Washington DC: Library Fellows, The National Museum of Women in the Arts, 1992. Hardcover. Number 4 of 20 copies. Signed and numbered by the artist with an original drawing in a separate portfolio. Audrey Flack (1931-) is an important American artist who is nationally recognized and whose works are in major collections throughout the world. She is known as a pioneer in Photorealism and has also been inspired by Baroque art. This book is the third volume in the artists' book series published by the Library Fellows of The National Museum of Women in the Arts. The sketchbook records Flack's travels from 1985-89, which included trips to Paris, Las Vegas, and Fort Lauderdale. The terra cotta pencil sketches that fill the sketchbook are beautifully rendered and often intimate. They are reproduced to scale. The book and the portfolio for the illustration are bound in a green, black and orange marbled cloth. Save for light creases on the free endpapers the book is in fine condition. The original drawing is a portrait from a Baroque sculpture and measures 4 x 6 inches. Both are housed in a brown cloth box with black leather title label affixed to a strip of the marbled cloth used for the binding. A lovely copy of this now rare book. Unpaginated. ARTISTS/102612. Fine.
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Santa Cruz: Foolscap Press, 2002. Paperback. 108 of 200 copies. This is an unusual and lovely scroll book, which, according to the Press, follows the written record of a wondrous monument standing in Athens. The Tower has been explained by scholars from antiquity to the present, yet the Tower of the Winds was and still is a mystery to those who study it. The work is original to the Foolscap Press both in content and exterior form, and was created as a biblio-artifact, both a book and an object. The book is in a pre-codex form, allowing the reader to scroll through history viewing the subject along a panorama 25 feet in length. In addition to reproducing historic texts, there are illustrations of the Tower by James Stuart and Nicolas Revett, two important early British architects. The work is printed in Adobe Herculanum type on Zerkall Book and hand made papyrus from Egypt. It is housed in a formed sculptural / architectural case. Each case is a rigid cylinder hinged with cloth and lined with a map of ancient Athens. Issued with handling instructions. It is a stunning and inventive work from this press. PRI/101713. Fine in Fine Box.
Paris: Goupil and Cie; Manzi, Joyant and Cie, 1907. Hardcover. Number 107 of 300 copies. A beautiful and sumptuous work in French on the life and art of the great Renaissance painter Sandro Botticelli. In his preface, the author describes his careful research and authentication process on the artist’s work, saying it was necessary because Botticelli had so many disciples who imitated his style. There are 70 plates, of which nine are in color, plus a color frontispiece of a Botticelli self-portrait. For each work there is a plate of the full painting, followed by one or more plates with details from it. The color plates are all details of Botticelli’s exquisite portraiture. Plates 1-66 follow the text pages; plates 67-70 are bound in with the text. Bound in three quarter red leather with marbled paper covered boards and raised bands and gilt title to spine. Original paper covers bound in. Some staining to edges of some of the text pages, not affecting the plates. Each plate has a tissue guard printed with the title and location of the painting. Ownership signature in red ink on half title. In very good condition. Elephant folio. 83 pages plus plates. ART/091012. Very Good.
Dublin: Printed by Bartholomew Corcoran, 1774. Hardcover. This very scarce edition was published a year after the English edition, in the year of Goldsmith's death. The only copy of the Irish edition we found is in the Natlional Library of Ireland. Goldsmith was born in Ireland but spent most of his adult life in England. This still produced play was hugely popular in both countries and enjoyed several productions in 1773-74. Bound in modern red cloth covered boards with gilt title to spine. This wa probably bound by a library as there is evidence that there was a library label on the rear free end page (also modern). Minor rubbing and bumping to the corners of the oards and ends of the spine. The interior is generally very good, with minor browning and foxing through out. Untrimmed edges to laid paper. Some chipping to page edges. The top page edges may have been slightly trimmed and there is a remnant of a torn away page at the hinge opposite the title page. 66 pages. DRA/052908. Very Good +.
