London: Virtue and Co, 1867. Hardcover. An important Victorian magazine, known for its honest viewpoints on the fine arts. Includes the full year of 1867 plus issues through August of 1868. A total of 43 engraved full page plates based on paintings and sculptures by Leslie, Eastlake, Ward, Solomon, Hook, Dore, and more. Articles on art, sculpture, photography, architecture, fashion, art clubs, exhibitions, reviews, decorative arts, and more. Ex-library from MICA with stamp to copyright page and fore-edge of textblock. Dark green leather spine and corners over brown cloth covered boards and maroon title label to spine with raised bands and gilt decoration to compartments. Minor wear and chipping to spine ends and corners. Rear hinge is starting. Minor soiling and sunning to boards. Slight browning to margins, occasional spots of foxing, and some smudge marks, but clean and bright overall. Full marbled edges and endpapers. An attractive volume despite the noted wear. 276 pages plus 164 pages. This is a heavy, folio sized volume and it may require an extra shipping fee. ART/032619. Very Good.
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Paris: Societe des Pieux Franki, 1928. Hardcover. 12 issues bound together with supplement / table of contents for the year. Includes articles about architects and construction projects worldwide. Marbled paper covered boards with maroon cloth spine titled in gilt. Wear to edges of boards and corners. Rubbing and scuffing to boards. Occasional pencil markings to margins, but clean and bright overall. Original paper wrappers are bound in. Minor browning to wrappers and to margins of some pages. Many photographic illustrations, diagrams, and plans. Page edges trimmed slightly when rebound into this thick book. Text in French. 756 pages. ARCH/050619. Very Good.
London: Longman, Brown, Green, and Longmans, 1855 and 1858. Hardcover. Francois Arago (1786-1853) was an important French astronomer, physicist, and mathematician, who was also a politician for republican causes. For some years before his death, Arago spent much time revising his large collection of manuscripts with a view toward their definitive publication. This work mainly consists of the course of Lectures on Astronomy which he delivered annually at the Observatory of Paris over eighteen years. Each of the volumes is organized by books of several chapters on the subject of that book, resulting in a comprehensive discourse on astronomy and related fields. The text is accompanied by numerous plates and hundreds of wood engravings. Bound in original green cloth bindings. Volume I has been rebacked. Gilt author, title, and volume number to spine. Corners bumped but very good. Interior pages and plates are also in very good condition. A very handsome set of this significant work. Volume I: 707 pages; Volume II: 846 pages including index. This set may require an extra shipping fee. SCI/07415. Very Good.
San Francisco: Arion Press, 2000. Number 343 of 400 numbered copies. Signed by the artist. From the acclaimed Arion Press: "Cane is regarded as the highest literary achievement of the Harlem Renaissance and a masterpiece of African-American writing. To call it a novel is misleading, for the book is made up of many parts, by turn fiction, poetry, drama, set in rural Georgia, urban Washington, D.C., and elsewhere. To say it was first published in 1923 is misleading, too, for parts were published earlier in magazines. While it may seem at first a collection of writings, it is a highly experimental novel, novel in concept and form, and is a unified artistic whole. Cane was praised when issued but sold few copies. Toomer isolated himself after the book was published, and it was not rediscovered until the 1960s with the rise of academic interest in black history and culture. Jean Toomer (1897-1967) wrote several autobiographies, other fiction, drama, poetry, and essays, but published only one other book, Essentials, a collection of aphorisms, in 1931. Leon Litwack is an eminent historian of the black experience in America. In his essay on Cane, Litwack shows how the book addresses the racial situation in the early twentieth century. 'In coming to grips with the present, Jean Toomer insisted on confronting the past and exploring the heritage of slavery to its very roots, in ways that would avoid both condescension and romanticization. Looking about him, he sensed an agrarian folk culture deeply rooted in the slave experience. There was still time, he thought, to explore that culture, indeed the very soul and spirit of the black South, before urbanization and industrialization rendered it unrecognizable.' Martin Puryear is a leading American sculptor. He read Cane for the first time when he was teaching at Fisk University in Nashville, Tennessee, and living in the South for the first time. The book has been important to him ever since. His woodcuts for Cane are on two scales. The seven larger images are abstract portraits of women characters in the book; the three smaller blocks are reinterpretations of the enigmatic arcs that Toomer placed on pages dividing sections in the first edition." Bound in full tan linen over limp boards with brown ties. The text type is Times New Roman composed by Monotype and printed on Biblio mouldmade paper from Germany. The display type is Lucian Bold, composed by hand. The prints are on handmade Kitakata paper from Japan. Oblong measuring 111/2 by 13 7/8 inches. Includes prospectus and box in which mailed. In fine condition. PRIV/091818.
