New York: D. Appleton and Company, 1854. Hardcover. 8vo. Brown cloth covered boards with gilt title and decoration to spine. Embossed decoration to boards. Full gilt edges. Minor fading to spine. Edgewear to exterior includes bumping and rubbing. Tear to cloth along rear exterior hinge. Crack to front interior hinge. Foxing throughout though text and illustrations remain bright. Hand colored illustrations. 415 pages + publisher's ads. LIT/100212. Very Good -.
Philadelphia: The John C. Winston Company, 1928. Hardcover. 4to. Green cloth boards with color illustrated pastedown to front board. Faded gilt title to spine and black title to front board. Light rubbing to illustration on front board, and small chip to edge. Interior is clean with illustrations. Binding is a little loose, though hinges are not cracked. 342 pp. CHILD/042305. Very Good.
New York: Frederick A. Stokes Company, 1926. Hardcover. 4to. Orange cloth covered boards with black title to front board and to spine. Color illustration to front board. Light browning to spine and light rubbing to rear board. Minor bumping to spine ends. Front interior hinge is starting but binding remains tight. Else is clean and bright with lovely illustrations throughout. Illustrated end pages. 416 pages. CHILD/052416. Very Good.
Lexington KY: Anvil Press, 1986. Hardcover. Number 11 of 100 copies. According to an article by Burton Milward, “Private Press Tradition in Lexington, Kentucky,” published in 1992 in the Kentucky Review, the Anvil Press was part of the resurgence of fine press printing in Lexington, led by Joseph Graves, who was influenced and taught by Victor Hammer. The Anvil Press was unusual in that it was an association comprised of ten members, inspired and guided by Hammer and his wife, Carolyn. Their books were printed on any one of the several presses owned by members of the group, and were sold at cost. This Greek tragedy in five acts, written in verse, was composed by Racine at the age of 27 and performed at the Court of Louis XIV. Bound with black cloth spine and red paper covered boards with red paper title label to spine. Pristine with numerous illustrations by Fritz Kredel, a prolific German artist who emigrated to the United States during World War II. In matching red paper dust jacket with black title to spine and front panels. Creasing to jacket and minor wear to edges. Printed in red and black inks at the Windell Press in Victor Hammer’s American & Andromaque uncial types. 51 pages. PRI/031314. Fine / Very Good.
New York: Metropolitan Museum of Art, 1977. Hardcover. 4to. Beige cloth covered boards with gitl title to spine. Wear to exterior includes minor browning to spine and one small scuff mark to cloth at rear hinge. Interior is clean and bright with lovely woodcut illustrations throughout. Housed in a light blue slip case with fading to edges. Unpaginated. ART/121509. Very Good +.
British Columbia, CA: Barbarian Press, 2017. Hardcover. One of 50 regular copies from an edition of 110 copies with 60 deluxe copies. This is the 46th book from this esteemed Canadian private press. Crispin and Jan Elsted write about this charming book: “The sixteenth and seventeenth centuries positively reveled in music. The sudden development of new instruments and styles of musical composition in the early Renaissance had arguably created a profound a shift from the music of the medieval period. The period from 1550 through Shakespeare’s life and on into the seventeenth century saw hundreds of composers producing songs, lute music, consort music, dance music, and polyphonic choral music. The first stirrings of what eventually became the orchestra are discernible in the wide range of instruments—viols, rebecs, hurdy-gurdies, lutes, guitars, citterns, trumpets, cornetts, sackbuts, serpents, recorders, flutes —which were used in multiple combinations. Shakespeare’s theatre assumed music to be a natural part of almost any performance. Roughly two thirds of his thirty-eight plays include song texts, and many of those have become established in the canon of lyric poetry in English in their own right. The Elizabethan stage moreover included what was called a ‘minstrels’ gallery’ above the stage, and we know that music was played at dramatic points during performances to create moods or enhance special effects. The texts in the book are in the original spellings of the First Folio or Quarto texts, and there are notes about the poems and a glossary of particularly obscure words.” The book is illustrated with tiny thumbnail wood engravings as well as rich full-page black and white illustrations. Printed on Zerkell Smooth White Paper in Poliphilus and Blado types. Quarter bound with a red silk spine and printed paper label. In cream paper covered boards with sprightly small flowers decorating the front cover. Errata slip tipped in rear. In fine condition. 5.5 x 7 inches. Unpaginated. PRI/100417. Fine.