2008. Hardcover. A unique hand written manuscript describing the legend of the Sawfish, a medieval tale about resisting evil temptations. This book includes two hand written pages with a history of the Sawfish legend on the first page and an illustrated passage in Latin on the facing page. The six line Latin passage begins with an illuminated initial and beneath it is a hand painted miniature illustration of a ship with a saw fish flying above it. The illustration is based on a medieval miniature. This book has been hand lettered on exquisitely prepared calfskin vellum. It was lettered and decorated with 23K gold leaf over gesso, Winsor and Newton designers gouache, Moon Palace Sumi ink, and Soennecken pen nibs. Bound in red silk by Bexx Caswell of the White Sparrow Bindery (Somerville, MA). Signed and dated by the artist. Calligrapher and book artist Maryanne Grebenstein (Hingham, MA) is a student of Sheila Waters, Jeanyee Wong, Robert Boyajian and others. She owns The Abbey Studio which offers professional calligraphy services and classes and Turn-in-the-Path Books which produces unique and limited edition books and broadsides. Maryanne also teaches at the North Bennet Street School in Boston and is a Visiting Artist at the Corcoran College of Art+Design in Washington, DC. ARTB/092911. Fine.
Wales: Gwasg Gregynog, 2004. Hardcover. Number 122 of 200 copies. In the introduction Dowd states “the present publication is designed to bring the artistic achievements of contemporary binders who have worked...for Gregynog to the notice of a wider public.” This book reproduces in color the nineteen special bindings produced from 1977 until 2002 by the press. Among the binders are Sally Lou Smith, James Brockman, Julian Thomas, Alan Wood, David Esslemont, David Vickers, and Kyffin Williams. Printed in Monotype Walbaum type on Monoadnock Astrolite paper. Bound in dark blue linen with gilt title and press name to spine and the device of the press on the front board. Housed in slipcase in same blue linen. In fine condition. 100 pages. PRI/120811. Fine.
Philadelphia: Robert H. Small, 1847. Hardcover. Scarce First American Edition of this seminal treatise by Sir Matthew Hale first published posthumously in 1736. Sir Matthew (1609 - 1676) was an influential barrister and judge who served as the Lord Chief Justice of the Court of the King's Bench whose central legacy is considered by many to be this work on capital offenses. It included two sections, one on the substantive law and one on associated procedures. The American edition provides notes and references to every relevant federal and state statute and case by W.A. Stokes and E. Ingersoll of the Philadelphia Bar. This work thus gives U.S. lawyers the applications of common law to the statutes and cases relevant to their their jurisdictions and legal issues. With tables of cases, principal matters, and abbreviations. Bound in tan leather with red title labels to spines. Spines are browned and creased, corners are lightly bumped and soiled. Small gouge to lower left front cover in Volume I. Offsetting to free endpapers and occasional spots on pages. The book was owned by Baltimore attorney William C. Holland, with his ownership signature dated 3/12/42 on title page of Volume I and name stamp on page edges and spine. He has written pencil notes on the pastedowns and free front endpaper in both volumes (including when he started and finished reading the book) and has underlined some passages in the book in light pencil. Still a very good copy of this important edition of Hale's treatise. Volume I: 751 pages; Volume II: 644 pages. LAW/071217. Very Good.
New York: Lewis Historical Publishing Company, 1912. Hardcover. The standard edition of this set was issued in three volumes and included a volume on the history of Baltimore. This deluxe edition was issued with only the two biographical volumes. Includes "ample narratives of the life careers of many of the makers of the history of the city of Baltimore. Leaders in the various epochs of its wonderful growth here receive appropriate mention, which, it is believed, will not only be esteemed as a proper tribute to their characters and achievements, but will afford an inspiration for the future" (introduction). A full page portrait and/or a coat of arms accompanies each biographical entry. The coats of arms are printed in full color. Bound in three quarter dark brown leather with marbled paper covered boards and gilt titles to spines. Rubbing to spine and boards and wear to edges of boards including chipping to paper along edges. The front hinge of volume one is starting. Small library sticker to the foot of the spines of both volumes. Small closed tears and folds to edges of some tissue guards, offsetting from some portraits, and slight toning to margins of come pages, but very clean and bright overall. 613 pages. Size: Large quartos. MD/010616 This set may require an additional shipping fee. Very Good.