Oregon: Artistically Declined Press, 2013. Hardcover. One of 20 copies signed by the poet, Hosho McCreesh who describes himself as a drunken poet. From reviews: "In the footsteps of Charles Bukowski comes Hosho McCreesh’s magnum opus of drunk poetry. Mammoth in size and scope, A Deep & Gorgeous Thirst is unlike any of McCreesh’s previous collections. Because writing and drinking go hand in hand, it may seem an impossible challenge for a poet to offer new perspective of this well-worn, symbiotic relationship. But McCreesh does, and in this brilliant collection he uses subject matter that might feel old and tired in the hands of a less capable poet and turns out exciting and irresistible poems. A perfect elegy to the illusions and delusions of alcohol." This is from the edition of 20 described by the press as "The DrunkSkull Flask Clamshell." It includes a handmade hardback book housed in a clamshell box custom-made by Bill Roberts of Bottle of Smoke Press. Hidden within the clamshell is the coup de grace - an 8 ounce black flask, engraved with the book's DrunkSkull logo, which is housed in a wood insert, along with some pieces of promotional ephemera that include two letterpress broadsides of unpublished drunk poems signed by McCreesh, a ticket also signed, and a third unpublished broadside hand written and painted by the poet. Hidden under the flash is a patch, a sticker, and a removeable tattoo - all featuring the DrunkSkull logo. The text of the book is printed offset and is bound in grey paper boards with black spine label and skull logo on the front cover. On the back cover is printed: "glister like remnant embers of all you've burned away in your mad and drunken joy." The clamshell box has a black cloth spine and grey paper covering the front and rear panels. The front panel features a reproduction of the book's cover and the spine panel has a matching grey paper title label. Box is 10 x 7 x 3 inches. In fine condition. 359 pages plus acknowledgments and colophon. ARTISTSBOOK/042016. Fine.
San Diego: Bay Park Press / False Bay Editions, 2009. Number 12 of 20 copies. An exquisite production fr. Hardcover. Number 12 of 20 copies. Founded by Sibyl Rubottom and Jim Machacek in 2000, the Bay Park Press produces artists' books, offers classes, and holds book arts' exhibitions. Their books address a wide range of subjects from the universe to gardening to opera to Yiddish and more. Most are letterpress printed, many have moveable pieces, and all are illustrated. This is an exquisite work from Sibyl Rubottom and Jim Machacek. It was inspired by Sibyl’s interest in all things botanical and Jim’s family heritage. The result is what they hoped for - "a riotous colorscape for your senses” - with rich and luminous colors and beautiful illustrations. It includes 14 unbound folded folio sized leaves that are housed in a folding case. Twelve of the leaves are dedicated to different types of gardens, each in a different color, with designs and writings to reflect that garden. The gardens are: Japanese, butterfly, desert, night, orchid, primordial, mystical, rose, water, Eros, secret, and herb. Each features a poem or prose by such writers as John Milton, Rumi, Homer, Lord Byron, Robert Frost, Oscar Wilde, Frances Hodgson Burnett, and Ralph Waldo Emerson. The two other folded leaves are for the title and for the colophon. Printed on Fabriano Rosapina Blanco paper in Venus, Edwardian Script, and Palatino typefaces using letterpress, monoprint, and intaglio techniques. Housed in a custom box in brown cloth lined with handmade paper. The covers open from the middle with a title label on one side and a small metal rectangle with wooden peg closure on the other. In fine condition. Unpaginated. [56 pages.] ARTISTSBOOKS/081612. Fine.
