Paris: Bibliotheque Artistique; Librairie des Bibliophiles, 1884. Hardcover. Originally published in 1863, this sword play filled novel was later adapted into several films and theatrical versions. Very good in contemporary leather backed marbled paper covered boards with matching marbled end pages. Gilt titles and raised bands to spines. Light rubbing to bands and edges of leather on all volumes. Bumping to edges of front board of volume three. Original wrappers are bound in. Includes several etchings. Clean, tight interiors with occasional spots of foxing. 270 pages; 294 pages; 293 pages. FRE/041409. 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.
New York: Random House, 1947. Hardcover. Second Printing. SIGNED BY 25 CAST MEMBERS FROM THE BROADWAY PRODUCTION. The signers include John Carradine, Estelle Winwood, Le Roi Operti, Martita Hunt, Nydia Westman, Sandro Giglio, and Millicent Brower. The play ran for two years on Broadway and had a revival a few years later. Bound in original dark blue cloth with title and author in gilt to spine. Very good minus with some chipping and bumping. No dust jacket. Signatures are on free front endpaper. half title, and title pages. Interior is clean with three black and white photos from the production. DRA/071812. Very Good.
Mount Vernon, NY: The Golden Eagle Press, . Hardcover. Number VI of 108 copies. Signed and numbered by the artist. Includes fifteen plates. There are thirteen original watercolors by the noted artist, Kurt Roesch. The frontispiece and a second hors-text plate are lithographs. This is an overlooked livre d’artiste, published six years before the press printed Orpheus, a book recognized in The Artist and the Book 1860-1960. This work is the whimsical and mysterious story of a boy, Sprig, and his horse Turfy, and their nighttime adventure and transformation. In the colophon, Roesch writes: “This Archetype Edition of Sprig and Turfy is not only the first but unique in the history of the printed book. It is conveniently limited to one hundred and eight copies, each containing original paintings in watercolor over a key plate in black, printed by S.A. Jacobs, The Golden Eagle Press, Mount Vernon, N.Y.”. Bound in tan buckram with a gilt device on the front board, cloth ties, in a tri-fold chemise in a slipcase, both also covered in tan buckram. Book in near fine condition. Slipcase and chemise are very good with light wear. Unpaginated. PRI/081111. Near Fine.
Portland, OR: Anne Greenwood, 2016. Number 2 of 12 copies in the special edition portfolio signed and numbered by the book artist. There were also 138 copies of the chapbook. This beautiful and complex work was inspired by the poetry of the Portland poet and seamstress Hazel Hall (1886-1924) and pays homage to her to writings and resilience. She survived either scarlet fever or a fall at the age of 12 and used a wheelchair for the rest of her short life. The poems are republished by permission from The Collected Poems of Hazel Hall. From the colophon: "The special edition portfolio is made of crinoline; it is machine sewn, hand-dyed in fustic, and pressure-printed with machine-stitched text from poems originally written by Hall and then pieced together by Anne Greenwood. The chapbook cover is machine-stitching on crinoline; the under print is pressure-printed, hand-stitched embroidery with pochoir and the book is hand-bound using the pamphlet stitch. The decorations are hand-stitched embroidery sigils by Greenwood and Shannon Ayuyu pressure printed on washi paper. The tapestry is made of crinoline hand-dyed in madder, fustic, cochineal and indigo, with hand stitching and pochoir. The applique: the moon is pressure-printed, found, hand-made doily, and the poem Loneliness is written by Hall and printed with a polymer plate. The machine-stitched texts are cut-ups of Hazel Hall’s poetry made by Shannon Ayuyu and Anne Greenwood. The printing is all by Clare Carpenter (2016) in Portland, Oregon." 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." When the tapestry is folded the work measures 8 x 12.25 inches. In fine condition. ARTISTB/031819. Fine.
