Paris: Delachaussee, 1799. This is a leaf from Histoire Naturelle de Oiseaux d'Afrique, Levaillant's most important work. This is a comprehensive description of the birds of South America based upon his own personal experiences. Many of the birds that Levaillant claimed to have inhabited Africa later were proven not to be native to the continent. Print method is Engraving and hand colored on paper, measuring 345 x 260mm. or approximately 16 x 10 1/4 inches. Archivally matted. #48223. Very Good.
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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. #49644. Fine.
No Binding. A delightful ink drawing by English illustrator, Phil May (1864 - 1903), who made regular contributions to many periodicals, including the Sydney Bulletin, St. Stephens Review, Daily Graphics, and Punch. He also published his own annuals from 1892 - 1905 and supplemented these with additional larger albums. Examples of his work can be found at the Victoria & Albert Museum and the British Museum. May, a short man of slight build, has drawn himself in a wonderfully comic manner, as is typical of his self-portraits. He depicts himself as being enormously fat and smoking a cigar following a meal. The drawing is inscribed by May and reads: “Menu. Savoy Omlette, Cold Beef (plat de jour), Spring Onions (off), Cabbage (pickled)” and is titled “What a Feed I’ve Had.” It is also signed by the artist, “Fill May.” The drawing has been mounted on a piece of archival board and matted. The bottom right corner of the paper is missing; to make this less evident; the board behind the drawing has been watercolored in light blue to match the color of the paper. There are a few light spots of foxing to the paper. Ink drawing measures 7 x 5 inches. The mat measures 19 x 12.5 inches. ART/050609. Very good.
New York: Houghton Mifflin Co, 1946. Hardcover. First Edition. SIGNED and INSCRIBED by the author on the front free end paper “To Larry and Muriel from Carson McCullers” [undated]. It is uncommon to find inscribed copies of this book. Very good minus in yellow cloth with black title to spine and front cover. Dampstaining to top corner of boards and spine. None of the interior pages are affected. Fraying to foot of spine and bottom edge of front board. There are also a few small smudge marks on the front cover. Previous owner signature on front pastedown and occasional light spots of foxing, else clean. In an orange and olive green dust jacket with black title to the spine and front panel. The jacket has a few chips along the edges, a few closed tears, a few creases, and light soiling to the spine panel. It is also dampstained along the edges of both flaps. The interiors of the flaps are a bit rubbed, possibly from glue that has since been removed. 195 pages. LIT/050911. Very good minus in very good minus dust jacket.
New York: Dix & Edwards, 1855. Hardcover. Very scarce. The first appearance of Melville’s novella, Benito Cereno, a fictionalized account of a revolt on a Spanish slave ship captained by Cereno. It was published anonymously in the magazine in three parts. A revised version of the story was included in his first and only short story collection, The Piazza Tales, published in the United States in May 1856 and in England that June. It was never reprinted during Melville’s lifetime. This novella has often been considered one of Melville’s finest achievements. It appears in the magazine on pages 353-367, 459-471, and 633-644. Bound in publisher’s original green cloth with embossed design and gilt titling to spine. Minor wear to edges of boards, chipping to cloth along spine ends, fading to spine and edges of boards, and a few discolored spots to spine and boards. Ex-library marking that has been covered over to foot of spine, library call number stamped to several internal page margins, and previous ownership stamp to both front and rear pastedowns. No other ex-library markings. There is a one inch split to the bottom of the front hinge. Interior pages are generally clean, with occasional foxing, smudge marks, small spots of soiling, and browning. Split after title page, but binding remains secure. Otherwise very good condition. 6 x 9.5 inches. 668 pages. LIT/071118. Very Good.
London: Printed for Henry Colburn and Company, 1823. Hardcover. Second edition. Three volumes. Very good in three quarter leather with marbled paper covered boards. Maroon leather title labels and raised bands to spines. There is scuffing to the spines, wear to the corners, and minor wear to the edges of the boards of all volumes. The front hinge of volume 1 has been amateurely repaired. A previous owner has signed the front endpage of each volume in pencil. There are also non-obtrusive embossed ex-library stamps to several pages in each volume and a small library sticker to the front pastedowns of each volume. There are occasional small spots of foxing and small smudge marks. The endpages of volume 1 and 2 are blue; whereas, the endpages of volume 3 are marbled. Volume 3 lacks 1 of the 3 facsimile manuscript pages. 377 pages in volume 1; 471 in volume 2; 389 in volume 3. FRH112211. Very Good.
