Paris: 1781. Hardcover. RARE. Very good in full leather with raised bands and gilt tooled panels on spine. Gilt tooling on inner and outer edges of boards. Pages edged in gilt; somewhat faded. Leather on spine is cracked and chipped in places, but gilt is still bright. Bumped corners. Minor bookworm damage to boards in several places. Rubbing/minor staining to boards. Marble endpapers which are faded/rubbed. Laid paper interior is very clean with several spots of foxing and some fading to endpages only. Very light soiling to title page and half-title. Green ribbon bookmark is sewn into binding. Translated from the Greek by Giacomelli. Classical Literature. CLA2/2250. Very Good.
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Dublin: William Hallhead, 1777. Hardcover. Pirated Dublin edition. Volume one states that it is the Fourth Edition; it was printed in Dublin for Hallhead in 1777. Volumes 2 - 6 were also printed in Dublin for Hallhead and are dated 1781. Volumes 7 - 10 were printed in Dublin for Luke White in 1788. Lacks volumes 11 and 12. Volume 2 has folding map. Bookplate of Charles Chauncey to front pastedown of each volume. Bound in full leather with title and volume labels to spines; however, one volume lacks volume label. Volumes 1- 6 have matching full calf bindings and volumes 7 - 10 are bound in matching mottled calf bindings. This set may require an extra shipping fee. 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 (Marblehead, 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.
2011. Hardcover. Unique Artists' Book. Signed and dated by the book artist and binder. This is a hand-lettered manuscript of Poe's classic poem "Annabel Lee" which was designed, hand-written, gilded, and decorated by Maryanne Grebenstein. Each page is decorated with an elaborate floral motif border with flourishes and initials in gold. Bound in three quarter purple cloth with marbled paper covered boards by Elizabeth Rideout of Charlotte, VT. This manuscript was hand lettered in the Italic style using Moon Palace Sumi ink and Leonardt and Soennecken pen nibs on Pergamenata stationery weight paper in antique. The gold leaf is 23.75 karat on gesso and the decorations are with Winsor & Newton gouache. Unpaginated [8 pages] Calligrapher and book artist Maryanne Grebenstein (Marblehead, 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/081711. Fine.
Portland, OR: Anne Greenwood, 2008. Number 8 of 30 copies. Anne Greenwood is a well-known artist who has exhibited widely and whose works can be found in museum and library collections around the country. She was born on the high Dakota Plains and was led to an art degree by her artist grandmother. In 1990 she moved to Portland, Oregon and began her career as an artist and horticulturalist. Anne’s artwork explores an interest in folk art and speaks of her kinship with the natural world and how this influences her connection to daily life. In 2002, Anne set up a textiles studio integrating handwork, book arts, and textiles into an interdisciplinary practice. From Anne's artist's statement: "My artistic practice navigates an infinite network of connections: narrating the simple and complex, physical and ephemeral, past and present, within the context of place, history, and transformation. I form relationships that expand and fortify admiration and reverence, leading to the discovery of new truths about the world around us." This interesting and evocative work exemplifies how Anne integrates her textile skills with book arts. She explains that Winter Counts were historic calendars used by the Plains Indians to record time pictographically. This book is Anne's interpretation of the Sioux tradition to record her personal history using hand-stitched embroidery and letterpress printing. The 41 embroideries were scanned and then made into print form from hand-processed photopolymer plates run on a Vandercook Universal hand press. Printing was done by Inge Bruggeman. Each is printed in the same color as the embroidered version. The loose images and text pages are housed in a light red clam shell box. The text pages are printed in Goudy Sans type and include the title page, artist's statement, two commentary pages for images titles and stitch identification, and colophon with quotes relevant to the winter count tradition. An impressive production in fine condition. PRI/031819. 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.
Basel: Romano Hänni, 2010. Hardcover. Number 34 of 175 copies. Swiss book artist and typographer Romano Hänni (1956 - ) has been experimenting with unusual compositions of letter forms and symbols since the early 1980s. His designs can seem somewhat whimsical but often are reactions to society, politics, and traumatic events. Creating things manually with the participation of all of the senses is very important to him. A master of visual poetry, he enjoys teaching to pass on his knowledge and skills. This work offers a commentary on various aspects of life, some of which are illustrated with design elements. For example "with ritalin" shows a series of small, numbered pill shaped designs. It faces "without ritalin" which shows a variety of animals and other creatures. One unillustrated quote from the jacket reads "The daily misconduct: It is not the large catastrophes, it is he daily mistakes in the details that cause the global problems." Bound accordion style in boards with white illustrated dust jacket. Handcomposed and handprinted in black, red, blue, and gold. The text is printed in German; however, a pictorial booklet supplement with English translation is included. A thought provoking, well designed book. ARTB/092117. Fine.