. An original drawing by Aubrey Beardsley. Beardsley (1872-1898) is the best known illustrator from the British 1890s. He lived a tragically short time, dying of tuberculosis at the age of 25. This lovely major work, the epitome of Beardsley’s style of art nouveau, is for the spine of the binding cases of Sir Thomas Malory, Le morte Darthur, published by J. M. Dent, 1893-94, Beardsley’s first important commission. The book's title (spelled incorrectly as “La Morte Darthur”), author, publisher, and date are included in the design, which is in fact drawn on four separate pieces of paper that have been adhered together. Malory's Le Morte Darthur, published by Dent has been described as incomparable. The same can be said of Aubrey Beardsley's beautiful and remarkable designs (a term he preferred to "illustrations"). Beardsley was only 20 years old when Dent commissioned him to do all of the designs for this work. It was a leap of faith by Dent in taking a chance on an unproven artist. The illustrations were done during 1892-1894 for the initial issue in parts, beginning in June 1893. The design is done in ink on paper with pencil under-drawing showing the change from the initial position of the leaves, on four separate pieces of paper, the title and top border inset above the ornamental panel ; 27 x 6.7 cm. Framed. In fine condition. Provenance: J. M. Dent. Exhibited: “Burne-Jones, The Pre-Raphaelites, and their Century,” Peter Nahum, London, 1989, 165 (listed in catalogue vol. I, p. 166-167, reproduced. vol. 2, pl. 124); “Beautiful Decadence,” Japan, 1998, 7 (reproduced in catalogue). Literature: Ian Fletcher, Aubrey Beardsley, 1987, p. 128-129; A. E. Gallatin, Aubrey Beardsley: Catalogue and Bibliography, 1945, p. 33; Mark Samuels Lasner, A Selective Checklist of the Published Work of Aubrey Beardsley, 1995. ORIG/011116.
London: William Heinemann, 1921. Hardcover. Inscribed by Beerbohm with Autograph Letter Signed laid in. The book is inscribed on the half title to S.J. Williams, “Dear Mr. Williams I am so very glad you see to like [And Even Now] and I thank you very much - Max Beerbohm May, 1943.” Laid in is a letter to Williams along with the envelope in which it was sent. The letterhead is “Abinger Manor Cottage, Abinger Common, Nr. Dorking.” In this charming letter Beerbohm writes: “June 15 1943/Dear Mr. Williams/I write to tell you, with many thanks, how proud I am to be the subject of an epigram so perfect in pre-, com-, and incision. Epigrams are usually unkind in wit. Wit and kindness are rather distantly related to each other. But here they seem to be [the word are is crossed out below this] brother and sister, and will abide in my heart as well as in my brain. With kindest regards from my wife and me to Mrs. Williams and to you, I am sincerely and gratefully yours, Max Beerbohm.” The envelope is addressed S.J. Williams, Prof/Queens’ College/Cambridge. The flap of the envelope is affixed to the front endpaper opposite the half title page. There is one fold in the letter otherwise in fine condition. Book is bound in original yellow cloth with paper title label to spine. Soiled and bumped but in very good condition. Interior pages are clean and tight. 320 pages. LIT/042012. Very Good.
. Original caricature done in ink on paper. The caricature celebrates the opening night of The Happy Life, a play by Louis N. Parker and Murray Carson, staged at the Duke of York’s Theatre, London, in 1897. It depicts Parker (standing atop the Duke of York’s column), Carson, and Max (top hat and wasp-waisted coat) himself drinking champagne. Both Parker and Carson were important dramatists at the turn of the century; Beerbohm would later collaborate with Carson on a one-act “curtain-raiser” in 1914, The fly on the wheel. Inscribed “Best wishes in a great success. December 6 ’97” and signed “Max.” Unrecorded; not in Hart-Davis’s catalogue of Beerbohm’s caricatures. In near fine condition and nicely framed. 20 x 25.4 cm. ORIG/011216.