Oldham, England: Old Stile Press, 2012. Hardcover. Number 24 of 100 copies. Signed by the illustrator and author. This story is about the author overcoming her fear of swimming in the Medway River, which was close to where she grew up. The accompanying black and white photographs, which are composed of multiple layers, effectively capture the emotions and perceptions of the author as she wades through an eerie river landscape. This is the author’s first complete short story. It was published in The Warwick Review and in Salt’s Best British Short Stories 2011. Bound in grey paper covered boards with the title printed on the front cover and the name of the press on the rear cover. A flowing design of lines is printed continuously on the spine and both covers in brown and blue ink. Clean and bright with tipped in illustrations. Printed on Velin Arches paper in Zapfino type with Aries italic. Includes ten photographic illustrations printed using archival inks on FibaPrint photographic paper. In fine condition. Unpaginated. PRI/070912. Fine.
Pennyroyal Press, 1985. Barry Moser. Hardcover. Number 194 of 200 copies signed and numbered by Barry Moser. The preface states that the bestiary was a well-established tradition in France by the time De Fournival wrote his Bestiare d'Amour in the middle of the 13th century. In his bestiary, however, he diverted the bestiary's hallowed animal symbolism to amorous purpose. An anonymous woman composed a response to his new symbolism, which was appended to a few of the surviving manuscripts. The two works remain as an articulation of the eternal debate between Man and Woman. This fascinating text is illustrated with dozens of Barry Moser's splendid small wood engravings of animals, birds, and insects. Bound in limp vellum with gilt title to spine and housed in a grey cloth slipcase. The rear panel of the slipcase has three watermarks but is otherwise in fine condition. In monotype Dante, designed by Moser and Chase Twichell, and printed by Harold McGrath. A beautiful book in fine condition. Unpaginated. PRI/032813. Fine in Very good Slipcase.
Bronx, NY: Plotzing Press, 2003. Hardcover. Number 21 of 35 copies. A graduate from SUNY College, Tammy Wofsey now lives and works in the Mott Haven section of the South Bronx, New York. She studied with Antonio Frasoni and printed at Robert Blackburn’s Printmaking workshop before establishing her own studio. Her work has been exhibited around the world and is held in several institutional collections including Yale University, the Library of Congress, and Duke University. She has won several awards including the BRIO Award from the Bronx Council on the Arts. Her beautifully constructed books often address such societal issues as war, climate change, and with this book, the food we eat. She writes: "Mankind is now at the helm of deciding what the future will be with the food we eat. The animals eating junk food represent the global problems created by genetic engineering and monoculture farming. The wild animals in this book are smart enough not to consume our creations. Once set in motion there will be no way to revert the changes corporations are making to our food chain. The animals leave the colorful junk food for the natural world leaving behind the question only the future will tell, what will be the color of regret?" The book is an accordion-fold with the pages unfolding to reveal Tammy's etched and watercolor images of animals and plants. They are printed on Coventry Medium paper with the text in Times New Roman. The cream color boards are covered with a cream dust jacket with delicate dry point illustrations of plants on the front and back flaps. The book is housed in a bright hand painted Japanese Paper Box with hand made paper, by Dieu Donne. The book measures 6 x 6 inches. The box measures 6.25 x 6.5 x 1.5 inches. In fine condition. Unpaginated [56 pages]. Fine.
New York: George Colton, 1847. Hardcover. Includes the first printing of “To --- --- ---. Ulalume: A Ballad” by Edgar Allan Poe on page 599. Bound in three-quarter dark green leather with marbled paper covered boards, titled in gilt on the spine. Rubbing to boards with small loss to paper covering front board. Minor wear to edges of boards and corners. Previous owner's signature in pen dated 1863 to front free endpaper. Minor foxing to interior and browning to endpapers. Includes four engravings. Marbled endpapers. 659 pages. PER/011018. Very Good.
Philadelphia: Louis A. Godey, Publishers' Hall, 1849. Hardcover. Includes the first printing of “Mellonta Tauta" on pages 133-138 of Volume 38. On pages 417 - 419 of Volume 39 there is a letter and poem ("The Lady Hubbard") attributed to Poe; however, these were written as a hoax and neither is actually by Poe. Includes all 12 issues from 1849. Both volumes are bound together. Lacks both boards and spine; however, textblock remains bound. With 40+ plates, some fashion. Occasional spots of foxing and spots of soiling, but clean overall. Chipping and short tears to edges of multiple pages. Volume 38 is 440 pages; Volume 39 is 466 pages (missing 4 pages and rear endpaper). PER/010818. Very Good.