Glenview, IL: Karen Hanmer, 2016. Number 34 of an open edition. For centuries paper has served as a quick, elegant, and economical covering material for books. Renowned book artist and teacher Karen Hanmer has created this set of ten model paper bindings to offer instruction to experienced and would-be binders. She writes: "These models and accompanying instructions will introduce beginners to the basic tools, techniques and materials of bookbinding. Experienced practitioners will discover how features from multiple bindings can be combined to create a new, custom structure to meet the requirements of any project. All of these structures can be made in a sparsely-equipped studio with minimal specialized tools or equipment.The paper bindings are mostly non-adhesive, mostly unsupported sewing: three folded paper cases, supported and unsupported laced cases, long stitch, chain stitch with decorative guards, double-pamphlet in tipped wrapper, multi-section pamphlet, German stiffened paper binding with double-fan adhesive text block. They are in a variety of colors and patterns. The set also includes a 140 page hand-bound b&w laser-printed manual: a skill-building guide to bookbinding techniques, tools, and materials with a glossary and an extensive bibliography (many of the resources available online). Chapters on tools and supplies, ergonomics, signature preparation, end sheets, sewing and working with case-weight papers precede complete instructions for crafting ten different paper binding structures. Each process is illustrated with numerous b&w photographs and diagrams. The instructions for each structure are also provided as PDFs on digital media for classroom distribution." Each model is approximately 6.5 x 4.5 inches; manual is 9 x 6 inches. All housed in a beige cloth covered clamshell box with paper title label on spine. These models are a valuable reference for libraries, book arts programs, or for anyone who is interested in learning more about the structural aspects of the book. In fine condition. ARTISTSB/102517.
Glenview, IL: Karen Hanmer, 2010. Hardcover. Number 21 of 30 copies. Signed and numbered by the book artist. This book was one of six winners of the “Building by the Book” competition sponsored by the Philadelphia Athenaeum and Philadelphia Center for the Book. This work by noted book artist Karen Hanmer is based on Samuel Sloan's 1852 collection of house plans and instructions to contractors titled The Model Architect. Hanmer juxtaposes Sloan's historical text and illustrations with modern text from the U.S. Department of Housing and Urban Development's online "Guide to Avoiding Foreclosure." The artist provides commentary in the colophon reflecting on the effects of the 2008 financial collapse in her own neighborhood. She states: "Samuel Sloan's The Model Architect was published at the mid point of a century marked by cycles of rampant speculation followed by financial collapse. The Panic of 1857 came on the heels of publication of Sloan's work, and put a halt to the most active portion of his career. This milieu mirrors what has happened in my own neighborhood of modest homes over the past fifteen years. The transformation began with some owners remodeling their kitchen, or adding a family room or bedroom. Then larger additions came. Ultimately, the houses commanded high prices to be sold as teardowns. Huge new houses were built in their places. The construction proceeded with increasingly grandiose features; portions of the facade faced with thin sheets of stone, wooden garage doors with cast iron-like fittings, decorative copper accents on the roofs, turrets, lions flanking the brick driveways. Now the house across the street, the house next door, and the house next door to that are all in foreclosure, and soon will be uninhabitable. The lawns grow without interruption. Without electricity and heat the basements fill with water, the pipes burst, the mechanicals are destroyed. Few modest, affordable homes remain in the neighborhood." Bound in marbled paper covered boards with black leather spine and red leather title label, titled and ruled in gilt. Bound using the modern drum leaf structure but replicating the look of a 19th century book. Housed in an archival paper case with the edition number and artist's contact information stamped on the front panel. Measures 14 x 11 x .5 inches. 48 pages. ARTB/121212. Fine.
