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.
Refine search resultsSkip to search results
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.
David McKay, (1929). First American trade edition in original dust jacket and box. (Publisher's name to spine; however, the title page cites the English publisher - George G. Harrap.) Fine in original grey blue cloth boards with gilt title to spine and front cover. Gilt rose design to front cover. Includes twelve full color, full page illustrations and many black and white in text line drawings. Illustrated endpapers. Minor soiling to the fore-edge of the textblock, else clean and bright. In grey dust jacket with dark red title to spine and full color illustration pasted down to front panel. The jacket has a few small chips to the edges and a few creases. Housed in the original grey paper covered box with full color illustrated pastedown (that matches the jacket illustration) to front cover. The corners of the top of the box have been repaired / reinforced with archival mending tape. Rubbing and wear to the edges of the box. 232 pages. CHILD/013118.
Hingham, MA: Maryanne Grebenstein, 2012. Hardcover. Number 3 of 20 copies. One unique hand lettered copy was also issued. This is a small prayer book containing The Lord’s Prayer in Latin, Middle English (John Wycliffe version), and the Revised Standard Version. In this limited edition the black text is printed and the decorations are hand colored with the illuminations in gold or silver pen. Each book is hand bound and colored differently, so that the 20 copies all have a completely different look. This copy is bound in lavender leather with an inlaid cross to both covers and title in gold. Binding by Samuel Feinstein. 3 x 3 inches. Fine.
circa 1650. These are leaves from a Hafez Dewan fragment of Ottoman origin, circa 1650, on paper, measuring 169 x 78 mm., consisting of nineteen lines of delicate black nasta'liq script within geometric designs in blue ink. The author, Mohammed Shams od-Din Hafez, lived from 1325-1399. Hafez was one of Persia's finest lyric poets and wrote in the sophisticated "Ghazal" manner. The Dewan takes the poetic format of six and fifteen couplets and expresses Sufi ideals in lyrics. Framed. #17709/17710. Very Good.
London: Longmans, Green, and Co., 1893. Maurice Greiffenhagen. Hardcover. First Edition of this Aztec romance. Author's Presentation Copy, inscribed "To Andrew from his affec brother H Rider Haggard 1894." Henry Rider Haggard (1856-1925) was the author of a number of adventure novels set in exotic locales. His books, including She and King Solomon's Mines, are still popular today. Haggard traveled to Mexico in 1891 to do research for this book and sadly his young son died while he was away. The book describes the first interactions between the Spanish and South American natives, as well as murders, shipwrecks, and slavery. Colonel Andrew Haggard, who had a distinguished military career - he was one of he first British officers to command in the Egyptian army - was also a successful novelist, travel writer and poet. It is known that Andrew helped Rider with the writing of Dawn and he likely played an important role in helping his younger brother with the several bestsellers which revolved around Egypt and mummies. There are 25 black and white illustrations by the British painter and illustrator Maurice Greiffenhagen. He was Haggard's friend, which led him to illustrate several of his adventure books, starting with She in 1889. Bound in the original publisher's blue-green cloth with gilt author and title to front cover and spine. Light bumping, small chip to bottom of faded spine. Hinges a bit tender but text block is tight. Interior pages are clean. Bookplate of collector Mark Samuels Lasner to front pastedown. Very good condition. 325 pages plus 24 page publisher's catalog. LIT/012016. Very Good.
Glenview, IL: Karen Hanmer, 2018. Number 21 of 30 copies. In this small but powerful work, Karen Hanmer offers a scathing look at what has been happening in the United States since January 2017. From Access Hollywood through the Mueller investigation to white nationalist support, #Great Again #Believe Me documents contemporary American personalities, pronouncements, slogans, scandals, policies and crimes, complemented by the metaphor of a deconstructing US Capitol. The text is printed in inkjet on binders' board with polypropylene and juxtaposed with black and white photos of the US Capitol as it was constructed, but shown in reverse order to seemingly deconstruct. The book is bound in the Jacob’s Ladder artists’ book structure, which is borrowed from a folk toy traditionally made of blocks of wood held together with ribbons. The structure is held from one end and allowed to dangle vertically. When the block being held is tilted, the remaining blocks flip over in succession, producing a cascading visual effect. Housed in clamshell of archival board. In fine condition. 21.5 x 2.5 x .125 inches extended; 3.5 x 2.5 x .75 inches closed. PRI/112818.