Glenview, IL: Karen Hanmer, 2011. Hardcover. Number 17 of 30 (numbered on case). Vellum spine titled in gilt with illustrated paper covered boards. The cover illustration varies. This book features a full color reproduction of a painting that hung over the book artist's sofa when she was a child. The painting depicts a view of the island of Capri overlooking the Gulf of Naples. Hanmer has divided the painting into eight equal portions, each of which reads as a horizon and may also function as a metaphor for memory and the unanswered questions that elude memory. "With her latest project, Karen Hanmer has created an archetype of all the family oil paintings that hung above the couches of our childhood. Not a drop of irony stains the languid shorelines and gauzy, cloud-flecked skies that fill the pages of this inviting book. Hanmer instead chooses to treat her subject with a candid reverence that raises intriguing questions about how we assign value to the objects that circumscribe our lives and how memory impacts that process" (Vera Scekic, Chicago painter and curator). Housed in an archival paper case with the edition number and artist's contact information stamped on the front panel. Measures 5.5 x 8 x 5 inches. Unpaginated [16 pages.] ARTB/121415.
Glenview, IL: Karen Hanmer, 2004. Hardcover. Number 19 of 30 copies. Signed and numbered by the book artist. Features photographs, archival documents, and text pertaining to the Wright Brothers' experimentation to develop the first manned, powered flight. Bound using the flag book structure with illustrated paper covered boards. This book was created for Turning Pages: A Collection of Artists' Books shown in The Living Room, the family installation space at the Wichita Art Museum. Housed in an archival paper case with the edition number and artist's contact information stamped on the front panel. Measures 7 x 26 x 5 inches open and 7 x 5 x 3 ¾ inches closed. Unpaginated. [16 pages.] ARTB/032417. Fine.
Glenview, IL: Karen Hanmer, 2011. Hardcover. Chicago binder, book, and installation artist Karen Hanmer’s intimate, playful works fragment and layer text and image to intertwine memory, cultural history, and the history of science. Her work weds the ancient art of book binding with the high tech use of the computer to aid her process. The intimate scale and the gestures of exploration required to travel through each piece evoke the experience of looking through an album, a diary, or the belongings of a loved one. However, her works often take the forms of games or puzzles, and many include witty text. Number 2 of 3 copies. A sculptural book featuring text from Jane Austen’s archetypal romance, Pride and Prejudice, with heart shaped cut outs to reveal illustrations clipped from the covers of modern day romance novels. This book can be displayed in a star format using two included cloth clips or as an accordion. According to the book artist: The “background pattern references Regency era roller-printed textiles. This piece was created from a minimum quantity of recycled and already-purchased materials and with limited use of electricity for Sustainable Book and Paper Arts, a 2011 exhibition curated by Shawn Sheehy and Melissa Jay Craig.” Inkjet printed with found images. It is housed in an archival grey folding case with artist’s contact information stamped to front panel. Size: 6.75 x 4.25 x 3 inches, closed; 6.75 x 8.5 x 8.5 inches, open. Fine. Fine.
Basel: Switzerland: Romano Hänni, 2015. Number 20 of 50 copies in the deluxe edition. There were 187 copies in the standard edition. This deluxe edition includes both a copy of the standard edition and a "unikat edition," which features additional layers of printing and some variant prints from the standard edition. Each 'unikat' book is unique. Both volumes are accodion structures with board covers. A printed white paper dust jacket holds the book in codex form, but the jacket can be easily removed to view the extended accordion. In addition to two six page supplements with the colophon printed in both English and German (one for each volume), this deluxe edition includes a 12 page side-stapled booklet with a series of photographs documenting the creation of this project. Beautifully letterpress printed using typography to create images. There is no text printed in either the standard or unikat editions. Both volumes and all three supplements are housed in a slipcase, which is titled in black.Each volume and also the slipcase have paper book bands around them. [12 pages in each volume].
Basel: Romano Hänni, 2010. Hardcover. Number 35 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.