Glenview, IL: Karen Hanmer, 2014. Hardcover. Number 9 of 100 copies. Signed by the author. This book was inspired by a call for entries by the Guild of Book Workers with the theme of "vessel." Karen describes the text of her response as 60% memory and 40% casually researched, mostly on Wikipedia. Karen's book focuses on the iconic containers and conveyances of her childhood and adolescence between roughly 1962-1979. She juxtapositions her text with photographs of such "vessels" as the Chevy Nova, Crock-Pot, Electric Frying Pan, Mood Ring, Frye Boots, the 747, and more. Her words are often amusing, but they also offer astute observations on her family and our society during the period covered. This is the deluxe edition with marbled paper covers by Pamela Smith. Digitally printed and housed in a purple paper covered slip case. Digitally printed. In fine condition. 5 x 7 inches. Unpaginated [26 pages] PRI/121415. Fine.
London: John Lane, 1895. Hardcover. 1 of 500 copies. First Edition. This is a very scarce “modern” play by the famous publisher. In a note, Heinemann writes that it was not his object to write anything that “would satisfy the usual requirements of a stage play...but simply to snatch one dramatic moment out of a story of to-day...” Bound in original grey-green boards with paper title label. Label is chipped and corners of boards slightly bumped. The interior is clean with most of the pages unopened. In very good condition. 69 pages +13 pages of ads. LIMITED/051011. Near Fine.
Dublin: P. Wogan, 1805. Hardcover. Scarce Edition. This is a later issue of Elizabeth Hervey's interesting novel of 1796 on the politics of Ireland, and it displays her sympathy for the United Ireland cause. Hervey (1748-1820) wrote at a time when it was quite unusual for a woman to write on political issues. Bound in contemporary full brown leather with red title label and brown volume number label to spine. The binding is mottled, with bumping and boards of volume 2 starting to split from spine. The binding is still solid, however, and the text blocks are tight. Browning and some foxing to the interior pages otherwise very good. Bookplate affixed to front pastedown to volume 1 and ink ownership signature on title pages of both volumes. Volume 1: 287 pages; Volume 2: 284 pages. LIT/012910 This set may require an extra shipping fee. Very Good.
London: Chatto and Windus, 1930. Woodroffe, Paul. Hardcover. Fine in full red calf binding with green leather title label and black leather author label to spine, signed by Riviere and Son. Triple gilt fillet borders to both boards and inner dentelles. Six compartments to spine featuring gilt tooling and raised bands. Red marbled endpages and full edges in gilt. The interior is pristine with four full page illustrations, initials, head pieces, and tail pieces. The illustrations are from drawings by Paul Woodroffe which have been engraved on wood by Clemence Housman. An attractive edition of this classic tale. 106 pages. LIT/012508. Fine.
Oldham, England: Incline Press, 2001. Hardcover. Number 16 of 250 regular copies. English illustrator Thomas Lowinsky (1892-1947) was a good friend of Charles Ricketts and frequently worked with other friends including Sacheverell, Edith Sitwell, Oliver Simon, and Francis Meynell. He was a founding member of the Double Crown Club, a dining club for printers, publishers, book designers, and illustrators. This fine book features more than ninety illustrations, including all of his surviving unpublished illustrations, an autograph poem and ink sketch made while he was in the army, two woodcuts, and all of his patterned paper designs and publishers' devices. Also included are reproductions of his Double Crown Club menus, facsimile illustrations from the eighteen books that he illustrated, a previously unpublished studio portrait of Lowinsky, a memoir written by his daughter, a biography, and bibliography. Fine in grey cloth with pattern paper covered boards and gilt title to spine. Printed on Magnani paper in Monotype Fournier. Housed in grey and dark blue cloth covered slipcase with paper title label to spine panel. Pristine. A beautifully printed collection. 124 pages. PRI/051216. Fine.