Basel: Romano Hänni, 2018. Hardcover. A set of three books in the Words Make the Infinite Finite series. Volume VII is limited to 290 copies, Volume VI is limited to 187 copies, and Volume V is limited to 86 copies. Swiss book artist and typographer Romano Hänni (1956 - ) has been experimenting with unusual compositions of letter forms and symbols since the early 1980s. His intricate designs can seem somewhat whimsical but often are reactions to society, politics, and traumatic events. Creating things manually with the participation of all of the senses is very important to him. A master of visual poetry, he enjoys teaching to pass on his knowledge and skills. Each of these books was hand composed and hand printed in black, red, yellow, and blue ink. All are accordion structures with stiff paper illustrated wrappers, which when removed, allow the twelve pages of the contents to be unfolded into one continuous strip. With a paper band closure for the folded book. Includes a four page supplement featuring the title of the work and the colophon in both English and German. A small set in a slipcase measuring about 3.25 inches wide by 5 inches tall by 1.25 inches thick. In fine condition. Unpaginated. PRI/112818. Fine.
New York: D. Appleton and Company, 1856. Hardcover. First edition of the one volume edition on Perry's famous historic voyage to China and Japan. It was published in the same year in three volumes by the U.S. Senate. The book is a dense and fascinating recounting of the three year trip that opened up the country of Japan to the West. The text was compiled from the original notes and journals of Commodore Perry and his officers, at his request and under his supervision. A very nice copy bound in full brown leather with faded gilt ornaments and black label to spine compartments. Spine edges are chipped, corners bumped and small scrapes to leather of rear cover. All edges marbled as are endpapers. The text pages are in very good plus condition. All 11 foldout maps are present and there are numerous illustrations and vignettes throughout. The suppressed plate of women at a bath house is missing. Size: 6.75 x 10 inches. 624 pages including index. TRAVEL/011421. Very Good.
Omaha: Abbattoir Editions, University of Nebraska, 1979. Number 156 of 235 copies. This book is by Ben Howard, an American poet, essayist, scholar and critic. This copy is unique, with a stunning custom designer binding by renowned English bookbinder David George Sellars (1949-2015). Sellars started his bookbinding career at the age of fifteen and quickly became most interested in the artistic side of binding. He had a varied professional life that included setting up his own studio, teaching, and serving as the President of Designer Bookbinders. By the end of the 1990s, Sellars focused on creating design bindings on commission, special designs for limited editions for small presses and publishers, one-off commissions for authors and special presentation bindings for publishers. His work is represented in most major libraries in the world and many private collections. This beautiful leather binding marries different green and brown shades and varied textures of leather along with copper strands of thread to express the movement of water. The title and author are debossed on the spine. The page edges have a decorative pattern. With suede pastedowns, and Sellars's monogram on rear pastedown. Housed in a custom clamshell box covered in black cloth with white title label to spine. In fine condition. Book measures 5 x 7.5 inches.
Philadelphia: Ben Iluzada, 2018. Hardcover. Limited to 3 copies. The artist describes this piece as a "haptic artist book". Bound in green cloth covered boards with paper title label to front cover. A removable blue wooden dowel threaded through paper loops binds the book. A linocut printed grey snake is coiled between the boards. Printed in gold lettering on the snake is: "Thus it came to pass that some stayed beyond the confines of the whirls: but others took their leave and descended into it." This book opens as a codex OR the wooden rod holding the binding together can be removed an inserted into holes in the boards to create a sculptural book. Linocut, lead type & photopolymer letterpress printing, gold dusting on handmade paper. Assembled size: 9.5 x 9.5 x 9.5 inches. Open size: 9.5 x 19 x 8 inches. [2 pages]. Fine.
