Artists, curators, art librarians, and others associated with the art world were faxed catalog entries with instructions to call and read the entry aloud over Steven Leiber's answering machine. These recordings were then included on the enclosed audio cassette. The title of this catalog is derived from a Nam June Paik mailing." It offers books, ephemera, periodicals, and artworks by or related to Beuys, Barbara Bloom, Brouwn, Jeanne Dunning, Feldmann, Filliou, Flavin, Holzer, Johns, Ray Johnson, Kounellis, Oldenburg, Pettibon, Roth, Vautier, Warhol, etc. In near fine condition; the case is a little worn with two minuscule cracks. WorldCat records only one copy. Produced in an edition of around 100 copies. ❧ Steven Leiber Catalogs (2019), p. 135.
Philadelphia/ Columbus, Ohio: Bradley Garretson & Co./ Wm. Garretson & Co. , 1882. Ornately bound in full deeply embossed calf with ornate gilt decorations front and back covers, lavishly gilt decorated back, moire silk end papers, all edges gilt. Illustrated with 8 color maps, engravings on steel and wood, chromo-lithographs of scriptural natural history, botany and zoology. Family Portraits section at rear with 6 period photoraphs of family members, uncaptioned. Presentation Page from Oral T. Hall to John A Hall ( possibly Ball)? Near Fine, light rubbing to leather. small tear bottom edge front end page. A presentation Bible of the day in wonderful condition.
A large and heavy book, will require additional postage charges for priority and international mail shipping. Please inquire before ordering. Free media mail shipping. Later Printing. Calf. Near Fine/No Jacket, As Issued. Thick Folio.
Boston and New York: Houghton, Mifflin and Company, 1904. Book. Illus. by Amelia M. Watson. Very Good. Hardcover.
An Illustrated set of one of Thoreau's most enjoyable works containing delicate and lovely, small color drawings by Amelia M. Watson in the margins throughout the text. Handsome and collectible.
Half green Morocco with marbled boards and matching endpages. Top edge gilt. Silk place ribbons. Bindings are tight and square. Text clean, light even toning. Moderate shelf handling wear. Small 8vo; 7.75 inches tall; 173 pages, 208 pages, including the index.
Iver Johnson's Arms and Cycle Works. Fitchburg, Mass. 1897. First edition, 32 pages. 19.5 cm. Illustrated covers. " 1871-1897 Ye further Hystorie of ye Ancient House of Iver Johnson " prefaces this bicycle trade catalogue for truss frame bicycles, which features their models 33, 35, 36, 37, D and E in double-page illustrated advertisements. Slight soiling, one page corner missing, otherwise good, printed on heavy glossy paper. One copy was found at the Harvard Business School's Baker Library.
New York: HarperCollins, 1995. First printing of the 35th Anniversary edition of the author's Pulitzer Prize-winning novel. Octavo, original half cloth. Signed by Harper Lee on the half-title page. Fine in a fine dust jacket. Jacket design by Suzanne Noli. To Kill a Mockingbird became an immediate bestseller and won the 1961 Pulitzer Prize for Fiction. The New Yorker declared it "skilled, unpretentious, and totally ingenious". It has gone on to become of the best-loved classics of all time and has been translated into more than forty languages selling more than forty million copies worldwide. Made into the Academy Award-winning film, directed by Robert Mulligan, starring Gregory Peck. It went on to win three Oscars: Best Actor for Gregory Peck, Best Art Direction-Set Decoration, Black-and-White, and Best Screenplay for Horton Foote. It was nominated for five more Oscars including Best Actress in a Supporting Role for Mary Badham, the actress who played Scout. In 1995, the film was listed in the National Film Registry. In 2003, the American Film Institute named Atticus Finch the greatest movie hero of the 20th century. In 2007 the film ranked twenty-fifth on the AFI's 10th anniversary list of the greatest American movies of all time. It was named the best novel of the twentieth century by librarians across the country (Library Journal).
Carlisle, Pennsylvania: Self-published, 1912. First Edition. Hardcover. Good. Octavo. vii, frontispiece photograph of Warner, 142 pages, [1]. Illustrated. Illustrated brown cloth hardcover. Title in black on the front cover. Cloth binding is creased on the front cover. Front paste down sheet is also creased. Previous owner inscription on the front paste down. No right front flyleaf (if bound in?) Glenn "Pop" Warner was the Athletic Director at the Carlisle Indian School. Jim Thorpe, Native American, attended the school in early 1900's and played football for Pop Warner.