Oldham, England: Incline Press, 2012. Hard Cover. Number 118 of 250 copies. Heavily influenced by the Art Nouveau movement, E.R.Weiss (1875 – 1942) was a multitalented German artist who painted watercolors and murals, and also designed furniture, fabric, stained glass, ceramics, wallpaper, and books. This book focuses on Weiss’s book artistry including his typographic designs, calligraphy, book jacket designs, illustrations, and more. It took printer Graham Moss of the Incline Press over fifteen years to research, compile, and print this impressive collection of Weiss’s book works, which features numerous tipped-in reproductions and several original pieces. It is a large folio bound in brown paper covered boards with vellum spine and design in red to front cover. Housed in a brown paper covered slipcase with black cloth edges and title label to spine. In fine condition. 178 pages. PRI/062415. Fine.
London: Reeves and Turner, 1878. Hardcover. First Edition. Author's presentation copy, inscribed "W.M. Rossetti with H. Buxton Forman's kind regards 1 Feb '78." Beneath the inscription is the ownership inscription of Mary E. Madox Rossetti, recording her inheritance of the book from her father. The connections between Buxton Forman, editor of the Romantics, bibliophile, and (with Thomas J. Wise and alone) literary forger and the Rossettis are many and complicated. Forman began by writing positive critical comment on Dante Gabriel Rossetti in 1869, leading to acquaintance with the painter-poet and then to a close friendship with William Michael, himself an editor of Keats, Blake, and Shelley, that lasted until their deaths. Over time, William Rossetti sold and gave Forman much Rossetti material, but he resisted authenticating the Wise-Forman forgeries of his brother’s work. Bound in the original navy blue cloth boards with gilt title to spine. It has been restored with the repair visible along both hinges. There is a repaired short closed tear to the cloth along the front hinge. Rubbing to gilt on spine and large black ink stain to front cover and margins of several pages. As the cloth is a deep navy blue, the black stain is not particularly visible on the cover. Offsetting to verso of signature page from a laid in newspaper clipping relating to Keats. Includes three illustrations: a portrait of Keats, silhouette of Fanny Browne, and facsimile of letter XXVII. From the collection of Stuart B. Schimmel. 128 pages plus 12 pages of advertisements. LIT/062316. Very Good.
Hammersmith: Kelmscott Press, 1896. This is an original leaf from the Kelmscott Press masterpiece, The Works of Geoffrey Chaucer, accompanied by an essay by the bookseller John Windle on its commercial history. The leaf is from a disbound and dispersed damaged copy. Copies were presented by Windle in a paper portfolio in 1994 as a keepsake to members of the Colophon, Roxburghe, and Zamorano Clubs. The folio-sized leaf is from pages 215-216, “The Persouns Tale.” There is no illustration, but there are one large and twelve small decorated initials. The leaf is in very good condition except for a bit of rubrication (red ink text) bleed-through on the two shoulder titles and one section heading, and a little rippling along top edge. The first page of the accompanying essay is decorated with a Burne-Jones illustration and woodcut borders reproduced from the Chaucer. The essay includes a chart comparing auction prices of the Chaucer to three other notable books, 1966-1993, on the other pages. MOR/110414. Very Good.