Riverside, CA: Bo Press, . Hardcover. A mahogany specimen cabinet with a snakeskin-inlaid lower drawer. The cabinet holds fourteen glass specimen bottles and domes, each containing a different animal, vegetable, or mineral (or debatable) object. The dome items each has a paper label in an antiqued brass frame. The bottles have paper labels affixed to their fronts. A miniature cabinet of miniature curiosities. Size: 6 1/4" x 3" x 1 1/2". ARTB/060719. Fine.
London: Longmans, Green, and Co., 1878. Hardcover. First Edition. Lady Anna Brassey (1839 - 1887) recorded several of the celebrated voyages that she and her family made together around the world on their yacht, “The Sunbeam.” This was the first of the several volumes she published about their travels. It was a huge bestseller, running into many editions and translations. It provides a lively and detailed account of their journey around the world in 1876-77. In addition to vividly describing their journey, the book describes life aboard her yacht, which carried over forty people, including the family, the crew, friends, and a complete domestic staff. An uncommon book to find in the original cloth, it is bound in dark grey cloth with gilt title and author to spine and front cover, and gilt illustrations to front and back. Cloth is chipped and faded but still quite attractive. Some soiling to preliminary pages and tear to front map but otherwise in very good condition. With two fold-outs and 118 wood engraved illustrations after drawings by the Hon. A.Y. Bingham. With ownership signature of George R. Clayton. 504 pages. TRA/081715. Very Good.
London: Richard Bentley and Son, 1897. Hardcover. Scarce First Edition. Rhoda Broughton (1840-1920) was a prolific novelist and short story writer who was very popular in the nineteenth century. She wrote both “women’s” novels and stories of the supernatural, the latter undoubtedly influenced by her uncle, Sheridan Le Fanu. Bound in original cloth with blind-stamped design to front and rear covers and gilt title and author to spine. In very good plus condition with slight bumping to corners. Interior is also in very good condition with a few small brown spots to fore-edge and light off setting to front free endpaper. 400 pages plus 31 pages of ads. LIT/041811. Very Good.
London: Smith, Elder,and Co, 1880. Hardcover. First Edition. AN IMPORTANT PRESENTATION COPY, inscribed “Mrs Proctor, with RB’s affectionate regards June 27 ‘80.” Anne Proctor’s husband, the barrister and poet Bryan W. Proctor (who wrote under the pseudonym Barry Cornwall), was the dedicatee of Browning’s poem “Columbe’s Birthday” (1844). The Proctors were among the Brownings’ closest friends. Proctor and John Forster anonymously edited the first selection from Browning’s works in the 1860s. Near fine in original brown cloth with gilt title to spine. Light rubbing to edges and corners. There is browning from a paper clip to the top edge of the first few pages, else the interior is very clean. 147 pages plus 2 pages of advertisements. POE/020309. Near Fine.
London: Macmillan and Co., 1932-1933. Hardcover. Two later volumes bound as one in a beautiful Riviere binding. Alice's Adventures is the one hundred eighty-sixth thousand from 1932. Looking Glass is one hundred and twenty-fourth thousand from 1933. Red morocco with gilt rulings and ribbon garland to front and rear covers. Spine has six compartments with five raised bands with title, author and fleur de lis designs. The front cover has a beautiful embossed illustration with color inlays of Alice and the Dodo bird. On the back is a color illustration of Alice and the Red Queen. Light rubbing to corners and edges. All edges gilt. End pages are red marbled paper. The interior is also in fine condition with John Tenniel's famous illustrations. Full edges gilt. In a gorgeous binding by Riviere & Son. 183 pages; 211 pages. CHILD/040318. Fine.