[Seattle]: [Industrial Workers of the World], 1920. Small leaflet, approximately 4x3.9 inches, corner crease with a couple small chips. Text is the same on both sides, though one side has a union bug at the bottom. Our House was a cafe that marketed itself in advertisements as "Popular With Our Boys in Blue.
Strassburg: Johann Schott, 1532. Two volumes bound in one (the appendix added to vol.II), folio (287 x 188 mm; 11¼ x 17½ in.). Vol. I: Title within woodcut allegorical border, 4- and 5-part borders to several pages, woodcut arms of Strasbourg, ornamental and historiated initials, head- and tailpieces, 86 woodcuts of plants by Hans Weiditz; vol. II: Title within woodcut allegorical border, 4- part border on 2 pages, 49 woodcut illustrations by Weiditz, all colored in a contemporary hand. 18th-century mottled calf gilt, edges gilt. Rebacked preserving original gilt spine panels, repairs to corners, some slight drying; A4 in volume I bound after b4, lacking blanks b4 and G6 in the first volume and H4 and S6 in the second, small stain in lower margin of first title and first text leaf, some leaves lightly browned, occasional minor staining. Provenance: Johannes Beusler (early ownership inscription on title); Jean Charles Patin (inscription dated 1817 on front flyleaf noting that he is a native of Manneville and currently farming in Bézu-la-Forêt); purchased from William Schatzki, 1971. From the Collection of Arthur & Charlotte Vershbow. A finely colored copy. Referred to as "the first great mind in modern botany" (Hunt), Brunfels' most revolutionary contribution was his choice of artist accurately to portray these "living portraits of plants." The magnificent woodcuts executed by Weiditz were taken from watercolors drawn directly from nature and delineate botanical details well beyond their known function in the taxonomic literature of the time. The first volume was reprinted to be sold with the second, and this is how many sets are constituted. The appendix at the end of the second volume contains the first published writings of both Jerome Bock and Leonhardt Fuchs (see also item 32). After Brunfels's death, a third volume was published (1536-39) and was illustrated after different artists. Adams B-2924 and B-2925; Fairfax Murray German 462 (1530 edition); Garrison-Morton 1803; Grolier/Horblit 33a; Hunt 30 (mixed edition); Nissen BBI 257, Ib, IIa and 257, III; Norman 361; Stafleu &Cowan TL2 852 and 853; Pritzel 1283.
Paris: (Cordier for) Le Fuel, 1822. 18mo (123 x 80 mm). [iv], 175 pp. Double column. Additional engraved title/wrapper with hand-colored fashion emblem (a parasol draped with shawls, necklaces and a flowered hat) and 15 engraved plates, on thicker paper, all stencil- and hand-colored under the publisher's direction, one (of corals) also color-printed; tissue guards. Small closed tear in first gem plate, else a fine copy. Bound at end are six leaves on thicker paper containing [12] pages, one per month, blank except for the engraved name of the month and hand-colored vignette (with traces of old pencil scribbles); and a smaller format foldout calendar for 1822, with the imprint of Lefuel,the months in columns each topped by a woodcut astrological vignette. Publisher's blind-stamped brown calf "cathedral" binding, the same block used on both covers, backstrip with blind-stamped ornamentation above and below the title, gilt edges, yellow endleaves, blind-stamped matching leather slipcase, lower cover of binding with silk tab for removing from the slipcase (a bit of scuffing). Etched bookplate of Robert de Beauvillain tipped to front endleaf.*** Only Edition of an unusual and still useful illustrated dictionary of objects, materials and concepts, most of interest to women and many relating to fashion. Covering both luxury goods and common objects and materials, the dictionary contains over 800 entries, many including the names and addresses of relevant Parisian suppliers, making it a far-ranging encyclopedia of feminine material culture in Restoration France. This is a special de luxe copy in a reliure à la cathédrale, with an extra fold-out calendar and hand-colored ornamented cahier for notes for each month of the year. From Abaca (a type of hemp or linen from the Philippines, of which the white plants were used to make a very fine cloth while the gray were used for cocardes) and Acier (steel being used at this time not only for buckles, belts, clasps etc., but also to make jewelry, a dozen examples being illustrated in plate 1), to Zéphir (a shawl made of net) and Zibeline (the animal whose nearly black