New York: Vanguard Press, 1947. Hardcover. First Edition. Signed by the author on the title page. The author’s second novel. Very good in black cloth boards with blue title to spine. Minor wear to corners and spine ends and very light evidence of a minor dampstain to the rear board. Signed by the previous owner on the front free endpaper, and browning to both gutters; otherwise, a clean copy. In a good light blue dust jacket with white title to spine and front panel. There are several large chips to the top edges of the dust jacket and there are a few small chips to the bottom edge. Browning to the spine panel and dampstaining to rear panel. 294 pages. LIT.052511. Very Good in Good Dust Jacket / Chipped.
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Toronto: Cheshire Cat Press, 2019. Hardcover. Number 13 of 42 copies. Signed by Walker, Burstein, and printer Andy Malcolm. Quarto. This is the latest version of The Hunting of the Snark to be published by the Cheshire Press. Carroll's famous nonsense poem has been subject to numerous interpretations over time. In this truly snarky edition, Walker has chosen President Donald Trump and his White House cabinet and advisors for his 21st century lineup of the characters. He writes: "...I think they match up nicely to to the crew of the ship. When you read the poem and think of Trump's cabinet, it's hard not to see the parallels. The political arena in the USA could be described as nonsense, which is exactly the type of poem [this] is. The plot follows a crew of ten unqualified professionals trying to hunt the Snark with a blank map." Thus such familiar names as Scaramucci, Sessions, Priebus, Pence, Mnuchin, Bannon, Sanders and Trump himself appear in parts that reflect their real-life attributes and roles. Bound in grey textured cloth with leather title label to front cover and gilt title to spine. Printed in New Caledonia type on Velin BFK Rives paper. With thirteen engravings by Walker and "The Snark Map" in a sleeve affixed to front pastedown. Housed in slipcase covered in same cloth as book with gilt titling to cover and spine. In fine condition. 71 pages. PRI/011520. Fine.
Toronto: Cheshire Cat Press, 2017. Number 31 of 42 copies. Signed by the printers and the author of the introduction, who are ardent and well-known Carroll admirers. The Cheshire Cat Press was formed by book designer and printer George Walker in 1991. The press began when he and two colleagues produced new editions of Alice's Adventures in Wonderland and Through the Looking Glass. Edward Wakeling, who wrote the introduction, is an internationally known authority on Carroll. From the prospectus: "Here finally is a book collecting all the Alice associated images into one volume. In this book is the work of the other PUNCH illustrators who were influenced by John Tenniel’s pictures for Lewis Carroll’s Alice. Oh yes we include Tenniel too! Through the many decades that Punch existed (1841-2002), references to the Alice books have been a common feature. Now you can have them all in one volume. The images are printed by hand directly from polymer plates made by Boxcar Press, except Alice Reigns Supreme (page 27) which is printed photo-mechanically. The plates were created from high resolution scans made directly from the original PUNCH publications. Printed on 115 gsm Rives Lightweight Buff 100% rag paper using a Vandercook Sp15 letterpress." Bound in green cloth with gilt title to spine and gilt ruling and Punch figure to front cover. Punch figure repetitive design to endpapers. Housed in a green cloth slipcase. In fine condition. 10 x 13 inches. 57 pages. PRI/031221.
New York: Béatrice Coron, 2001. Hardcover. Number 24 of 25 copies. Beatrice Coron is renowned internationally for her book arts and installations. She is particularly known for her use of papercutting to tell stories and create books. This inventive and complex book by Coron is a departure from her works created by cutting paper. It first appears to be a traditional codex. However, when opened one discovers that the text pages in French of Verne's novel are bifolds that open to reveal facsimiles of his manuscript pages of that text. Even more unexpected are inserts between the pages that may be pulled out by green string to document the changes made in the text in the manuscript. A wonderful production. Soft covers in a Coptic binding. Inkjet printed and stenciled on paper. Housed in a blue cloth and black leather custom box with a title label on front cover. Size: 6 x 9 x 1 inches. Unpaginated. ARTB/081921. Fine.
London: Macmillan & Co., 1891. Hardcover. First Edition. Lanoe Falconer was the pseudonym of Mary Elizabeth Hawker (1848-1908), the Scottish novelist, pianist, and short story writer. This scarce book was a very popular supernatural novel in its day. In very good condition in original dark blue cloth boards. Light bumping to corners and chipping to spine. Interior pages clean with some splitting to signatures but text block is holding. 197 pages plus 44 page classified catalogue. LIT/031511. 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.