Northampton MA: Cheloniidae Press, 1978. State Proof. One of only a few copies printed for Robinson's Masters Thesis Show in 1978. With title, state proof, and signature in pencil on the lower margin. This striking black and white print of Robinson in turtle armor and with an image of a turtle and its skeleton next to him anticipates his founding of the Cheloniidae Press the following year. Cheloniidae is the name given to a family of Sea Turtle species. Robinson is shown in profile up to his shoulders and his turtle armor on his head and body given him the air of a Renaissance man. The turtle images are meticulously and realistically depicted. Image is 17.5 x 23 inches on heavy paper measuring 21 x 27 inches. In fine condition. ORIGART/073117. Fine.
Toronto: Cheshire Cat Press, 2018. Number 7 of 42 copies signed by the printers and the author of the introduction. This is a delightful new edition of Lewis Carroll's famous poem, The Hunting of the Snark. It was produced by a writer, artist, and book designer and printers who are ardent and well-known Carroll admirers. The Cheshire Press was formed by book designer and printer George Walker in 1991. The press began when he and two colleagues produced new editions of Alice's Adventures in Wonderland and Through the Looking Glass. Edward Wakeling, who wrote the introduction, is an internationally known authority on Carroll. In addition to writing a recent biography of him, Wakeling also created a comprehensive catalogue raisonne of over 1000 photographs taken by amateur photographer Carroll. Byron W. Sewell is a prolific illustrator, author and bibliographer of works associated with Lewis Carroll. For this edition of Snark, Sewell created new illustrations inspired by contemporary carte-de-visit photographs that were so popular in Victorian England. He has one for each character in the poem, adapting images from actual photographs. They are ideal depictions for this fantastic nonsense poem by Lewis Carroll, written when he was forty-four years old. Bound in maroon cloth with title in gilt to spine and on cover label. Handprinted in New Caledonia type on Bfk Rives Cream paper. The printing was completed by George Walker and Andy Malcolm, and the book design and layout were by Walker. An original print inscribed and signed by Sewell is inserted in a sleeve on the front pastedown. Housed in a slipcase in the same maroon cloth with gilt title on cover. In fine condition. 6.5 x 10 inches. 72 pages. PRI/010319.
Lucy Childs, 2019. A unique embroidered artist's book. This book celebrates the unforgettable words written by the poet, author, and activist Emma Lazarus (July 22, 1849 – November 19, 1887). She wrote the sonnet "The New Colossus" in 1883, which includes the now famous lines "Give me your tired, your poor, your huddled masses yearning to breathe free." Lazarus wrote the sonnet to raise money for the construction of a pedestal for the Statue of Liberty and Its lines were later inscribed on a bronze plaque on the statue's pedestal. The book is a bi-fold construction with bright turquoise wool covers with "Emma Lazarus" and "Give Me Your Poor" embroidered in cotton thread. When opened the text first appears on folded paper covers. The beautiful embroided text and illustration beneath are then unfolded. There is a panoramic view across the embroidered sand dunes to the ocean. The words of Lazuras are stitched in multicolored threads across the dunes. The borders of the unfolded book are decorated with a series of small crosses. Lucy’s exquisite embroidered books are inspired by her “exploration of the history, craft, and culture of early American and British sewing samplers, made mostly by young girls to learn the practical craft of sewing but also to learn letters and spelling. Many old and antique samplers included text or images in memory of family members who had died.” Lucy’s beautiful and painstakingly created books are a fitting tribute to and continuation of the craft she honors. Her previous unique books can be found in several artists’ book collections. The book is in fine condition. It measures 4 x 12 inches when closed and 4 x 25 inches when opened. ARTB/052919. Fine.
Oxford: Francis Macpherson, 1848. Hardcover. First edition. Arthur Clough (1819 - 61), close friend of Matthew Arnold and Ruskin, hosted reading parties on his vacations to Scotland. This poem was composed in response one such vacation and supposedly both delighted and outraged his guests. Very good in original blue cloth flexible boards with gilt title to front cover. Minor wear to edges of covers. There are a few small chip to edges of several pages. The binding is split in a few places; however, all of the pages remain bound in. Features the bookplate of a notable collector, Mark Samuels Lasner. 55 pages plus 1 page of ads. POE/062510. Very Good.
