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...
A Fine Romance; A Sarcastic Love Song
by Dorothy Fields & Jerome Kern
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.
Offered by Sandra L. Hoekstra.
The Dearborn Independent: Chronicler of Neglected Truth, May 23, 1925 - Dec. 31, 1927 (90 Issues)
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?
Offered by Burnside Rare Books.
MEDEA / SIGNED FULL COLOR FOLD OUT ILLUSTRATION
by FREAS, KELLY & ELLISON, HARLAN
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.
Offered by The Fine Books Company.
by REV. ALFRED NEVIN, REV. JOHN EADIE, ET AL
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.
Offered by Dale Steffey Books.
Cape Cod With Illustrations from Sketches in Colors by Amelia M. Watson. Two Volumes
by THOREAU, HENRY DAVID
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.
Offered by Blind Horse Books.
Iver Johnson’s Arms and Cycle Works
by IVER JOHNSON
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.
Offered by Gosen Rare Books.
To Kill A Mockingbird (35th Anniversary Edition, Signed)
by LEE, HARPER
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).
Offered by Raptis Rare Books.
A Course in Football for Players and Coaches
by WARNER, GLENN S.
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.
Offered by David A. Hamilton Americana Books.
[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.
Offered by Bolerium Books.
by SEWELL, ANNA
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.
Offered by Whitmore Rare Books.
To Whom It May Concern: The Story of Victor Ilyitch Seroff
by WERNER, M.R.
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.
Offered by ReadInk.
by BRUNFELS, OTTO (CIRCA 1489-1534)
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.
Offered by Riverrun Books.
Charade (Original photograph of Cary Grant and Audrey Hepburn on the location for the 1963 film)
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.
Offered by Royal Books.
by MAZERET, CONSTANTIN AND ARISTIDE-MICHEL PERROT
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).
Offered by Musinsky Rare Books.
Le Tour du Monde en 80 Jours. D'aprés Jules Verne
by Jules Verne
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.
Offered by Bromer Booksellers.
by James Hanley
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.
Offered by Kurt Gippert Bookseller.
Five Days in London, May 1940 (Folio Society)
by LUKACS, JOHN
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."
Offered by Bay Leaf Books.
Lenore Kandel
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.
Offered by Derringer Books.
A Visit From Santa Claus with Santa Claus And HIs Works
by Clement C. Moore
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).
Offered by Town's End Books.
The Last Week of the World. A Vision
by John Campbell
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.
Offered by Philadelphia Rare Books & Manuscripts.
by Zora Neale Hurston
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.
Offered by Second Story Books.
by DUBULA, SOL
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.
Offered by Lorne Bair Rare Books.
by MARKHAM, BERYL
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.
Offered by Thorn Books.
Classic Navajo Third Phase Chief Blanket Numbered Serigraph
by SILVERMAN, JACK
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" .
Offered by Back of Beyond Books.
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.
Offered by Ed's Editions.
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)
Offered by David Brass Rare Books.
Moon Rocket: An All-Action Pop-Up Picture Storybook
by Kubasta
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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.
Offered by Read'Em Again Books & Paper.
The Great Gatsby (Limited Editions Club)
by FITZGERALD, F. SCOTT
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.
Offered by Roy Young, Bookseller.
by CHERNOFSKY, JACOB L., EDITED BY
(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.
Offered by Between the Covers Rare Books.
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.
Offered by Bromer Booksellers.
LOSER TAKES ALL (inscribed copy)
by GREENE, GRAHAM
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.
Offered by Sumner & Stillman.
by HOPKINS, JOHN HENRY
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.
Offered by De Simone Company.
by BURROUGHS, EDGAR RICE
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.
Offered by L.W. Currey.
Institutionum [bound with] Infortianum [and] Digestum Novum, 1553-56
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.
Offered by Lawbook Exchange.
by Bram Stoker
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
Offered by Bookbid.
SOURCE Music of the Avant Garde
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.
Offered by J. & J. Lubrano Music Antiquarians.
by C.S. Lewis
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.
Offered by Manhattan Rare Book Company.
Union with Freemen--No Union with Slaveholders. Anti-Slavery Meetings!
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.
Offered by Lorne Bair Rare Books.
Le Fait Accompli, nos. 1 (April 1968) through 135 (March 1975) (all published)
by Marcel Marien (Editor)
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.
Offered by Bernett Penka.
by Walt Disney Studios
An Original Animation Cel from Disneyís First Fully Animated Feature Film "Snow White and the Seven Dwarfs"
N.p., Hollywood: Walt Disney Studios, 1937. Original animation production cel from Disney's first fully animated feature film, depicting the dwarf Dopey with a chipmunk pulling at his robe. Gouache on celluloid applied to a Courvoisier wood veneer background. Likely original mounts with "©WDE" blindstamped on front lower right corner of matte. Three authenticating labels on rear of the cels. One reading "Original Work from Snow White and the Seven Dwarves" and the other reading "This Material Inflammable Handle With Care Frame Under Glass Copyright 1937 Walt Disney Enterprises" and the final one reading "This is an original painting on celluloid from the Walt Disney Studios, actually used in the filming of 'Snow White and the Seven Dwarves.' Only a very limited number have been selected to be placed on the market. Walt Disney." Image size: 9 1/2 x 8 inches; 240 x 205 mm. Matted, framed and glazed. Matte size: 17 x 14 inches; 430 x 355 mm. With some bowing to the celluloid and some minor chipping to the figure. A very good specimen of Disney original animation.
Offered by Heritage Book Shop.
by PARUTA, FILIPPO (1552-1629)
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.
Offered by Govi Rare Books.
The Last of the Windjammers. 2 volumes.
by LUBBOCK. BASIL
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.
Offered by Jeff Weber Rare Books.
Illustrations of the Book of Job.
by BLAKE, WILLIAM.
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.
Offered by John Windle, Bookseller.
Poster for a 1966 Appearance in France
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.
Offered by Schubertiade Music & Arts.
by P.G. Wodehouse
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.
Offered by Antic Hay Books.
by FOWLER, H. ALFRED
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.
Offered by Nudelman Rare Books.
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