Oakland CA: Littoral Press, 2002. Hardcover. Number 6 of 125 copies. This is one of the ten copies from the Deluxe Edition that are signed on the colophon by sixteen of the seventeen contributors to this poetry and prose anthology (alas, not Frida Kahlo). They include Ahimsa Timoteo Bodhran, Claribel Cone, Martha Gies, Robert Hass. Steve Hellman, Marie Howe, Frida Kahlo, Vickie Karp, Stephen Kessler, Rachel Loden, Jane Miller, Janell Moon, Sharon Olds, LIsa Rappoport, Mark Salerno, Joseph Stroud, and Gary Young. Rappoport writes that this book "is dedicated to those we love with a blazing passion, to those we hope will burn in hell, and ideally, to the future separation of the two." She has been a book artist for almost twenty years and her books can be found in many institutional collections. This beautiful accordion book is bound in red and black Thai Unryl reversible paper with a black title label to front cover. Printed with handset Garamond type on Johannot paper with black and blood-red ink. Each volume has unique pastepaper endpapers. With title page drawing of a heart in flames by Bobbe Besold. The book is 11 x 7 folded and 18 feet long unfolded. In fine condition. Unpaginated. [25 pages] PRI/030915. Fine.
Petersham, MA: The Lone Oak Press, 2015. Hardcover. Master wood engraver Abigail Rorer is considered one of the finest engravers working today. She founded her Lone Oak Press in 1989 and has published many beautiful works that often focus on nature - animals, flowers, trees, and water. Abigail has also provided lovely illustrations for other private and commercial presses. Her fine press books have been in numerous exhibitions in the U.S., U.K., and Ireland. They can be found in many public and private collections.Number 57 of 300 copies. Signed by both artists. A charming book about a small church located in Gloucestershire, England near the renowned Whittington Press. This collaboration between American artist Abigail Rorer and English artist Miriam Macgregor is based on shared admiration for the beauty, architecture, and serenity of this thirteenth century church. The text includes personal commentary, historical facts, and anecdotes. Abigail engraved scenes from the inside of the church and Miriam engraved scenes of the exterior. Bound in cream paper covered boards with red cloth spine, which has a paper title label. Clean and bright. Housed in an orange paper covered slipcase. Printed by Patrick Randle at Nomad Letterpress in Whittington England on Zerkall paper in Van Dijck type. Includes prospectus. Oblong, measures 9 x 7.5 inches. Unpaginated. PRI/100616. Fine.
Cambridge: Published by John Owen, 1843. Hardcover. First edition. Originally published in Graham’s Magazine (1842), this comedic play reflects Longfellow’s experiences in Spain. According to the preface the play “is taken in part from the beautiful tale of Cervantes, ‘La Gitanilla’.” Rebound in white parchment over boards with maroon leather label on the spine. New endpapers. The paper covering the internal front hinge is split; however, the binding remains tight. Foxing to edges of endpapers, edges of covers, and spine. Small dark marking to front cover and a few spots to interior, but clean and bright overall. 183 pages. DRA/101816. Very Good.
Eugene, OR: Susan Lowdermilk, 2002. Hardcover. One of 35 copies. Susan Lowdermilk is a book artist and printmaker working in traditional processes such as woodcut, wood engraving and intaglio etching as well as digital media. Her artist’s books involve movable parts, pop-ups and LED circuitry. She is a professor at Lane Community College in Eugene, Oregon, teaching courses in printmaking, artist books and graphic design. Her work has been collected by over 60 public institutions including, the Getty Museum, the Library of Congress and the New York Public Library. Her artist’s books are represented in galleries throughout the United States. She earned her Master’s of Fine Art from the University of Oregon. This inventive book uses a six panel Jacob's ladder structure with the panels connected by black ribbon. Images of rock, paper, and scissors appear in each panel and are printed from black and grey woodcuts. The panel backgrounds are carved to imitate wood grain. Housed in a grey and black chemise. In fine condition. 4 x 4 inches closed. ARTISTSB/073118. Fine.