fur is highly prized), the dictionary includes terms of apparel, footwear, and accessories, a vast number of textiles and related terms (materials, weaves, and treatments), furs and skins, common materials with a variety of applications (e.g., sandalwood, various vinegars and oils), objects used for personal grooming (sponges, tweezers, brushes, mirrors, etc.), many perfumes and eaux de toilette, gems and precious metals, furnishings and furniture, and even prostheses, including a long description of artificial eyes and where to purchase them. A few entries contain mini-treatises on social custom: the seven-column entry for Deuils, for example, discusses the proper length and appropriate mourning dress for various degrees of consanguinity. Some contain surprises - thus the entry on Marriage, far from listing bridal gowns and suppliers, tells a simple story of a painter and the changing perspective of a groom, before and after marriage. The language of flowers gets a special entry (which advertises a relevant publication, the Dictionnaire du Langage des fleurs ou de leurs emblèmes, of which I locate no edition). Besides steel jewelry, the finely colored plates show rings and earrings, pocketbooks and wallets, necklaces, specimens of coral, fans, a splendid bouquet, brightly colored garters, bejeweled combs, 24 precious stones (on two plates), an elaborate feather headdress, a pretty assemblage of ribbons, and several large handbags (sacs-gibecières, two plates). Perrot was a geographer who wrote and edited numerous works. Mazeret was an almost equally prolific writer for hire. The publisher Valentin Lefuel, active from 1792 to the late 1820s, specialized in the publication of almanacs, keepsakes, and children's books. He was also a binder, and he offered his publications in a variety of different bindings, including "gauffred calf," here in the "cathedral" style, inspired by gothic architecture, which enjoyed a vogue in France and England during the Romantic era. (I have not previously seen an example of this kind of binding on an almanac or almanac-like popular imprint.) Copies are held by the Brooklyn Public Library, Morgan Library, Metropolitan Museum of Art and Smith College (the last two purchased from us); outside the US OCLC lists only the Bibliothèque nationale de France, to which the Catalogue Collectif de France adds a copy at Rouen. Colas, Bibliographie générale du costume et de la mode 2023; Grand-Carteret, Les almanachs français 3476. Cf. S. Malavieille, Reliures et cartonnages d'éditeur en France au XIXe siècle, p. 24 (on Lefuel).
Paris: Les Jouets et Jeux Français, 1895. A board game for up to six players, following the eighty-day journey of Phileas Phogg across the globe. Each day is represented by a square on the board, centering around a globe. Some squares show notable characters, such as Phogg, Francis Cromarty, and Miss Aouda, while others show ships, animals, and landmarks from destinations as far as Calcutta, Hong Kong, and San Francisco. Some squares have particular associated functions, which are outlined in the rules on the underside of the box lid. The course of play proceeds through a series of transactions using the fifteen tokens provided, with one player acting as Phogg's valet, Passepartout, who takes on the role of banker. The tokens are housed in a cloth bag. Six painted metal figures act as gamepieces, housed in a smaller box, with splits to corners of lid. Paper cup holding two dice, along with tokens and game pieces, contained in separate compartments in the box. Some soiling to back of game board. All elements stored in box with lush pictorial lid, some signs of repair, else a near fine and remarkably intact set.
Paris, France: Obelisk Press, 1935. Book. Very good condition. Paperback. Fourth edition. Octavo (8vo). 271 pages of text. Original paperback binding with minor shelfwear and soiling, and minor vertical creasing to the spine. Pearson A-37 [unrecorded variant] with all points identical to A-37 with these exceptions: 1) Does not have the statement "Banned in England May 1935" printed on the front cover; 2) the front flap contains the price 50 francs; 3) the front flap edition statement differs slightly in that it states "This is the only existing edition of James | Hanley's most famous work, recently sup- | pressed in England."; 4) rear flap price for the 11 titles listed at "50 francs each". One page edge with a tiny black mark in the extreme margin, but the text is clean and unmarked. Fourth edition, variant of the first impression. Protected in custom-fitted archival mylar.