Paris: Goujon fils, An X, . Hardcover. First Edition of this famous work. Jean Itard (1774-1838) was a French doctor who was known as an educator of deaf-mutes. He tried to test his educational theories in the celebrated case of Victor - The Wild Boy - of Aveyron. The boy was found in the woods in a feral state and was believed to have lived there for years. Itard worked to make the boy “normal,” but failed. In this first report Itard was optimistic about the feral child’s prospects for language acquisition and socialization. In his 1807 second report his conclusions were much more pessimistic, as even after a number of years of intensive education the boy had been unable to learn to speak. Itard’s methods, described in his two reports, were based upon the philosopher Condillac’s analytical approach to the acquisition of knowledge, which had been used with success in the teaching of deaf-mutes. However, Itard created a new system of pedagogy in adapting this approach to the needs of this extraordinary boy. [Haskell Norman Catalog 1144]. A small octavo bound in modern marbled brown paper covered boards with gilt-stamped spine. Lacking the frontispiece portrait of the “Wild Boy” and trimmed a bit closely at the top margin, otherwise very good with minor foxing. With two minor early corrections to pages 45-46 and an early marginal ink comment to page 7. Signed as usual by Itard and Goujon on the verso of the title page to prevent piracy. 100 pages. Very Good.
Hammersmith: Kelmscott Press, 1896-97. The Earthly Paradise was a collection of epic and romantic poems by William Morris (1834-1896) that first appeared in 1868-1870 when he was still in his thirties, and established Morris's reputation as an important poet. He planned to do an edition elaborately illustrated by his great friend, the artist Edward Burne-Jones but it was never realized. This Kelmscott Press edition had eight volumes that were issued between July 1896 and September 1897. There were 225 paper copies and 6 copies on vellum. These eight leaves are from volume five and contain pages 49-64 of The Land East of the Sun and West of the Moon. They are collected as one signature. The beautiful text pages have two 6-line decorated initials and twenty 4-line initials. Printed on Apple paper in Golden type using red and black inks. This was the first book in which Apple paper was used. Pages measure 6.5 x 9.5 inches. Except for some light browning to page edges the leaves are in near fine condition. An excellent example of the typography and printing of the Kelmscott Press and a wonderful addition to a teaching collection. PRI/070320. Near Fine.
Hammersmith: Kelmscott Press, [1896-1897]. Six Leaves, pages 83-94, from "The Wanderers and March" in The Earthly Paradise that offer a wonderful example of the fine printing of the Kelmscott Press and the impressive poetry of Morris. Pages 83-90 are from "The Wanderers". Pages 91-94 are from "March", with the opening text , border decoration and ten-line decorated initial "S" of March. Other pages with four and six line decorated initials. Printed in black and red Golden type on Apple paper. In near fine condition. PRI/050216. Near Fine.
Hammersmith: Kelmscott Press, 1892. William Morris greatly admired The Golden Legend, a medieval collection of saints' lives. It was one of the first books printed in England by William Caxton, (1422- 1491), the first English printer, who, as a translator and publisher, exerted an important influence on English literature. In his bibliography of the Kelmscott Press, William Peterson writes that The Golden Legend was intended to be the first book produced by the press, but because of its length and some problems with paper delivery, Morris was forced to issue several shorter volumes before it was completed. The book was completed in three volumes and a celebratory dinner was held in October 1892 (Bibliography pages 19-24). It was printed in Golden type on Flower paper. These 6 leaves display the fine printing and handsome Morris-designed ornamental initials. The leaves comprise pages 575-576, 583-584, 585-586, 597-601. There are seven 6-line initials and two 10-line initials. The pages are in very good condition with slight aging to margins. A nice addition to a teaching collection for the printing arts and history of the book. PRI/070920. Very Good.
[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. Very Good.
New York: Dodd, Mead & Company, . Hardcover. First edition with the charming illustrations by famed illustrator Jessie Willcox Smith. There are eleven full page color illustrations and numerous text illustrations as well. Bound in green cloth with gilt titling to spine and front cover. A circular color plate is moubnted on the front cover. Some bumping and fraying. Hinges are cracked but otherwise the interior is in very good condition. A nice copy of this children's classic. CHIL/062419. Very Good.