London: T. Unwin Fisher, 1898. Hardcover. First English edition of Conrad's first collection of short stories, published in both America and England in 1898. Author's presentation copy, inscribed “For J. B. Pinker, Joseph Conrad.” The book marks the first stage of Conrad learning to write for popular magazines: "in that book I come nearer to the popular notion of tale-telling than in any previous work of mine" (writing to Unwin, Collected Letters, II., p.48). Pinker was one of the first literary agents in London, and became one of the most important agents of the twentieth century, with such clients as H.G. Wells, Stephen Crane, Henry James, and Ford Madox Ford. Pinker was “superbly attuned to the changing economic climate of the 1890s publishing market and served the interests of several 'difficult' writers with a skillful blend of shrewdness, tact, generosity, and long-suffering” (Knowles and Moore). This could not have been better demonstrated than with his relationship with Conrad, in which the agent was required to play many roles: friend, banker, father-figure and general factotum. Pinker could see Conrad's potential, but in many ways the author was ill-placed to survive the cutthroat market of the time, committed as he was “to a form of experimental novel, the unpredictable gestation of which involved an enormous amount of energy, time, and living costs” (op.cit.) As Conrad later gratefully acknowledged, Pinker believed in him and backed him for the long term, bankrolling him through the lean years when he had yet to be a commercial success, in the hope of future payments and royalties. Conrad was forced to split himself between his long serious projects like Nostromo and Under Western Eyes and more commercial journalistic material. Tensions were high between author and agent in these years between 1904 and 1910, with Pinker being asked for larger and larger advances to fund medical costs, household bills and overseas trips. The agent's requests for itemization and justification were resented by Conrad, and he sometimes resisted his agent's attempts to link payments to fixed amounts of delivered copy. In December 1909 Pinker's patience finally snapped after the author had been working on Under Western Eyes for two years and then broke off, against his agent's wishes, to write for the English Review. Pinker threatened to cut off all funds; his author retaliated by threatening to throw the manuscript into the fire. After an explosive row the two did not speak for two years. After the dramatic upturn in Conrad's popularity and finances after 1914 the author could finally begin to settle his debts, and the two men resumed their relationship, meeting weekly, spending weekends at each other's homes, and even collaborating on a screenplay. Conrad later wrote: “those books which, people say, are an asset of English Literature owe their existence to Mr. Pinker as much as to me. For 15 years of my writing life he has seen me through periods of unproductiveness[,] through illnesses[,] through all sorts of troubles...” (Collected Letters, V, p.619). Conrad was deeply affected by his agent's sudden death in 1922. Bound in original green cloth with light bumping to corners. Offsetting to free front endpaper not affecting the legibility of inscription. Text block has pulled away from front hinge but still tight although some interior gutters visible. Library stamp on rear pastedown, offsetting and piece of rear free endpaper torn away. Housed in a green cloth slipcase. With bookplate of book collector Stanley J. Seeger. Very good condition despite noted flaws. 297 pages. LIT/011116. Very Good.
1743. A leaf from A Natural History of Birds. Edward's friend and mentor Mark Catesby taught him the technique of engraving, which made it possible for him to engrave his own drawings, the results of which can be found in his natural historical works. He added to the hand colored compositions of his illustration engravings by including insects, especiallly butterflies. Print method is Engraving by Copper Plate with original hand coloring on laid paper, measuring 290 x 220 mm. or approximately 11 1/2 x 8 1/2 inches. Archivally matted. #49188.
London: Macmillan & Co., 1891. Hardcover. First Edition. Lanoe Falconer was the pseudonym of Mary Elizabeth Hawker (1848-1908), the English novelist and short story writer. This scarce book was a very popular supernatural novel in its day. In very good condition in original dark blue cloth boards. Light bumping to corners and chipping to spine. Interior pages clean with some splitting to signatures but text block is holding. 197 pages plus 44 page classified catalogue. LIT/031511. Very Good.