Green cloth with white and black titles and decorations, slipcase, 16 by 22.7 cm, xxii 190 pp., illus. Fine, unread copy in near fine slipcase. "The days from May 24 to May 28, 1940 altered the course of the history of this century, as the members of the British War Cabinet debated whether to negotiate with Hitler or to continue what became known as the Second World War. The decisive importance of these five days is the focus of John Lukacs's magisterial book. Lukacs takes us hour by hour into the critical unfolding of events at 10 Downing Street, where Churchill and the members of his cabinet were painfully considering their war responsibilities. We see how the military disasters taking place on the Continent—particularly the plight of the nearly 400,000 British soldiers bottled up in Dunkirk—affected Churchill's fragile political situation, for he had been prime minister only a fortnight and was regarded as impetuous and hotheaded even by many of his own party. Lukacs also investigates the mood of the British people, drawing on newspaper and Mass-Observation reports that show how the citizenry, though only partly informed about the dangers that faced them, nevertheless began to support Churchill's determination to stand fast. Other historians have dealt with Churchill's difficulties during this period, using the partial revelations of certain memoirs and private and public papers. But Lukacs is the first to convey the drama and importance of these days, and he does so in a compelling narrative that combines deep knowledge with high literary style."
San Francisco: Stolen Paper Editions, 1966. Second printing. Paperback. Very Good. Wide stapled illustrated wrappers. Second printing of Kandel's controversial volume of sexually explicit poems that was banned and seized by the police when first published. A very good copy with some wear to covers. Six pages, printed on rectos only.
New York: McLoughlin Brothers, 1906. First Edition. Very good in heavy paper, printed wraps over a replacement sewn binding. A quarto measuring 12 1/8 by 9 7/8 inches with archival tape repairs along the length of the fold of the spine and with similar repairs to several of the page folds. The sewn binding has been restored professionally. Unpaginated, but containing 14 pages illustrated with 8 full color lithographic plates (counting the covers) and line drawings throughout. Identified on the front panel as "158". Copyright dates of 1899 appear on the front cover and 1906 on the rear cover. The illustrator is not indicated. Clement Moore's poem comprises the first six pages which includes three full color plates. The remaining pages of text and plates contain the poem Santa Claus And His Works written by George P. Webster. (Very similar to Marshall 133).
Boston: Houghton Mifflin Company, 1942. First edition, first printing. Hardcover. Very good/Very good. 8vo. Green cloth printed in back on the spine and upper board. The cloth has slight aging to the boards and spine, some offsetting on the endpapers and pastedowns,a penciled ownership name and another blindstamped on the half title and the title, but it is still a very good copy. The dustwrapper is rubbed at the folds and rough along the edges including a couple of short marginal closed tears. It shows the first state points: $3.00 on the flap, and on the box on the rear panel, and with the war bond ad on the rear flap. The author was an English girl raised in British East Africa, conversant in native languages and customs, a horsewoman and a pilot when airplanes were unique in that part of Africa. Accompanied by her biography: Mary S. Lovell, STRAIGHT ON TILL MORNING, New York, St. Martin's Press, 1987. First US edition. A fine copy in a fine, clipped dustwrapper.
by TUCKER, GILBERT NORMAN, PH.D. (CANTAB.); ILLUSTRATED [ILLUSTRATOR]
King's Printer The Minister of National Defence, 1952-01-01. Hardcover. Very Good/Good. 2 Volume Set. Both dust jackets have minor wear. Both are clean, both have good bindings, no marks or notations.
Paris: Martinet, 1821. Galerie des Grotesques [GONDELIER, Jean-Baptiste]. [Galerie des Grotesques]. [Paris]: [Chez] Martinet, [1821]. Oblong folio (16 x 10 1/2 inches; 406 x 267 mm.). Seven leaves, titled and numbered in manuscript, each with three hand colored etched plates making a total of twenty-one images. Contemporary quarter green calf over floral patterned black boards.