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, 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, 2010. Hardcover. Number 21 of 25 copies in the Deluxe Edition. The edition consists of 125 copies of which 25 are deluxe, 50 are standard, and 50 are printed as chapbooks. Noted book artist Karen Hanmer examines the writings of Edgar Allan Poe and compares modern events to his stories. “The physical structure, typography, and design for the paper wrapper ... are based on the first edition of Poe’s first published work, Tamerlane and Other Poems. Only twelve copies of this modest pamphlet are known to exist of the fifty printed in Boston in 1827” (Hanmer). This copy is presented in an early 19th century boarded binding based upon a technique taught by Jeff Peachey. Bound in marbled paper covered boards with beige paper spine and title label to the front board. The paper was marbled by Pamela Smith. Inkjet printed on Ruscombe Mill pale wove handmade paper. Housed in an archival folding case with a replica of the Tamerlane title page pasted to the front cover. The case has a Velcro closure. In fine condition. 36 pages. ARTB/011516. Fine.
Glenview, IL: Karen Hanmer, 2008. Hardcover. Number 17 of 30 copies. At once vast and minimal, sparse and rich, the night sky has always been a canvas upon which people project their myths and dreams. Star Poems presents quotes that document response to the night sky across the ages by philosophers, artists, and poets from Plato and Byron to contemporary writers, scientists and astronauts. This text is paired with 17th century mythological images of constellation forms and images of early star gazers on a background of a NASA photograph of the Milky Way. The book can be held in the hand and read page by page like a traditional book, can be removed from its jacket and unfolded flat to reference historical astronomical charts or contemporary NASA composite photos, or can be folded into an infinite variety of sculptural shapes. Measures: 6.75x5.75x.75" closed, 17.5x 23" open. Housed in a blue cardstock box with velcro closure. 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].
Boston: Houghton Mifflin and Company; The Riverside Press, 1900. Hardcover. 258 of 500 copies of the Autograph Edition, signed in the first volume by the author's daughter, Rose Hawthorne Lathrop, who provided the introduction, and by the publisher. FRONTISPIECE OF EACH VOLUME IS SIGNED BY THAT VOLUME'S ILLUSTRATOR. This beautiful and important set is illustrated by some of the foremost illustrators from the late 19th and early 20th centuries. They include several of the artists of the Brandywine School such as Howard Pyle, Jessie Wilcox Smith, Frank Schoonover and Anna Whelan Betts. Other illustrators include the famed American impressionist artist, Child Hassam. The volumes are signed as follows: Anna Whelan Betts (Volume I); Emlen McConnell (II); Sarah S. Stilwell (III); Jessie Wilcox Smith (IV); Mary Lewis Ayer (V); Eric Pape (VI); Maud Cowles (VII); B. West Clinedinst (VIII); Alice Barber Stephens (IX and X); E.C. Peixotto (XI); Frank T. Merrill (XII); Howard Pyle (XIII); A.I. Keller) (XIV); Frederick McCormick (XV); F.C. Yohn(XVI); Albert Herter (XVII); Harry Fenn (XVIII); Childe Hassam (XIX); Edmunc H. Garrett (XX); Jules Guerin (XXI); and Ross Turner (XXII). Beautifully bound in publisher's deluxe binding of three quarter blue morocco, marbled boards, and gilt decorated spine with titles and floral ornaments betweeen raised bands. Marbled end pages, t.e.g.. In fine condition. LIT/072310 This set may require an extra shipping fee. 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: T. Fisher Unwin, 1893. Hardcover. FIRST EDITION, very uncommon. American author, Pearl Craigie (1867 - 1906), published several novels including this one in Fisher Unwin's Pseudonym Library series. Near fine in original beige cloth with green title to spine and front board. Minor foxing to end pages, else the interior is clean. Top edge in gilt. Nice condition. 249 pages plus 8 pages of ads. LIT/012109. Near Fine.
Benjamin Iluzada, 2018. Hardcover. Artists' Books. Number 5 of 5 copies numbered and signed by the book artist, who is of Filipino descent. Ninuno Espiritu, "ancestral spirit" in the Filipino language, was produced by printmaker and storyteller Ben Illuzada at the University of the Arts in Philadelphia. It consists of striking and evocative woodcuts, linocuts, and photo-plate lithography on cotton rag paper handmade by the artist. The Filipino text of a poem/song is digitally printed separately in 12pt Gill Sans on the same paper and affixed to the back of the front cover of the book's clamshell box. The language translations were double checked by the artist's father, who is a Filipino immigrant (colophon). The book is an accordion structure that is bound in Asah Turquise Bookcloth with gold foil stamping. The book is housed in beige linen covered clamshell box. In fine condition. Book measures 5.5 x 7 inches. PRI/070319. 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.