London: Longmans, Green, and Co., 1916. Hardcover. Scarce. A comprehensive and scholarly treatise on all aspects of typographical printing surfaces and the processes and mechanisms of their production with the goal of making it the standard text book on the subject. The authors acknowledge the considerable trouble they had in producing the book but call it a labor of love. The work first covers various aspects of type - dimensions, faces, proportions and weight, legibility, punch cutting, matrices, and moulds. In following sections the authors discuss various ways of creating texts - keyboards, casting machines, composing and distributing machines, and so much more. The final sections cover ancient and modern scripts; British and American patents by date issued; a technical vocabulary in English, French and German; a list of illustrations; and an extensive index. Bound in the original blue cloth with gilt titling to spine and front cover. Spine is faded, corners bumped. pastedowns and free endpapers appear to be more recent. Interior pages are in very good condition. Altogether an excellent copy of this monumental work. Housed in a grey cloth slipcase. 732 pages. PRINT/040320. Very Good.
Paris: Goupil & Cie, 1866. Hardcover. Folio. Bound in three quarter red leather over marbled paper covered boards with minor rubbing and wear to hinges, edges, boards, and corners. A few minor pulls to leather. Includes 51 plates with a two page description proceeding each plate. Text is printed with large woodcut initials in various colors. Occasional light smudge marks and small spots of foxing to margins, but very clean and bright overall. Tight binding. Top edge gilt and marbled endpapers. Unpaginated. ART/011821. Very Good.
London: Burns & Oates, 1919. Hardcover. Scarce first edition of an anthology of verse by Lucas. 12mo. Bound in brown linen with title, author and ornament in gilt to front cover. Slight bumping and fading but very good. Interior pages also very good, with gift inscription on ffep and an annotation in red ink on page 17 noting that a line of verse could be a motto for a sundial. 34 pages plus 4 pages of praise of the writings of Lucas and Alice Meynell. Accompanied by five short ALs from Lucas. Four were written between June - December1904 to Mr. Shorter asking for information and also inquiring about the possibility of submitting verse to "The Sphere." This would be Clement Shorter, the journalist and author who founded "The Sphere" and later "The Tatler." The fifth was to a friend in 1922 to congratulate her on the birth of her baby. Collection also includes fair copies of a few of her poems. POE/090613. 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: Harper & Brothers, Publishers, 1851. Hardcover. The “Town Ho’s Story” appeared on pages 659-665 in the October 1851 issue of Harper’s New Monthly Magazine. It was the first appearance of any part of the great novel Moby Dick and became chapter 54 in the book. A publisher’s note on page 659 says: “From The Whale, the title of a new work by Mr. Melville, now in the press of Harper and Brothers, and now publishing in London by Mr. Bentley.” The chapter concerns a potential mutiny and the appearance of Moby Dick that thwarted the uprising. It was a first report of the white whale while at sea. The volume is bound in contemporary quarter brown leather with marbled paper boards and gilt titling to spine. Light bumping and wear with chipping to edges of paper, but very nice. Interior pages are clean and bright with occasional light foxing and browning. Very good condition. 864 pages. PER/071118. Very Good.
Paris and Boston: The Napoleon Society, 1895. Hardcover. Edition de Grand Luxe, limited to 500 copies of which this is number 387. All volumes are bound to match in three quarter dark brown leather over marbled paper covered boards. The first sixteen volumes are titled "Napoleon" and numbered from 1 to 16 in gilt on the spines. The five volumes of Talleyrand are titled "Memoirs of Talleyrand" and numbered from 1 to 5 in gilt on the spines. Raised bands to spines of all volumes, some with small losses and chipping. Minor wear to edges, hinges, and corners of boards with some volumes having heavier wear and some cracking to leather along hinges. All boards remain firmly attached except for the front board of volume one in the Talleyrand portion. This board is present but detached. Sunning to spines and to edges of boards. Clean interiors overall with occasional small spots of browning / foxing / soiling. One volume of the Talleyrand portion has minor dampstaining to margins of a few early pages. All volumes have marbled endpapers and top edges gilt. Illustrated; each illustration has a captioned tissue guard. The pages in many volumes remain unopened. Each volume is about 300 pages. An attractive set. FRE/111319. Very Good.