New York: Benjamin F. Buck, 1910. Signed by the artist, James H. Findley. During the last years of his life Edgar Allan Poe lived in The Bronx, NY. It was here that he wrote several of his best known poems including "Annabel Lee," "The Bells", and "Eureka." He moved to the small farmhouse in 1846 with his wife, Virginia, with the hope that the country air would improve her health. Unfortunately, she died of tuberculosis the following year. Two years later Poe died in Baltimore by an undetermined cause. The Poe Cottage which was built around 1812 is currently maintained by the Bronx County Historical Society and is open for visitors. This print features the cottage, the woody surroundings, and a small portrait portrait of Poe. It is attractively framed in dark wood with an archival mat. The print measures 9.5 x 13 inches. Frame measures 20 x 25 inches. Near Fine.
London: Cassell and Co., and John Lane The Bodley Head, 1934. Hardcover. First Edition. An interesting and unusual presentation copy from the editor to Clementine Churchill, wife of Winston: "To Mrs. Churchill, these poems from the day when Fanny's First Play was written; and in memory of the pleasure of seeing it in her company. August 11, 1935 Desmond Flower." The inscription makes reference to Fanny's First Play, written anonymously in 1911 by G. Bernard Shaw. Desmond Flower (1907-1997) was a publisher, collector, and writer. He joined his father's publishing house, Cassell, and remained there until it was sold in 1966 following his father's death. Cassell's was the publisher for many major writers, but Flower's most important writer was Winston Churchill, editing and publishing his History of English Speaking People and the History of the Second World War. Bound in publisher's original green cloth with title and author in gilt to spine. Binding and text in near fine condition. In original dust jacket which is torn and tattered, and now protected by a mylar cover. 297 pages. POE/052913. Near Fine / Chipped and Torn.
Santa Cruz: Foolscap Press, 2010. Hardcover. Number 19 of 200 copies of which 140 were offered for sale. Signed by each author. "As a journalist Ernest Hemingway was trained to cut to the story's essentials, leaving out those words that stand between the writer and his intent. And so we have a Hemingway principle of good writing—the well-hewn sentence. It is said that Ernest Hemingway was challenged to write the shortest of short stories: the ultimate example of brevity in storytelling. Though perhaps apocryphal—no one can tell us who challenged him or on what occasion—this was the result: “For Sale, Baby Shoes, Never Worn.” Writers have attempted to equal this six-word short story with six of their own, but no one has clearly beaten the master. Those six words are just too good. Foolscap Press commissioned six writers each to write a six-page story where only the title was supplied. The writers were free to do whatever they chose within those parameters. We invited three women and three men in order to balance personal experiences and writing styles. The response is these six extraordinary stories stocked with a captivating cast of characters. And, yes, there is a distinction between the men and women writers. And what happens when it comes to dealing with an unmitigated loss (as the title might suggest)? You can read for yourself these six creations spun from six very different imaginative worlds, all in response to those six tantalizing words" (Foolscap Press). A large book bound in light blue Japanese cloth with paper title label on front cover. The book is sewn in an modified accordion structure designed so that each story is presented individually. Each story has its own title page which has been signed by the author. Each title page features a different collaged print of a pair of shoes by Peggy Gotthold on Kitakata paper. Letterpress printed on Frankfurt Cream text paper using hand-set Garamond type. Unpaginated. [60 pages.] PRI/031011. Fine.
London: William Reeves, . Hardcover. Theater owner and playwright, Augustin Daly's copy, auction number 3125. Pencil notation "Augustin Daly Collection" beneath number. First Edition, uncommon. David Garrick (1717 - 1779) was an influential English actor, playwright, and manager of the Theatre Royal, Drury Lane. Bookplate of Franklin Johnston to front endpaper. Bound in three quarter tan leather over marbled paper covered boards with red label "Stage Biography" and green title / author label beneath. This is part of a series of books Daly had bound in a matching style, all labeled "Stage Biography." Rubbing and wear to leather. Short closed tears to endpapers. Top edge gilt with marbled endpapers. Bound by R.W. Smith. 80 pages. DRA/031419. Very Good.