Minneapolis: Indulgence Press, 2012. Portfolio. Number 7 of 10 copies. Signed and numbered by poet and illustrator. This is one of several books produced by Wilber "Chip" Schilling, owner of the Indulgence Press, in collaboration with author-artist Thomas Rose. In this book they created a beautiful and mysterious work that combines Rose's haunting photographs with the poetry of Lo Ch'ing, a noted modern poet from China. In his foreword, Rose states that "art deals with primary intention and those aspects of objects and space that are unavailable to logic. His images are constructed from various sources including shadows and reflections. They are illusions, reflections in glass. Lo Ch'ing's poems give these images...depth and richness." The pairings of the photographs and poems are open-ended and ambiguous, allowing for conjecture as to how the images and text meet. The eight photographic prints are originals by Rose, and Lo Ch’ing wrote the interpretive poems for this book, with his original brushwork and translations. They were printed letterpress from plates by Schilling. Each image is printed in color on a fine woven paper. Each poem is printed in Chinese and English along with the striking black brushwork on a light and semi-transparent paper that slightly reveals the image beneath. The elephant folio sized sheets are housed in a green and black cloth portfolio with diagonal boards that fasten with a black bone closure. A stunning production from the noted Indulgence Press in fine condition. PRI/121312. Fine.
Berkeley: University of California Press, 1981, 2018. Karen Hanmer’s artist-made books are physical manifestations of personal essays that intertwine history, culture, politics, science and technology. She utilizes both traditional and contemporary book structures, and the work is often playful in content or format. Karen was the winner of the Jury Prize for Binding in the 2009 Helen Warren DeGolyer American Bookbinding Competition. One of only ten graduates of the American Academy of Bookbinding’s Fine Binding program, she has studied with many notable fine binders. She exhibits widely, and her work is included in collections ranging from Tate Britain and the Library of Congress to UCLA and Graceland. Her masterful bindings wed the ancient art of book binding with the high tech use of the computer to aid her process. Karen designed and constructed this exquisite unique signed binding for this first trade edition of the famous Arion Press's 1979 edition with its striking illustrations by renowned illustrator Barry Moser. Her binding is based on the non-adhesive “clip-on cover” structure developed by UK binder Kathy Abbott. To create this binding the text block is disbound, the outer folios guarded and then sewn with long stitch using blue linen thread into the calf vellum wrapper, covered in limp calf vellum case, with tabbed corners. Hand titling to spine is done in 22k moon gold, with a blue acrylic line applied through stencil along the bottom edges of the front and rear covers. The endpapers are of handmade Ruscombe Mill pale wove paper in a single folio with hooked flexi endleaf. The top edge of the text block is covered with graphite. Karen writes: "The pale vellum references the white whale, and the blue line a turbulent sea. The stark contrast between these elements mirrors the horror steadily building in anticipation of the Pequod’s encounter with Moby Dick. Use of blue inside and out also references the color of the initial caps in the Arion Press and Deluxe California editions of this text." This is an impressive binding that beautifully pays honor to one of the great American novels. Book measures 10.5 x 7 x 1.5 inches. Housed in a dark blue clamshell box with a white gilt and blue title label to spine. In fine condition. FINEBINDING/080618.
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, . Arthur Gaskin. Five text pages plus two of the twelve full page illustrations by Arthur Gaskin. This was one of the later books of the Kelmscott Press, and it was finished several days after Morris's death on October 3, 1896. These beautiful sample pages include the first three pages for "Januarie" and the first two for March. The Januarie pages are in near fine condition but the March leaf has a tear along the bottom margin not affecting text. Each has a striking ten line first initial. The two Gaskin illustrations are printed on the versos of a bifold leaf. There is a three inch tear along the bottom of the fold not affecting the illustrations. Accompanied by a proof of the front cover showing the lettering. Very nice examples of Kelmscott Press printing and illustration. PRI/011816. Very Good.
London: The Studio, 1913. Slipcased. SCARCE. Issued as a bound-in Christmas supplement to Volume 60 of The Studio. It includes seven illustrations in color and eight in black and white, all in the quintessential Art Nouveau style for which Jessie M. King is known. This copy is hand-sewn into a folder with maroon paper boards and a beige linen spine. Housed in a slipcase covered in the same maroon paper. In near fine condition. ART/111412. Near Fine.
London: Cecil Palmer, n.d. . Hardcover. With its large format and beautiful color illustrations on every page, this is one of Jessie M. King’s most desirable books. The stories are charming, and many impart a gentle moral to the children reading them. For many years there was some uncertainty about the identity of the author, “Marion.” Many believed that Jessie M. King was the author because her middle name was Marion. It was finally established by her descendants, however, that the author was Mrs. Alexander (Marion) Gemmel. (B199, Colin White bibliography). The illustrations are exuberant and playful, as befits stories for small children. There are eleven full-page illustrations, with color decorations on each text page. Bound in bright paper covered pictorial boards with title and illustrator in red to front cover and spine. Some wear and rubbing to edges, hinges, and corners but in very good condition with clean, bright interior. Original glassine jacket not present. 56 pages. CHILD/111412. Near Fine.