London: Tower Publishing Co., 1895. Piffarrd, Harold. Hardcover. First Edition. Author's rare first book. Edgar Jepson (1863-1938) was a popular English writer of adventure and detective stories. Very good in original red cloth boards with gilt title to spine and front board. The front cover is illustrated with a ship and the spine with a man hailing a ship from the shore. There is minor wear to the edges of the boards and there are a few dark markings to the boards and spine. Aside from a few light smudge marks, the interior is clean and bright with eight illustrations and cover design by Harold Piffard. Bookplate to front pastedown. 316 pages. LIT/062910. Very Good.
New York: Charles Scribner's Sons, 1908. Hardcover. The Outward Bound Edition. Volumes 1 - 32; lacks volumes 11, 17, 20, and 33 - 36. This set was issued over many years, so it's no surprise that several are missing. An attractive set bound in three quarter dark brown leather over marbled paper covered boards with gilt titles, floral devices, and raised bands to spines. Minor wear to edges, corners, spine ends, and bands to most volumes. One volume has a detached spine (along one edge). Another volume (18) is heavily cracked along the spine with some chipping. Minor sunning to spines of some volumes. Clean interiors overall with occasional spots of soiling to margins. Includes full page illustrations with captioned tissue guards. Marbled endpapers and top edges gilt. LIT/041719. Very Good.
Iowa City: Emily Martin, 2022. Number 21 of 25 copies signed and numbered by the book artist. Emily Martin says of this personal and inventive book: " Madness was created during the pandemic and went through many forms before it became what you see here. It’s appearance and content are very much shaped by my time in isolation. Initially, I copied out the play Hamlet by hand starting in March 2020 because I was too anxious to sit and read. I also was making paper puppets for companionship. The project kept changing as events swirled around me. I struggled to make sense of the project in a world gone crazy. The text is a crazy quilt arrangement of lines from Hamlet and my writing on repeating themes of fear, disease, Black Lives Matter, Asian hate crimes, the insurrection, so much death and isolation. " She further comments on her colophon: "Madness went through many forms before it became what you see here. It has taken me much longer to figure than any book I have ever made before. The combination of subject matter that was centuries old with happenings in the minute complicated my thinking beyond measure." About the artist: Emily Martin earned an MFA degree in painting, from the University of Iowa in 1979 and made her first artist’s books at that time. Martin joined the faculty of the University of Iowa Center for the Book in 1998 where she teaches artists books, paper engineering, and traditional bookbinding classes. Martin made limited edition artists books first as the Naughty Dog Press, but now uses her name only. She has produced over fifty artist’s books, often using movable and/or sculptural paper engineering techniques. Martin’s books are included in public and private collections throughout the world, including the Metropolitan Museum of Art; the Meermanno Museum, The Hague, Netherlands; The Victoria and Albert Museum; The Museum of Contemporary Art of Chicago; the Tate Britain; the Library of Congress and among many others. Madness was printed letterpress with polymer plates from Boxcar Press on Arches Text wove paper. The background pattern of the pages is made up of my renderings of tears, drops of blood, Covid-19 particles and bullet holes. The paper puppet inclusions were printed on University of Iowa Center for the Book Chancery paper and are costumed in papers of wheat straw, sisal, daylily fibers, and abaca paste papers made by Andrea Peterson. The puppets are attached to their pages but are engineered to be able to be lifted away from them and gently move. The book was constructed as an accordion and the pages can be extended and displayed. The non-adhesive brown covers are flax and abaca papers made by Mary Hark for the outside and flax papers from the University of Iowa Center for the Book for the inside. White title label is affixed to the front cover and to the spine of its box. Housed in a black cloth covered clamshell box. A fascinating book in fine condition. Measures 8 x 11 inches. Unpaginated. ARTB/051623. Fine.
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: John Parker & Son, 1854 and 1856. Hardcover. First Editions. Inscribed by the author, “With the author’s compliments” in first volume. The Angel of the House became extremely popular in its time, and the title became a Victorian phrase used to describe the ideal wife/woman. Patmore wrote this about his wife, Emily, whom he thought was perfect. John Everett Millais painted her portrait and used the same title as the book. After the first book there were three subsequent installments. This and the first installment formed a coherent poem. The later two were a separate poem inspired by the first. Bound in original rippled brown cloth with paper spine labels. Rubbed and bumped, and tears to The Espousals label. Interior pages generally very good. Pastedown to first volume stained and has remains of a bookplate. Second volume has a light ink inscription on pastedown and a pencil drawing and signature on the free front endpaper. Volume I: 191 pages; Volume II: 182 pages plus 16 page publisher catalog. This set may require an extra shipping fee. LIT/040912. Very Good.
