Element, 2004. Paper Wrappers. 8vo. Black paper wrappers gilt title to front panel and blue/white title to spine. Photographic portait of Acorah to front and spine panels. Minor scuffing to panels and very minor wear to edges, else fine. Pristine interior with tight binding. 253 pp. MYTH/042205. Near Fine.
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New York: Macmillan, 1914. Hardcover. 1st edition. 8vo. Very good in tan cloth with illustration in orange and black to front board and orange title to front board and to spine. Cloth a bit faded, with light soiling. Interior is clean and bright with illustrations throughout. 187 pages + ads. Children's Literature. CHILD01/120299. Very Good.
Riverside CA: Bo Press Miniature Books, . Pat Sweet describes herself as creating illuminated miniature books of curiosity, humor, and delight. She creates both miniature (under 3 inches) and macro-miniature (under 1 inch) books. She also makes miniature pocket globes, astronomical instruments, orreries, tellurions, and occasional oddities. "Catalog #305 from 1889" with Price List laid in. This inventive book is purportedly an actual catalog from Nightengale & Sons business. From the book artist: "The history of the Nightengale company began in the late16th century, when they supplied Dr. John Dee and Edward Kelley with 'shew-stones' or crystal balls. The company flourished during the European alchemy boom of the late16th and early 17th century, and expanded into optical tools and occult mathematical devices as alchemy gave way to modern chemistry and the beginnings of Mad Science. In the 19th century, they achieved, if not fame, at least notoriety, as purveyors of a line of monster abatement equipment.. They also began courting collectors of antique metaphysical artifacts, and at one point had almost cornered the market in rare editions of C'thuliana. After the turn of the 20th century, Enoch Nightengale, then president of the company, became so concerned about the advent of modern rationalism that Nightengale's catalogues became difficult to come by, passing from hand to hand among the adept, with word-of-mouth their only advertising. The 1889 catalogue is the last to have achieved a general circulation, and even copies of this edition are increasingly difficult to come by. To have discovered a copy with the laid-in price list is very unusual indeed. Traces of Nightengale's continued existence occasionally turn up. Some printed items bearing their name have come to light from the Infernal Regions (see Welcome To Hell!), and their label is sometimes found on the Vampire Hunter Kits of Bo Press Miniature Books. It is to be hoped that a company as old and storied as Nightengale's is still around in some nearby dimension, ready to supply . . .the explorer of uncanny places, magimetician, philosopher, alchemist, monster hunter, or wizard." This copy is bound in Nightengale's distinctive white-on-black skeleton paper and is printed on Mohawn superfine paper. In fine condition. 80 pages 2.5 x 2 inches. PRI/121416.
Riverside, CA: Bo Press Miniature Books, (2013). Hardcover. Pat Sweet describes herself as creating illuminated miniature books of curiosity, humor, and delight. She creates both miniature (under 3 inches) and macro-miniature (under 1 inch) books. She also makes miniature pocket globes, astronomical instruments, orreries, tellurions, and occasional oddities. Number 26 of 50 copies. Signed and numbered by the book artist. "We all know how the story goes: Jonathan Harker leaves the inn at the beginning of 'Dracula', and is dropped off at the crossroads by the coachman, who is afraid to take him any further. But there is another part of the story, one that Stoker's editor (so the story goes) persuaded him to omit. In this version, Harker demands to be taken down a side road that leads to a long-abandoned village, with dire results. This is the story of that dangerous digression: 'Dracula's Guest', published posthumously in 1914. It may have been a part of the novel, or it may not. The narrator is never named, and seems unlike the characterization of Harker in the novel. You can be the judge" (book artist). Designed, printed, and bound by Pat Sweet. Includes 5 illustrations. and endpapers decorated with a flying bat's wing. Bound in black and gold Japanese chiyogami paper with blood red cloth spine. 74 pages. Measures 2 1/16 inches x 1 1/2 inches. PRI/121416. Fine.
New York: Volcanick Press, 1997. Paperback. Includes information on identifying first editions, conventions used in this guide, market analysis, notes about the author, information on publishers, sources, how to interpret the prices listed, the price guide, and more. The price guide portion includes low, high, and auction prices. Printed gray wrappers in black plastic comb binding with black title to front cover. Fine. Second printing. Includes laid in bookmark with list of abbreviations. 192 pages including title index. Size: quarto. BOB/101216. Near Fine.