Eugene, OR: Susan Lowdermilk, 2016. Susan Lowdermilk is a book artist and printmaker working in traditional processes such as woodcut, wood engraving and intaglio etching as well as digital media. Her books involve movable parts, pop-ups and LED circuitry. Her artists’ books are in the collections of many university libraries, public libraries and museums. She is a professor at Lane Community College in Eugene, Oregon where she teaches courses in printmaking, artist books and graphic design. Susan earned her Master of Fine Arts from the University of Oregon in Eugene and her Bachelor of Fine Arts from Colorado State University. In her artist’s statement she writes: “Through my art practice as a printmaker and book artist, I reflect my life experiences and relate them to a broader sense of the human condition: struggles, transitions, choices and the inevitable element of chance. I explore and express these themes through familiar forms and shapes, symbolic of humankind’s shared stories as we, as individuals, progress from one day to the next.” Number 14 of 30 copies. Signed and numbered by the book artist. In this inventive work, Lowdermilk uses Emily Dickinson’s poem to examine the inherent interconnection of environmental elements. She uses three dimensional pop-up shapes to complement Dickinson’s words. Bound in blue-green cloth covers with vertical decorated paper inset to front cover. Includes four pop-up spreads tipped at the fore-edges with an exposed concertina spine. Printed in Twentieth Century type on Vanguard Recycled Plus paper. Unpaginated. In fine condition. Size: 7.25 x 9.25 x 1 inches. ARTISTSBOOK/073118.
Eugene, OR: Susan Lowdermilk, 2017. Susan Lowdermilk is a book artist and printmaker working in traditional processes such as woodcut, wood engraving and intaglio etching as well as digital media. Her books involve movable parts, pop-ups and LED circuitry. Her artists’ books are in the collections of many university libraries, public libraries and museums. She is a professor at Lane Community College in Eugene, Oregon where she teaches courses in printmaking, artist books and graphic design. Susan earned her Master of Fine Arts from the University of Oregon in Eugene and her Bachelor of Fine Arts from Colorado State University. In her artist’s statement she writes: “Through my art practice as a printmaker and book artist, I reflect my life experiences and relate them to a broader sense of the human condition: struggles, transitions, choices and the inevitable element of chance. I explore and express these themes through familiar forms and shapes, symbolic of humankind’s shared stories as we, as individuals, progress from one day to the next.” Number 4 of 30 copies. Signed and numbered by the book artist. This book’s striking three-dimensional multicolored imagery “juxtaposes the universal mathematical order and geometric shapes associated with the cosmos with an aviary of birds, thus alluding to an inherent connection - the mysteries of nature on earth with the mysteries of the universe as a whole “ (colophon). The book was originally a collaborative project by Doyle and Lowdermilk for an art and ecology exhibition in Portland (2011) for which they created a deluxe boxed set of three books. This edition of Aviary is digitally printed from one of the three deluxe books. It is handbound with blue cloth covers and an open concertina spine. A paper image of a hummingbird is affixed to the front cover and there are beige cloth ties. The interior features five layered pop-up spreads depicting five birds (owl, peacock, dove, eagle, and bird of paradise) within elaborate geometric backgrounds. It can be displayed open as a star book using the ribbon ties. Housed in a stiff cream paper enclosure with the same hummingbird image on the front panel. In fine condition. Unpaginated. Size: 11.25 x 6.25 inches closed; 11.25 x 12.25 inches open in star shape.
New York: G.P. Putnam & Co., 1853. Hardcover. “Bartleby the Scrivener,” Herman Melville’s famed short story, was first serialized anonymously in two parts in the November and December 1853 issues of Putnam’s Monthly Magazine. It was reprinted with minor textual changes in Piazza Tales in 1856. The story has been called the unquestionable masterpiece of Melville’s short fiction and is among the most noted American short stories. Volume II included July - December 1853. The story appeared on pages 546-557 in November and pages 609-615 in December. Bound in the original green cloth with gilt title to spine. Minor fading to spine, short closed tear to top of front hinge, bumping to corners, and a few spots of soiling to spine. Several splits to binding; although, all pages remain bound. Occasional spots of foxing throughout (heaviest on endpapers) and very occasional notations in pencil. Very good condition. 690 pages. LIT/071118. Very Good.