London: Charles Hirsch, 1896. Hardcover. First Edition of an uncommon work. A curious book, it was one of two legitimate novels published by Charles Hirsch, a London bookseller and publisher known for distributing clandestine works. William Platt was a peculiar 1890s writer whose works concerned the role of the sexes and often leaned toward the risque. In keeping with this, the cover has an illustration in gilt of a nude woman reading a book. In original green cloth, somewhat rubbed and bumped. Interior pages have browning to margins, offsetting to free endpapers with chip to rear free endpaper. Still a nice copy in very good condition. 222 pages plus ad for music by William Platt and 16 pages of reviews of Platt's Men, Women, and Chance. LIT/032513. Very Good.
London: T. Fisher Unwin, 1898. Hardcover. First Edition of this rare work. William Platt was a peculiar 1890s writer whose works concern the role of the sexes and inhabit an area between regular fiction and the risque. A very nice copy in original grey cloth with a gilt cover design attributed to Sidney H. Sime. In very good plus condition. With book plate of Mark Samuels Lasner. 88 pages. LIT/032513. Very Good+.
London: Jacob Tonson, 1734. Hardcover. Jacob Tonson (1656? - 1736) was one of the most influential publishers in England. and the premier publisher of his age. In 1709, he famously purchased the “copyright” to Shakespeare. Tonson and his family over the next fifty years went on to publish some of the most significant editions of the collected works of Shakespeare, edited by the likes of Nicholas Rowe, Alexander Pope and Samuel Johnson. This volume of Timon of Athens is one of the many plays that Tonson published in 1734. The several titles were the first of Shakespeare's plays to be published individually rather than in the folios or Tonson's multi-volume sets of Shakespeare in 1709. Tonson entered into a feud in 1734 with another bookseller over the rights to see copies of Shakespeare's plays. Due to the Copyright Act of 1709, any “rights” that the firm previously held expired in 1731. Regardless of the law, the Tonsons and the other proprietors continued to hold claim to the rights and they actively intimidated their competitors from trying their publishing luck with the Bard. When in 1734 a small-time London bookseller named Robert Walker began to produce inexpensive editions of the individual plays, Tonson threatened Walker with litigation to cease production. Undeterred by Tonson’s threats, and eventual bribery, Walker called his bluff and continued to sell the plays, offering volume title pages for the plays to be bound in seven volumes, if desired. Realizing that he did not have any lawful recourse, Tonson counter-produced his own editions of the individual plays, to eventually be bound in eight volumes, publishing more copies, at a lower cost than Walker’s. While trying to out-sell each other, the two booksellers took to issuing “advertisements” with their publications, in an attempt to defame the othe [Folger Shakespeare Library]. This copy of Timon has one of these advertisements, printed on the verso of the title page under the list of characters. Bound in modern black pebbled cloth with title and year published in gilt to front cover. Slight rubbing and bumping. Marbled red endpapers. The text pages are browned and have occasional spots but are still quite nice and readable. With a frontispiece illustration by Paul Fourdrinier, the 18th century engraver. Very good condition. Measures 4 x 6.5 inches. 72 pages. Very Good.
London: Macmillan and Co., 1886. Hardcover. First Edition. A Presentation Copy, inscribed "Edward Shorthouse from his affectionate brother & sister J Henry & Sarah Shorthouse." John Henry Shorthouse (1834-1903) was an English novelist probably most famous for his book John Inglesant. The recipient was also an author. With the bookplate of Ohio book collector Paul Lemperly, with Lemperly's inscription stating that he received the book as a gift from Morris L. Parris, whose collection of Victorian novels is now at Princeton. Parrish's letter of presentation is inserted. Bound in original dark blue cloth with gilt stripes and embossed design on front cover and spine. In fine condition. Housed in a fine custom half-red morocco slipcase. Octavo. 300 pages. LIT/053013. Fine.