London: Effingham Wilson, Royal Exchange; and Sherwood, Neely, & Jones, 1819 and 1820. Hardcover. 2 volumes. Each featured person (all men) has a full page biography and an engraved portrait. Each volume includes approximately 100 persons. Very good in green full leather with intricate gilt decoration on boards and spines. Raised bands, gilt titles, volume numbers, and decorations to spine. Slight sunning to spines, some light wear to edges and corners, and minor rubbing to spine and boards; otherwise, in wonderful condition with very bright gilt. Marbled endpapers and full gilt edges. The early pages in volume 1 have some thin spots (a paper defect) and a previous owner has reinforced these small areas with discreetly with clear tape that appears to be archival. Effected pages include blank free endpages, verso of title page, table of contents, and verso of first text page. The interior of volume 1 is foxed throughout , with the foxing lessening towards middle of book. There is also light foxing in volume 2. There is some pencil writing on first endpage in volume one. Text and engraved portraits remain bright. The binding is nice and tight. A beautiful set, especially in light of its age, even though it contains no eminent women. Biography. This set may require an extra shipping fee. BIO/2253. Very Good.
Monmouthshire: The Old Stile Press, 2006. Hardcover. Number 59 of 150 copies numbered and signed by Davis and Adams. The story of Bluebeard has a long history, from Perrault's Fairy Tales through Maeterlinck, and is deeply embedded in the dark storytelling of the early twentieth century. Béla Balázs, heavily influenced by the French Symbolists, wrote a play which inspired his fellow countryman Béla Bartók to create a truly Hungarian opera. The music and the libretto in their turn have drawn from Susan Adams a sequence of stunning images. Each page evokes the unfolding terror that the walls of Duke Bluebeard's castle have witnessed. The chilling story is of the young bride, Judith, brought to her new home by the Duke. She longs to fling open windows, to let sunlight flood into her castle but gradually she has to face the truth of what may have happened here -- the truth of the destroyed lives of three previous wives. The libretto is the English version made by John Lloyd Davies for performances of the opera in the UK. Printed in Eric Gill's Joanna type on BFK Rives paper. The 18 images by Adams use two printmaking techniques, printing directly from woodblocks in black (with two in white) and digitally generated photopolymer line blocks, printed in red. The small folio book is bound in black and red paper and covered with red paper with printed with woodcuts on both covers. The slipcase has grey sides with a black border, again printed with images by Susan Adams. A particularly striking production from this excellent private press. In fine condition. Unpaginated [56 pages]. PRI/061416. Fine.
Monmouth shire UK: The Old Stile Press, 1998. Hardcover. Number 160 of 200 copies. Signed by the artist and essayist. From the Press: "When The Affectionate Shepheard was first published, in London in 1594, its author was 20 years of age and immediately became a celebrity -- although he ceased to write six years later. In the centuries since, however, both poem and poet have largely disappeared from sight. Printings have been few and this one is thought to be the very first to be accompanied by images. The poem followed the rich tradition of pastoral poetry and was influenced especially by the second Eclogue of Vergil, taking unrequited love as its theme and, as its subject, the love of a shepherd, Daphnis, for the young man, Corydon. An essay, putting the work fascinatingly in its historical and literary context, has been specially written by Dr. Peter Wakelin for inclusion in this edition. If the poem is an unusual and worthwhile rediscovery, so is the printmaking technique employed by Clive Hicks-Jenkins. Involving glass and a layer of pigment, it is more akin to line engraving on, say, metal than to any form of drawing. This publication is also remarkable for being the first of our books to be printed entirely on paper handmade by Frances McDowall at The Old Stile Press." Printed in Bulmer types on McDowall's handmade paper.Illustrations on each page produced from autographic relief images using a variant form of cliché verre. Bound in vegetable parchment hand toned by the printer, illustrated on both covers with outline designs printed in grey, black spine titling. Special endpapers handmade by Frances McDowall. Foxing to some pages. Housed in a folding slipcase covered in burnt orange cloth, lined with blue Ingres paper. Octavo in near fine condition. 58 pages. PRI/061416. Near Fine.