Minneapolis: Indulgence Press, 2011. One of 20 copies. Arthur & Barbara is a portrait of art critic/philosopher Arthur Danto and artist Barbara Westman as seen reflected in the space of their New York City apartment on Riverside Drive. This book embodies their life and work in symbolic forms of thoughtful play. Arthur & Barbara is a collection of simple objects, images and “games” referring to both Duchamp’s Boîte-en-valise and to Fluxus Collections. The box contains laser-etched glass with a plan view of the apartment. Beneath the glass, separated spaces hold a DVD with images of Arthur, Barbara and their apartment, a hand-bound codex filled with photographic illustrations and brief text, a glass block laser-etched with an illustration by Barbara Westman, two chairs, handmade dice, and a spinner. A drawer holds a folio of letters written by Sean Scully, Shirin Neshat and Barbara Westman, and an introduction by David Carrier. A fascinating way of documenting the lives and personalities of this interesting couple. In fine condition. Size: 13 x 12 x 7 inches. PRI/041111. Fine.
[Copenhagen]: C.A. Reitzels Forlag, 1859. Paperback. Very good in paper wrappers with black title to front cover and spine panel. Expertly rebacked with original spine laid down. Small tears and a few small chips to wrapper edges and light staining to edges. Very light foxing. Text in Danish. 114 pages. PHIL/070612. Very Good.
MA: Viewpoint Editions, 2012. Paperback. Number 22 of 36 copies. According to noted book artist Dorothy Simpson Krause, “This homage to Marjory Stoneman Douglas (1947-1997) and her seminal book, The Everglades: River of Grass combines my images of the Everglades with historic photographs, documents, and maps. Forty miles wide and over 100 miles long this slow moving river ranges from a few inches to a few feet in depth. Only half its original size, the Everglades has been largely destroyed to meet the demands of urban and agricultural growth. The ongoing battle for restoration of the Everglades is a moral test which hopefully we will pass.” The book’s exquisite images evoke the beauty and mystery of the Everglades, which are “one of the unique regions of the earth, remote, never wholly known” (Marjory Douglas). Printed on Yu Kou paper, on a laser printer with letterpress overlay. Interleaved with Yu Kou light tissue guards. All of the unbound pages are housed in an envelope enclosure made from brown Lokta Oil Paper to reference a packet of documents an early settler might have carried. The closure on the envelope is a native mahogany tree seedpod with rawhide and thread tie. This book was produced while Krause was Artist-in-Residence at the Jaffe Center for Book Arts, Wimberly Library, Florida Atlantic University, and was published under the auspices of Minerva: The Press at Wimberly. In fine condition. PRI/101912. Fine.
London: Hurst and Blackett, 1880. Hardcover. Theater owner and playwright, Augustin Daly's copy, auction number 2055. First edition, uncommon. 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, pulling, and wear to leather. Clean and bright interior. Unopened pages. Top edge gilt with marbled endpapers. Bound by R.W. Smith. Auction record tipped into rear. 317 pages and 16 pages of ads. DRA/031419. Very Good.
Paris: Goupil & Cie, 1912. Hardcover. Number 8 of 75 copies on Japanese paper. This sumptuous book recounts the life and work of Eugene Lami, the famed French painter, illustrator, and designer. It is extensively illustrated throughout with double plates of each of the works. Each is protected by a tissue guard. In full brown leather with ornate gilt ornaments decorating the covers. There are four raised bands on the spine with gilt decorations, author, and title. Light scuffing, bumping, and tear to top of spine along joint along with missing leather where label was removed. Unfortunately this heavy ex-library book's binding is detached from the text block. The free front endpaper is torn as is the half title. Ex-library although library markings are relatively unobtrusive, with an ownership stamp on the verso of the original cover bound in, small ink numbers on verso of title page and scraping to the rear free endpaper where sign-out card removed. The interior of the book is otherwise in very good condition. With the bookplate of Courtland Bishop (1870-1935) the pioneer U.S. aviator, autoist, traveler, and noted book collector. Price reflects flaws. In French. Folio volume with 206 pages plus plates. Heavy volume may require extra postage. ART/031419. Very Good -.
John Boydell and Hurst, Robinson & Co., 1777. Claude Lorrain was an artist of the Baroque era who was active in Italy, and is admired for his achievements in landscape painting. These Mezzotint engravings are after his original designs in the Collection of His Grace the Duke of Devonshire. Richard E. Arlom, a highly respected English mezzotint engraver, executed these prints in the manor and taste of the drawings. Print method is Mezzotint engraving on heavy stock paper, measuring 268 x 410 mm. or approximately 10.5 x 16.25 inches. Archivally matted. #49693. 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.