Philadelphia: George R. Graham, 1844. Hardcover. Includes the first printing of Poe’s “Dream-Land,” on page 256 of Volume 24, and Poe’s review of R. H. Horne’s Orion, on pages 136-141 of Volume 24. Both volumes are bound together in three-quarter black leather with brown floral embossed cloth covered boards, titled in gilt on the spine. Wear to hinges, edges of boards, and corners. Marbled endpapers and edges. There are eighteen engravings in volume 24 and nineteen in volume 25 plus several fashion plates. Occasional spots of foxing and soiling, but clean and bright overall. An attractive volume. Volume 24 is 296 pages; Volume 25 is also 296 pages. PER/011218. Very Good.
Philadelphia: J.B. Lippincott Company, 1925. Hardcover. First edition. Number 170 of 325 copies. Includes 15 black and white illustrations, 31 letters reproduced in facsimile with typed transcription and comments, and 3 facsimiles of bills from the Manor House School. Most of the letters are addressed to Poe's foster father, John Allan and date from 1826 to 1833. Black cloth spine over gilt and black patterned paper covered boards. Gilt title to spine. Wear to corners and edges of boards. Frontispiece portrait of Poe with tissue guard. Pages remain unopened. 327 pages. LIT/010417. Very Good.
Philadelphia: Gebbie & Co, circa 1880. Folio. Includes 100 photogravures after famous paintings and numerous wood engravings. Includes work by: Hans Makart, Karl Anton Mucke, Ludwig Passini, Fritz Paulsen, Rubens, Gustave Wertheimer, Otto Weber, Alexander Wagner, and many more. Both volumes are bound in three quarter dark red leather over red pebbled cloth boards with gilt titles to spines and front covers. The covers of volume I are detached but present. Heavy wear to leather, corners, and edges of boards on both volumes. Clean interiors overall with minor foxing throughout (mostly to margins). Occasional smudge marks. Tears to multiple pages in bottom margins of second volume. Volume I is 98 pages plus plates. Volume II is 92 pages plus plates. This is a heavy, folio sized set and it may require an extra shipping fee.ART/012019.
London: George Allen, 1898. Hardcover. 4to. 93 of 300 copies. A beautifully illustrated collection of poetry featuring angels, hell, tombs, soldiers, knights, cemetaries, shipwrecks, and more. Black and white illustrations on each page by Anna Richards, wife of the celebrated American landscape painter, William T. Richards. Their daughter Anna Richards Brewster was also a painter. Religious sonnets printed in calligraphic style on fine woven paper.This volume has been rebound in full dark grey leather with five raised bands to spine with no lettering to it or front board. The interior is lovely save for some light offsetting to many pages caused by facing illustrations. Previous ownership inscription dated 1899, gifted to Esther Morton Smith to front free endpaper. Smith (1865 - 1942) was an American poet and artist. 57 pages plus 3 page index of first lines. PRI/031308. Near Fine.
Santa Cruz: n.d. This is an undated original photograph taken by Bill Richards, a Santa Cruz fisherman and photographer. The mounted photograph captures a blue whale breaching almost its entire length amidst sea birds swimming and fluttering over the water. On the back of the photo is a mimeographed sheet of paper recounting how Richards captured the picture after trying for over fifty years to "jump" his own whale out in the ocean and photograph him. Finally the day came. While out fishing off the coast of Santa Cruz, Richards spied a sooty cloud of "whale birds" through his binoculars and knew they must be following a whale. And so they were - a big "Sulphur Bottom Bull - a blue whale - all of seventy feet long and easily weighing seventy-five tons. Richards was able to get within 200 feet and watch him feed on thousands of sardines. But then a life or death drama ensued. A pair of killer whales, orcas, went by the boat toward the blue whale. Orcas are fast and ferocious and travel in small pods. Although much smaller, a few of them are capable of killing the largest of whales. They attacked this whale, causing him to rise out of the ocean in a mighty effort to escape. It was during this battle that Richards was able to get his prized photograph. The combat was continuing as the boat returned to shore. Richards writes that this was "probably the only photograph ever secured of the largest living creature know, taken in his native element, in a battle for existence." Given the mimeographed text and reference to Plastigmant camera lenses, the photograph probably dates from the 1950s. The photo is mounted on a bedraggled piece of grey cardboard, with the inscription "To my friend Charlie Bosworth from Bill Richards" written in white ink under the photo. The photo is in very good condition save for three marks that might have occurred during processing. They do not affect the image of the whale. It measures 8.5 x 10.5 inches. A unique item in very good condition. PHOTO/062719. Very Good.