The plates - each one lettered and numbered in manuscript "Galerie des Grotesques" No. 1. Les Rivaux; Partie d'écarté; Les effets du lavement, et la tentation (The Rivals; Discarded party; The effects of enema, and temptation) No. 2. Le maitre de danse, et le Coëffeur; Les joeurs de tonneau; Le remède inévitable (The dance master, and the hairdresser; The barrel joists; The inevitable cure) No. 3. Le bon gout; Cérémonie nuptiale; Le Dentiste (The right taste; Bridal ceremony; The Dentist) No. 4. Les conscrits; La sauteuse; Le bon ménage (The Conscripts; The jumpers; The good housekeeping) No. 5. Lecture des Tourneaux; Le cocher di Fiacre en dèfaut; Le Charlatan (Reading the turns; The coachman of Fiacre in defect; The Charlatan) No. 7. La Rosière; Le Pédicure; Les suites d'une Ribotte (La Rosière; The Pedicure; The aftermath of a Ribotte) No. 6. Partie d'Anes; Le Plaidoyer; Le Boston (Part of Anes; The Plea; Le Boston) Excessively Rare. OCLC locates just one suite (with only six plates) in libraries and institutions worldwide at Kunstbiblio Staatliche Museen Zu Berlin (Germany). GONDELIER, Jean-Baptiste (fl. 1821-1827). Gondelier was an engraver and a papermaker. As early as 1820, he was editor of a singer dedicated to Béranger, Le Constitution. He wanted to do city work but he also printed satirical prints, constituting the Gallery of the Grotesques. In 1826-1827 he collaborated in the writing of several plays performed at the Vaudeville theatre. Perhaps it was for this reason that he abandoned his lithograph patent and then applied for a letter printer's patent obtained in 1828. These 'Grotesque' caricatures appear to be based on the Woodward three-row strip genre typified by Grotesque Borders and Pigmy Revels, published by Ackermann and Fores, respectively, in 1799 and 1800. Fores continued to issue the Pigmy Revels strips in a folding panorama format, as well as in a spooled boxwood drum, well into the 1820s. "The relationship between Martinet-published works and Woodward's caricatures is commented on in an essay by Alberto Milano entitled "Change of Use, Change of Public, Change of Meaning: Printed Images Traveling Through Europe," appearing in a book edited by Evanghelia Stead, Reading Books and Prints as Cultural Objects (Cham, Switzerland: Palgrave MacMillan, 2018) at pp. 150-51. I am attaching scanned images of the relevant pages as Scans 1, 2, and 3. As you will note, the author of the essay suggests that Martinet "transferred Woodward's caricatures in a series of larger prints entitled Les Passions," but I am skeptical. The only two examples of those prints I have found -- at the British Museum -- do not relate to any Woodward satire of which I am aware. (For ease of reference, I am attaching the British Museum write-ups as BM-1 and BM-2.)" (William Gordon - author of the William A. Gordon Library of British Caricature)
England: Brown Watson, 1986. Paper Covered Boards. As New. 4to. Very hard-to-find reprint of Kubasta's Tip + Top and the Moon Rocket, originally published in 1964. In terrific shape; doesn't appear to have ever been read. All six popups and associated animations work great. Almost no cover wear. Number 10 on Tillman's list of the 100 best popups.
Lunenberg: Limited Editions Club, 1980. Hardcover. Orig. decorated gray pebble grained cloth stamped in black and silver. Fine in fine black slipcase spine lettered in silver. Fred Me. 224 pages. 22.5 x 17.5 cm. Illustrated with fourteen color gauches by Fred Meyer, designed by Frederick Stinehour, printed at the Stinehour Press. Limited edition, copy 1267 of 2000 signed by Fred Meyer. Printed in Bodoni, cast by the Bauer foundry in Germany. Laid-in the LEC Monthly letter. NEWMAN & WICHE 516. Bright, very fresh copy.
London: Darton, 1811. 32mo. 16pp., + 16 inserted plates. Each engraved image depicts the titular good boy engaged in less desirable activities, such as throwing stones, feeding scraps to the family pet, and drawing on the walls. Each is accompanied by a pithy couplet drawn from the soliloquy. The author includes an introductory note, in which he defends himself from the accusation that the verses give children naughty ideas that they would never have thought of themselves, and provides the suggestion that the reader insert his or her own name at the final line and face the potential ruin of the rhyme with bravery. Bound in tan wrappers with illustration to both covers. Expected but minor edgewear, faintest foxing, else near fine. A rare survival, with only two institutional copies listed in OCLC.