[London]: [late 1800s]. A very scarce collection of Lushington's privately printed writings. All were printed by the Chiswick Press. Vernon Lushington (1832-1912) was an English solicitor, a Positivist, an associate of many famous writers and artists, a friend of the Pre-Raphaelites, and the father of the model for Woolf's Mrs. Dalloway. He remains virtually unknown today, but recently available family archives reveal how interesting and important figure he was. It was Lushington who arranged the first meeting between his friend Dante Gabriel Rossetti and Edward Burne-Jones. He contributed to The Oxford and Cambridge Magazine and remained a long-time friend of William Morris, often visiting Kelmscott Manor. There was also a close connection between the Lushington and the Stephen family. After his wife died, Lushington's three daughters were taken under the wing of Julia Stephen, wife of Leslie Stephen, and mother of Virginia Woolf. The eldest daughter, Kitty, became the model for the eponymous heroine of Woolf's novel Mrs. Dalloway. Lushington's views on Positivism, politics, and literature are clearly evident in the occasional poetry he wrote and had printed by the Chiswick Press. This collection comprises: 1) Positivist Hymns, London, 1885. First edition. Original wrappers. 60 pages. 2) Moses. [London n.d.] First edition. Original wrappers. 28 pages. 3) St. Paul. [London, n.d.] First edition. Original wrappers.17 pages. 4) Sonnets on the Positivist Calendar. [London, n.d.]. Original wrappers. 5) Good for Evil: or a Marriage in Kensington Square. [London, n.d.] 7 pages. 6) Remembered Words. [London, n.d.]. Original wrappers. 27 pages. 7) A Slab Tomb in Rome [London, n.d.] 12 pages. 8) Prophetic. [London, n.d.]. 2 pages. Some light wear and browning to the wrappers but still very good copies of such fragile publications. POE/103014. Very Good.
New York: Metropolitan Syndicate, Inc., . Hardcover. First edition. First issue with integral title leaf. Scarce copy of author’s first book. Inscriptions on the front free endpaper: “Robert W. Jones, / Jan. 1. 1909” and just below it in a different hand: “Presented by the Author, / who did not sign his name herein--durn him.” A collection of short stories that “deal with grim incidents of life in the big city. In one story a drunken hotel waiter beats his wife to death with a chair, in another an Italian pickle dealer stabs a saloon keeper who will not pay his twelve dollars, and yet another story tells how a cab driver took a drunken man into his cab and after driving to a secluded section stabbed him in a fight that followed an attempt to rob him. Each story is one incident, a crisis, told in a style both unusual and interesting. Lyon’s style is clear, effective, and unaffected” (unidentified newspaper review, pasted in). Bound in the original green cloth titled in red on spine and front cover. A few chips to cloth at foot of spine, minor sunning to spine, small stain to spine, and light wear to corners, otherwise a bright, attractive copy. Clipping from newspaper review of the book pasted to the rear pastedown with offsetting to endpapers. 225 pages. LIT/30119. Very Good.
[The Hague] a la Haye: Pierre de Hondt, 1758-1759. Hardcover. This remarkable "Historical Dictionary," offers critical and literary memoirs about the life and works of various distinguished persons, particularly in the republic of letters, This book was done as a complementary work to the famous early 18th century dictionary of Pierre Bayle. Prosper Marchand (1678-1756) was a Huguenot refugee who became a bookseller, bibliographer, and publisher in the Netherlands. Marchand died before the manuscript was complete, but he had commissioned his friend and executor, Jean Nicolas Sebastien Allamand, to review and publish it. Allamand spent four years putting Marchand's notes in order. They were mostly written on confused and scattered scraps of paper. In his introduction, Allamand describes all the pains he had to take to restore these notes and to supplement the omissions of Marchand. The result is this monumental bound folio with two painstakingly printed volumes on on seemingly everyone and everything literary. Printed in double columns with numerous shoulder footnotes on most pages. At the end of Volume II are an alphabetical list of articles, a table of subjects, and a catalog of books published by Pierre de Hondt. Bound in three quarter brown leather with decorated brown paper boards. Six raised bands to spine with brown leather title label in second compartment. Chipping and small tears to leather as well as to paper covers. Interior pages show light aging but are otherwise clean and bright. Offsetting on free endpapers from leather borders on pastedowns. Previous owner bookplate to front pastedowns and small stamp on title page of volume I "Holstein-Holsteinborg." In very good condition. Volume I: 330 pages plus publisher catalog; Volume II: 328 pages plus lists and publisher catalog. FRE/042415. Very Good.