New York: G. P. Putnam's Sons, (1986). Hardcover. Presentation copy SIGNED BY THE AUTHOR. 8vo. Blue paper backed yellow cloth covered boards with gilt title to spine. Inscription on front free end page reads " To George, Hope you like this book. I look forward to meeting you. Jerome Charyn." Else is clean and bright. White illustrated dust jacket with blue title to front and spine panels. One small closed teat to bottom edge of front panel of dust jacket. Index, 304 pages. NY/061611. Near Fine in Near Fine Dust Jacket.
Boston: Marshall Jones Co., 1925. Hardcover. 8vo. In black cloth covered boards with light blue title stamp to cover and spine. Illustrated black and white jacket has many tears to spine and edges. Interior is mostly clean with many black and white illustrations. Endpapers are slightly yellowed. BLA/108280. Very Good / Good.
High Falls, NY: Maureen Cummins, 2010. Hardcover. Artist's Proof. The edition included 30 copies. Signed by the artist and writer. A powerful work on the famed Salem witch trials that is the result of a decade’s long collaboration between the book artist, Maureen Cummins, and poet Nicole Cooley, based on their research at the American Antiquarian Society while resident artists. The book pairs Cooley’s cycle of poems, written specifically for this book, with images from a penmanship book of stern biblical commandments kept by a Salem boy, Josiah Peele, in 1808-09. The book seeks “to trace the psychic reverberations of the witch trials on subsequent generations” (artist’s statement). Each of Cooley’s thirteen poems is written from the voice and perspective of one of the participants in the trials. They represent the accusers and accused, survivors and condemned, focusing primarily, as the trials did, on the women. They are presented chronologically, beginning with the slave Tituba, the first accused, and ending with the girl Susannah Martin, who refused to confess to being a witch. Printed on Johannot paper with the endpapers done on a handmade Belgique sheet. The poems are printed offset with the titles in letterpress. The images are silkscreen printed. She states that the covers are like vintage writing slates such as Josiah Peele might have used. The book’s binding allows for multiple structures - that of a codex or concertina, or as a “theater in the round” that presents the chorus of voices within. Housed in a black linen box decorated with the marks of the accused, who were unable to sign their names. Maureen’s work is held in over one hundred permanent public collections internationally and has been included in exhibitions at the American Craft Museum, the Corcoran Gallery of Art, and the Rotunda Gallery (amongst others). She has received over a dozen grants and awards and has been an artist-in-residence at numerous venues, including the American Antiquarian Society and the Irish Museum of Modern Art. Size: 7 x 8 inches. In fine condition. Unpaginated (45 pages). ARTB/092319. Fine.
New York: Wyndham Books, 1981. FIRST EDITION. Hardcover. 8vo. In red cloth backed brown paper covered boards with gilt title stamp to spine. Slight fading to top edge of boards. In illustrated black DJ with tow tiny chips to top edge of DJ. Small brown stain to top edge of textblock. Interior pristine. 286pp. OCC/072606. Very Good in Very Good dj.
New York: Harcourt Brace & Company, 1996. Hardcover. First Amerian Edition. SIGNED BY AUTHOR on title page. Near mint green paper boards with bright gilt title to spine. Light bumping to spine ends. In very good white illustrated, price-clipped dust jacket, with some light rubbing and yellowing. Tight, bright, clean interior. 281 pages. Literature. LIT/12013. Near Fine / Very Good.
Baltimore: Flying Fox Press, 2017. Paperback. 1 of 25 copies, initialed and numbered by the artist. Linocut of an imaginary serpent-bird printed archivally in dark green ink on tan paper. Printed at PaperBase with Sarah Robbins. Thirty-seven additional copies were printed for the Guild of Book Workers "Bird in Hand" annual collaborative project. Ten percent of each sale will be donated to Bat Conservation International. Size: 8 x 8 inches. PRI/090117. Fine.
Towson, MD: Susannah Horrom, 2014. Paperback. Limited to 25 copies. Initialed and numbered by the artist. First trade edition. A detailed drawing of a creature that is filled with "lost things" such as keys, phones, pets, money, flashlights, time, weight, and even Atlantis. This drawing was created as part of a collaborative project sponsored by the Delaware Valley Chapter of the Guild of Bookworkers. The first printing of this map was issued exclusively for other participants in the Atlas Project 2014 in an edition of 40. From the artist's statement: "I lose things all the time. I put down a pen, sewing needle, phone, etc. - turn my head for a second - and BAM - gone. Sometimes these mysterious disappearances are due to my clepto cats, but are largely inexplicable. What is taking my eyeglasses, spare change, flashlights, postage stamps, and half of my socks? My husband? Aliens? or more likely - a giant worm-dragon-monster that lives underground and sends up tentacles to steal my stuff..." This trade edition is inkjet printed on archival paper from the original pen and ink drawing. Includes card with artist's statement and brief biography. 8.5 inches x 21 inches. PRI/123114. Fine.