1551. A Collection of Texts from the Corpus Juris Civilis in Handsome Uniform Contemporary Paneled Pigskin Bindings Justinian I [483-565 CE], Emperor of the East. Accorso, Francisco (Accursius) [c.1182-c.1260], Glossator. Gaius [Active 130-180 CE]. Institutionum D. Iustiniani Sacratissimi Imperatoris Libri Quatuor: Ad Vetustissimorum Simul et Emendatissimorum Exemplarium Fidem Summa Diligentia Recogniti, Emendati. Cum Scholiis Accursii. Adiecimus Pluribus Locis Annotationes ex Doctissimorum Hominum Commentariis, Ex Quibus non Parum Lucis ac Dignitatis his Iuris Civilis Elementis Accedit. Accessit Corpus Legum, Antea non Impressum, Ac Caii Institutionum Libri Duo. Lyon: Apud Hugonem a Porta, 1553. Pp. [24], 290, [2] pp. Large woodcut image of Justinian surrounded by his court. Main text in parallel columns with linear gloss. [Bound with] Justinian I, Emperor of the East. Accorso, Francisco (Accursius), Glossator. Volumen hoc Complectitur (Sic Enim Peculiari Vocabulo Vocant) Novellas Constitutiones Iustiniani Principis Post Repetitam Codicis Praelectionem Aeditas: Authentica Vulgo Appellant. Tres Item Posteriores Libros Codicis; Feudorum seu Beneficiorum Duos; Constitutiones Friderichi Secundi Imperatoris; Extravagantes duas Henrici Septimi Imperatoris; & Tractatum De Pace Constantiae. Omnia ad Vetustissimorum Simul & Emendatissimorum Exemplarium Fidem Recognita, Emendata. Accesserunt nunc Primum, & Nunquam Antehac Aediti, Iustiniani Novellarum Constitutionum Libri Duo, Cum Multis Annotationibus ex Doctissimorum Hominum Commentariis, Quae non Parum Lucis ac Dignitatis Huic Volumini Afferunt. Lyon: Apud Hugonem a Porta, 1553. [xvi], 276, 148, 99, [1] pp. Woodcut table of descents (in the form of a tree). Main text in parallel columns with linear gloss. [With] Justinian I, Emperor of the East. Accorso, Francisco (Accursius), Glossator. Infortiatum, Pandectarum Iuris Civilis Tomus Secundus: Quartae Partis Reliquum, Itemque Quintam Digestorum Partem, Ac Sextae Partis: Libros Continens, Ex Pandectis Florentinis Ita in Universum Recognitus ac Emendatus, Ut Nihil Praeterea, Quod ad Puram Eorum Librorum Lectionem Attinet, Desiderari Possit. Lyon: Apud Hugonem a Porta, 1556. [xxxvi], 923, [1] pp. Main text in parallel columns with linear gloss. [And] Justinian I, Emperor o.
Westminster: Archibald Constable, 1899. Seventh edition. hardcover. Very good.. A very good early (7th) edition, signed and dated by the author Bram Stoker on the front free endpaper. Housed in a custom-made collector's slipcase
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Charles Bolick has lived and worked in New England for over 50 years, but grew up in North Carolina and attended public schools there, graduating from the University of North Carolina at Chapel Hill in 1962. He served as an officer in the United States Navy for three years, then began an insurance career that lasted for 30 years. During that time, Bolick developed an interest in paper Americana and began dealing privately and at shows. Since retiring from the insurance business in 1997, he has worked full time as an ephemera dealer.
Pavel Chepyzhov started his career in the antiquarian book trade at 18 years of age, as a student of the Moscow State University of Printing Arts -- with a major in history of books and antiquarian bookselling. After working for three years in the antiquarian book department of Moscow-based auction house Gelos, he enrolled in the ILAB internship program. After spending several months working in Australia — during which time he participated in the Sydney and Hong Kong Antiquarian Book Fairs — he became the head of the Antiquarian Book Department at Gelos. In 2012, he established his own business.
An L.A. native born of British parents (devoted readers and book collectors who raised him with a fierce love of literature), Louis Jason has always been deeply enamored of books. Throughout school, he worked in a local independent bookshop, learning the trade and loving it! After completing his formal education, he traveled extensively, buying a highly diverse stock of desirable, collectible first editions in various literary fields. Upon returning home, he began selling online, at book shows, and through widespread mailings.
Tom Lecky has extensive experience appraising, advising, and selling books and manuscripts at all levels of the market. After a 25-year career in the auction world – most recently as Head of Christie’s Books & Manuscripts Department in New York – he purchased Riverrun Books in 2016 (Riverrun was founded in 1978 by the much beloved Frank Sciocia). Lecky also serves as an independent advisor and appraiser and is a Certified Member of the Appraisers Association of America. 