New York and London: Harper & Brothers, 1900. Hardcover. Special Biographical Edition. An attractive set bound in three quarter turquoise morocco over marbled paper covered boards with gilt title, floral device, and raised bands to spines. Minor wear to edges of boards, hinges, bands, and corners. Slight darkening to spines. Clean interiors with illustrations. Previous owner's signature in pen dated 1901 to front free endpapers of all volumes. Marbled endpapers and top edges gilt. LIT/041719 This set will require an extra shipping fee. Very Good.
Mad Parrot Press, 2022. Hardcover. Number 45 of 75 copies signed by the printer and binder, Chad Pastotnik. This is a marvelous edition of The Wind in the Willows, the incomparable book by Kenneth Grahame. In his introduction, Peter Hunt, author of The Making of The Wind in the Willows, writes: "It is a book which makes you feel that, though everybody in the house loves it, it is only you who really appreciate it at its true value, and that others are scarcely worthy of it." This book is beautifully produced, with fine letterpress printing on special paper, and is accompanied by artist Vladimir Zimakov's exuberant linoleum cut illustrations of the characters and their adventures. Quarter bound in green Moroccan goatskin and orange cloth. Orange titling to spine and leather and gilt illustration affixed to the front cover. Printed in the Centaur font with Arrighi for italic on special Saint Armand Canal paper developed especially for this work. There are 12 full page color illustrations and numerous text illustrations throughout. Housed in a black cloth slipcase. In fine condition. Measures 10.25 x 14.25 inches. 132 pages. PRI/050522. Fine.
The Printmakers Left, 2002. The Printmakers Left is an artists’ collective, an organization, and as such it can act and be received. But that collective is composed of individual artists, each with a singular voice and the ability to make course-altering decisions. Therein lies the tension that binds The Printmakers Left together and makes The Printmakers Left what it is. Which is to say that one aim of this collective and its participants is to promote a process of engagement with a complex world [Their website]. This was an edition of 25, with 23 bound and distributed to the participating artists. Only two were available for sale. This work is based on Jorge Luis Borges's story of the same title. The short story deals with themes that recur in Borges's work: idealism, the manifestation of thoughts in the "real world", meaningful dreams, and immortality. This volume celebrates a category of books created by William Blake in the 1790s - the printed manuscript, using a technique he invented utilizing relief etching. There were 25 participants involved in the making of this fascinating book. The book displays varied images and designs to convey the themes they inspired the artists from Borges's story. For 18 months they mailed sets of folios to each other. Almost anything was possible if it could be 30 times. All texts in the edition were typed on a manual typewriter and include previously unpublished poems by Lisa Russ Spaar. This is handsewn printed manuscript using multiple print media, clays, and pigments. It is casebound in a binding of pink cotton cloth with two small decorated paper shapes affixed to the front cover. In fine condition. Measures 10.375 x 9 inches. 206 pages.ARTSB/040623.
London: Smith, Elder, 1888. Hardcover. 8vo. FIRST EDITION. SIGNED LETTER. Includes a one and a half page handwritten and signed letter by Ward to her publisher. Also features the bookplate of accomplished Danish actor, Jean Hersholt (1886 - 1956), which is pasted down to the front end page of Volume I. Hersholt, perhaps best known for his role as Shirley Temple’s grandfather in Heidi (1937), appeared in over one hundred films, directed several films, won a Golden Globe Award, and was nominated for an Academy Award. He was also an eminent collector of books by Hans Christian Andersen and translated many of Andersen’s fairy tales into English. These were later published in six volumes and are still considered to be one of the best English translations. Born in Australia, British author Mary Augusta Ward (1851 - 1920) published under her married name, Mrs. Humphry Ward. She was passionate about improving education for the poor, and supported opening Oxford University to women. She helped form the Association for the Education of Women in 1878; however, she was also an anti-suffragette and served as the founding president of the Women's National Anti-Suffragette League in the early 1900s. A very good triple decker set in the original blue cloth with gilt titles to spines and black titles to front boards. There is a small closed tear along the exterior front joint of Volumes I.and II All volumes have minor wear and a few chips to the book cloth along the corners, edges, and hinges. Bumping to corners, minor rubbing to boards, and wear to joints. The interiors remain very clean overall. There are floral patterned end pages in first two volumes and variant chocolate colored end pages in Volume III. The set is housed in an attractive dark green half-morocco slipcase with maroon and gilt leather labels to spine. There are a few minor scuff marks to the case and a closed tear to the hinge of the tri-fold sleeve which fits within. Volume I has 371 pages; Volume II has 374 pages plus ads; Volume III has 411 pages. LIT/031908. Very good.