New York and London: Africana Publishing Company, 2001. Paperback. An in depth study of these beautiful sculptures (door locks) and the ingenuity of their locking systems containing in three parts: an overview of the Bamana people and their spiritual beliefs; a discussion of their doors and locks; and a catalogue with photographs of 67 locks and four doors with locks, each with detailed descriptions. Fine in black illustrated paper wrappers with yellow and white title to spine and front cover. Clean and bright with many photographic black and white illustrations. A thin, small quarto. 93 pages. African Art. ART/123016. Fine.
Columbia, S.C. The State Company, 1925. Hardcover. Second edition (the book was first published in 1888). A collection of sixty-one myths including: "How Come buh Alligatur Nebber Sleep fur from de Ribber Bank", "Buh Wolf, buh Rabbit an de Tar Baby", "Buh Rocoon an buh Possum", "De Dyin Bull-Frog", "De Fiddler, buh Tiger, an buh Bear," and many more. Bound in the original maroon cloth with gilt title to front cover and spine. Endpapers and pastedowns darkened, residue on the pastedowns from removed protective wrapper, and foxing to fore-edge of textblock; otherwise bright and clean, without dust jacket. 192 pages. AFAMER/102116. Very Good.
New York: Atheneum, 1976. Hardcover. Signed and inscribed by the author: "For Philip, a believer in magic and friend to dragons! with thanks, Margaret Mary Kimmel - and love - Trina Schart Hyman." First edition, second printing. Includes laid in notecard featuring an image from the book - Boy Studying with Animals. A sweet story about a boy named Thomas who lives in west Wales and is studying to be a wizard. With noted illustrator Trina Schart Hyman's charming black and white illustrations. Fine in tan cloth boards with dark brown title to spine and illustration of a toad to front cover. In brown illustrated dust jacket with white title to spine and front panels. Light rubbing to panels of jacket, else fine. Not price-clipped. Unpaginated. CHILD/082317. Fine / Fine.
New York: Covici Friede, 1928. Hardcover. Number 328 of 750 copiers. An additional 100 copies were signed and specially bound. A bit of a whimsy: epigrams and aphorisms by Wilde from the beyond, taken down in "automatic writing" by the otherwise unidentified Lazar. The epigrams are unfortunately not in the same league as Wilde's own trenchant observations on life and more - and Lazar would have us believe Wilde began speaking in Americanisms when he reached the other side. But as it is observed here that "pedantry is stupidity that read a book," it is probably churlish to look too closely. Set by hand in Lutitia Cursive type and printed on a Van Rees Press on Normandy Vellum paper. In tan cloth backed paper covered boards with gilt title to spine. Minor wear to edges and corners of boards. Short closed tears along the top margins of a couple pages. Clean and bright. In a good tan dust jacket with black title and design to front panel. The edges of the jacket are chipped and the spine panel is no longer present. The bottom edge of the rear panel of the jacket is dampstained, but it looks like the jacket successfully protected the book as there is no evidence of staining to the boards. 37 pages. PRI/053111. Very good in good dust jacket.
Lancaster, PA: The Jaques Cattell Press, 1944. Hardcover. 8vo. Black cloth covered boards with faded yellow title to front board and to spine. Minor bumping to spine ends. Slight toning to edges of pages. Slight musty smell. Else is clean and bright with illustrations throughout. Blue, black and white illustrated dust jacket with white title to front panel and black title to spine panel. Wear to jacket includes chipping to edges and minor foxing. Wear to front hinge of dust jacket has been expertly repaired with archival tape. Index, 255 pages. American Indian. AMIND/012412. Very Good + in Very Good Minus DJ.
Sutton Mandeville, England: Perdix Press, 1978. Softcover. One of 100 copies printed. Seventy were for the fourth exchange of the Society of Private Printers and thirty for private circulation. A charming small collection of 16 verses that were taken from the Oxford Nursery Rhyme Book of 1955, compiled by the nursery rhyme scholars Iona and Peter Opie. The pages are sewn into light cream wrappers with the title and decoration in blue on front cover. Hand set in 10 point Bembo and printed on a Columbian press by Walter Pattridge. In fine condition. 2.5 x 4.5 inches. Unpaginated. PRI/112717. Fine.