Oxford: Oxford at the Clarendon Press, 1965-1967. Hardcover. First Edition. Volume I: 1835-1860; Volume II: 1861-1870; Volume III: 1871-76; Volume IV: 1877-1882. At the time of publication this was the most comprehensive collection of Rossetti's letters ever published, and included an enormous amount of hitherto unpublished material. As stated by the editors, "These letters present a fascinating picture of London Art-circles, seen through the vivid personality of the poet-painter Dante Gabriel Rossetti." In addition to chronicling his own complex life, many important contemporaries appear in Rossetti's correspondence, including Ruskin, Madox Brown, Morris, Burne-Jones, Millais, and Swinburne. The first letter in the collection was written when Rossetti was seven years old. The last was written four days before his death on April 9 1882. In publisher dust jackets in light red and cream with Rossetti protrait on front cover. Price-clipped but otherwise very good. Bound in original dark blue cloth with title and editors to spines. Interior pages bright and clean, and in near fine condition. Continuously paginated: 1953 pages. This set may require an extra shipping fee. PRERAPH/111914. Very Good / Very Good.
London: Ellis & Elvey, 1904. Hardcover. 7 of 30 numbered copies with the plates on Japanese vellum. 25 copies were for subscribers and 5 for presentation. A lovely set bound in full vellum. teg. Slight soiling to gilt on fore-edge of Volume II.Beautifully printed, with 18 full page illustrations and frontispieces from Rossetti's paintings and drawings. Each is protected by a tissue guard giving the name of the work. It was noted by bibliographer Colbeck that the poem "After the French Liberation of Italy" was being published for the first time. Vellum binding is in very good condition with just the lightest signs of handling. Gilt title and author to spine, and Rossetti's own design of his initials on front cover. Interior is pristine. Bookplate of Frederick William Brown affixed to each front pastedown. Original blue ribbon placemarks present. Housed in modern green cloth slipcase. Volume I: 227 pages; Volume II: 245 pages. PRERAPH/070910 This set may require an extra shipping fee. Fine.
ca. 1890s. English artist, Sir William Rothenstein (1872 - 1945), was highly regarded for his portraits of authors, royalty, and other famous persons. He was also an official war artist during both world wars and served as the Principal of the Royal College of Art between the wars. This is a nice pencil drawing on paper of the artist's wife, Alice. The drawing is from the collection of the Rothensteins' daughter, Betty Holiday. The study measures 38.7 x 22.2 cm. In very good condition with some light spots to the paper. In an archival mat and protected by sheet of tissue paper. ORIG/071216. Very Good.
Paris: Librarie de la Construction Moderne, 1929-1930. Hardcover. Volume 45 of this weekly journal on all things architectural - theoretical, applied, practical, civil engineering, and legal issues. The issues date from 10/6/1929 to 9/28/1930. They have continuous pagination. The issues are filled with striking black and white photographs of hotels, public buildings, private homes, apartments. Many of the photos show the popularity of Art Deco architecture and design during that period. The coverage is mostly of French architecture although there are occasionally buildings in other European cities. Bound is brown quarter leather and marbled paper covered boards. Light rubbing and bumping to exterior but still very nice. Interior pages very good with occasional mark or closed tear to margins. Measures 9.5 x 12.25 inches. 820 pages. Heavy book that may require extra postage. ARCH/050319. Very Good.