New York: Russell Maret, 2021. Number 23 of roughly 90 copies, signed by the book artist. Printed on a variety of vintage hand- and mould-made papers and handset in Cádiz Ornaments, Baker, and Hungry Dutch types, making this the second book Maret has printed entirely from metal typefaces that he designed. Maret writes in detail of the making of this book on his web page. From his fascinating description: "In 2013 I designed a couple of typographic ornaments while thinking of the pavement designs around the city hall in Cádiz, Spain. The ornaments were not intended to be reproductions of any specific pavement designs, they were simply prompted by the memory of a lovely day walking around Cádiz. Once the metal ornaments were in my hands, I realized that they could be assembled into many more combinations than I had originally imagined. I began to think about a small specimen book. Many of the Cádiz patterns I was designing reminded me of textile designs and, unlike my book Ornamental Digressions, I initially wanted the Cádiz book to starkly emphasize the ornaments’ patterning structure, rather than to concentrate on potential color applications. As part of my bookmaking process I always need to break through a certain amount of thick-headedness before I can get to where I want to be. In the case of this book the breakthrough happened while showing the prints to Annie. After looking through my endless permutations, Annie suggested that I might not need to show every combination, that in fact it might be a more engaging book if there was a bit of surprise, a little variety. This may sound obvious now but, once in it, it can be very hard to see over the walls of a design rut. Finally, the stagnation broke when I realized that I was concentrating on how the pages looked rather than what I wanted the book to be. And what I wanted was a book that felt like a salesman’s swatch book, something assembled from different shapes and sizes, that showed potential without being restrictive, that was not too neatly put together, that had a bit of randomness to it. I began looking through my flat files and found all kinds of vintage papers, none of which I had enough to print an entire edition. They would be perfect for this book. [He changed his ] five-signature dummy into a single signature of a mere 41 press runs. (After printing the book, I realized that some of the sheets had an unacceptable level of show-through. Rather than discard these sheets, I added an “Appendix,” a second signature in which the sheets could be seen, but at a remove from the rest of the book. To make this happen required a final, 42nd pressrun. Not exactly a small specimen book….)" This beautiful book was designed by Russell Maret and printed by him and Sarah Moody during the Covid-19 pandemic. All of the patterns are made from two pieces that were engraved and cast by Ed Rayher at Swamp Press. In fine condition. Measures 9.25 x 6.375 inches. Housed in an acrylic slipcase. ARTISTSB/112321 I.
A leaf of The Fifth Forestier of Flanders and his Squire with shield and falcon, from The Genealogies and Descendents of Ancient Forest and the Counts of Flanders, with a short description of their lives and actions. Print method is Wood Block with professional coloring. Print measures 295 x 195 mm or approximately 11 3/4 x 7 1/2 inches. Archivally matted. #13011. Fine.
Baltimore: Richardson and Bennett, 1871. Hardcover. SCARCE. An attractive volume. Illustrated by the Handann Brothers. Includes a history of the city by Brantz Mayer and over seventy biographical descriptions of notable Baltimorean men, each illustrated with an original photograph. Dark brown full leather boards with gilt title, decoration, and raised bands to spine. Boards are beveled with gilt borders and decoration. Bumping to corners, minor wear to edges of boards and hinges, and minor rubbing to boards. A few scuff marks to spine. Gilt dentelles, full gilt edges, and marbled endpages. Interior is very clean overall, though there are a few spots of foxing to several pages.Tight binding. 562 pages. BALT/122121. Very Good.
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 three quarter dark green leather over marbled paper covered boards. Bumping to lower corners, rubbing to hinges, minor cracking to spine leather, and minor loss to marbled paper on front board. Marbled endpapers. Bookplate of James V.C. Perry from Sandwich, Ontario to front pastedown. Occasional spots of foxing throughout (heaviest on endpapers) and very occasional notations in pencil. Very good condition. 690 pages. LIT/060321. Very Good.