[Seattle]: Sea Pen Press, 1988. Hardcover. Number 97 of 100 copies. Signed by the author. Thomas Brush is an award winning Seattle poet who has written several books and for several distinguished journals. He tended bar for four years at a Seattle racetrack several years ago and found it an enchanted place that values possibilities and dreams. This influence is evident in the poems included in Even Money. This interesting production from the Sea Pen Press has a blue handmade light-and-shade watermarked paper covers that are sewn in a non-adhesive concertina fashion to the text. The orange and brown decorated endpapers were created by Neal Bonham of the press using colored paper pulps in a decorative technique that he developed. There are five linoleum cut illustrations by Suzanne Ferris that "capture the linear poetry of the thoroughbred world" (prospectus). The book also has images of racetrack betting tickets decorating the title page and colophon that were created by transferring Xerox images to linoleum. The text is printed in Monotype Janson and the title page is printed with Weiss Initial Series 2. The book is housed in a coarse tan linen covered clamshell box with blue borders and ticket images on the front cover. Both the book's binding and the case were designed and constructed by Judith L. Johnson. In fine condition. Book is 9 x 11.5 inches. Case measures 10.25 x 13 inches. Unpaginated [21 pages]. PRI/090717. Fine.
Paris: Editio-Editions Citadelles et Mazenod, 1998. Hardcover. In French. Features text from the Jerusalem Bible translated into French under the direction of l'Ecole Biblique of Jerusalem. Includes over 300 full color illustrations. Two large volumes bound in red cloth with gilt titles to spine and front covers. Printed on Phoenix Imperial Demi-mat Naturel paper. In near fine condition with inscription from previous owner on front endpage of one volume and minor wear to front hinge of one volume. There is fraying to the bottom edges of the ribbon bookmarks that are bound into both volumes. Clean, bright interiors, Includes side-stapled white paper supplement with a list of the illustrations. All are housed in a red slipcase with illustrated paper title labels on the front and rear panels. The spine panel of the slipcase is beige with a red title. Old Testament is 450 pages; New Testament is 1096 pages; Supplement is 15 pages. REL/050812. Near Fine.
n.p. A charming signed original etching by noted German graphic designer and sculptor, Renee Sentenis (1888-1965). The etching depicts her beloved terrier, Oscar. He appears with her in several of portraits of her. Sentenis was well known for her sculpture, particularly of animals and athletes. She was married to the calligrapher and book designer Emil Weiss. Her work is found in museums and galleries world-wide. This print shows Oscar sitting on his haunches looking at the viewer. Printed on off-white paper and signed in pencil. Near fine condition. 6 x 6.5 inches. ORIG/110414. Near Fine.
Chicago: Sherwin Beach Press, 2008. Hardcover. Number 18 of 50 copies. Signed by the author and the bookmakers. With numerous family photographs provided by Nina Sandlin. Lee Sandlin (1956-2014) was an award winning journalist and essayist. This is his story of the extraordinary life and bewildering illness of Sandlin's father-in-law, Russian immigrant Nick Cherniavsky (1924-2007), who grew up in China. "The defining event of Nick’s life happened before he was born. The Russian Revolution was one of those vast historical calamities that most Americans have been spared: it was a time when people who never thought of themselves as political, who never thought they’d have to choose sides about anything, were forced to make political choices that could easily cost them their homes, their families, and their lives. This was how it was for Nick’s parents." This beautiful book iwas designed by Martha Chiplis, set in Monotype Ehrhardt by Winifred and Michael Bixler, and printed by Martha Chiplis on handmade Twinrocker Taupe paper. Photoetchings from family photographs are printed on Hosho, inset into the book in debossed panels. A map of Nick's lifetime of travel, drawn by Deborah Reade, serves as the front endpaper. Trisha Hammer has designed and executed a hidden crossed-structure binding in Nigerian goatskin with endpapers of Japanese silk, housed in a silk drawstring bag. An impressive production In fine condition. 9 1/2 x 11 x 2 inches. 100 pages. PRI/072115. Fine.
Chicago: Sherwin Beach Press, 1992. Howard Coale. Hardcover. Number 55 of 200 copies. Originally published in The New Yorker in 1980. George Trow was a writer and critic for The New Yorker for more than thirty years. This essay may be his most acclaimed and influential single work. It is about television and its effects on American culture, but more than that, an indictment of the emptiness of modern discourse. It has been described as a work in which Trow foretold his own descent into madness. This is a handsomely designed book with elegant printing and four interpretive illustrations. Bound in black cloth with grey design with a hat on the cover and paper spine label. Printed in Centaur and Arrighi types on Johannot paper. Designed by Robert McCamant, handset and printed by Jennifer Hughes, and bound by Trisha Hammer. Signed by McCamant. In fine condition. 110 pages. PRI/071615. Fine.