New York and London: Harper & Brothers Publishers, 1906. Hardcover. First edition. Bound in grey cloth boards with gilt title to spine and color decoration to front cover. The spine is slightly cocked, name and date (1907) in ink on the verso of the dedication leaf, stain on the back cover and foot of spine, library withdrawal stamp on the rear endpaper, otherwise very good. Pictorial design on the front cover quite fresh. State of the binding with "Rex Beach" on the spine and front cover. 313 pages. LIT/102616. Very Good.
London: John Lane, n.d. . Hardcover. First illustrated edition. Inscribed by the publisher, John Lane, "Frances Minturn Hall with love from her publisher John Lane Nov 16, 1924. Hall was an American poet, and would have been just 19 years old when she received the book. George Sheringham was best known as a painter and theater designer, but also was a book illustrator. There is a color frontispiece and twenty three full page color illustrations protected by tissue guards. Bound in the original cream cloth, with the front cover elaborately decorated in cream, blues, and pink by Sheringham. Spine faded, corners bumped, and some chipping and marks of handling to covers. Interior pages and illustrations are clean and bright with occasional foxing. 70 pages. LIT/090411. Very Good.
Upland CA: Blackbird Press, 2007 [Distributed in 2010]. Hardcover. Number 40 of 100 copies. Signed by the poet, the book artist, and the illustrator. Writes Gillingwators, "When I first read B. H. Fairchild’s poetry collection The Art of the Lathe, I knew I wanted to publish the opening poem “Beauty” as a letterpress limited edition book. The poem has book characteristics–narrative structure and four, chapter-like divisions–and its visceral, lyrical appeal motivated me." Fairchild's poetry has been widely published and he has been the recipient of numerous awards. The Art of the Lathe was described in the LA Times as "a contemporary classic...finely crafted and perfectly pitched." The book artist continues: "I knew from the initial reading that my book edition would have metal covers, reminiscent of the corrugated-metal buildings that often house machine shops [where the poem takes place]. The making of the book took three years as the book artist and illlustrator learned how to make the tiny metal hinges for the book and how to age the thin aluminum used for the book covers. Each step required research, test trials, and practice. Printed with Centaur and Arrighi monotype on Zerkall Book paper, with linocuts by Alquitela. Housed in a grey clamshell box with title and author in red to spine. In fine condition. 7 x 11". Unpaginated. [11 pages] PRI/031715. Fine.
Lausanne: Librairie Th. Sack-Reymond, 1913. Hardcover. Includes twelve fairytales (Cendrillon, La Belle au Bois Dormant, La Petite Sirene, La Belle et la Bete, etc.). Very Good in three quarter leather with gilt lettering and raised bands on spine, marbled paper boards. Marbled endpapers and top edge gilt. Illustrated with charming black and white plates with tissue-guards. Text is printed in black. Initials, head and tail pieces are printed in red. Moderate wear to corners and spine ends and light rubbing to hinges, but overall a clean, attractive copy. 246 pages. Children's Literature. CHI1/6221. Very Good.
Chicago: Tand McNally & Company, 1942. Hardcover. Very good blue cloth 4to., bright color illustrated pastedown covers almost entire front board, Minor rubbing to edges of boards and to spine. Interior is clean, though light soiling to endpapers and ink inscription to front free end page. Adorable illustrations throughout, many are in bright color. 71 pages. A cute book. Children's Literature. CHIL/10153. Very Good.
New York and London: G. P. Putnam's Sons, No date. Hardcover. SCARCE EDITION. 8vo. Red cloth covered boards with gilt title to brown title label on spine. Minor chipping and rubbing to title label and browning to spine. Minor discoloration to boards and bumping to edges. Crack to front interior hinge though binding remains tight. Finger smudge to verso of frontispiece, else is clean and bright with illustrations throughout. 509 pages. LIT/020216. Very Good.
New York: Thomas Y. Crowell Company, (1945). Hardcover. 4to. Maroon cloth covered boards with gilt title and illustrations to front board and gilt title to spine. Very slight rippling to cloth at top of boards. Inscription to previous owner on front free end page dated 1946. Else is clean and bright with 8 tipped in color plates and several black and white illustrations. Housed in white and pink illustrated box with white title and illustration to front board. Minor soiling, fading, browning too box as well as bumping to corners of box. 86 pages. POE/062217. Very Good.
Chatto and Windus, 1909. Special edition, of which this is number 24 of 260 copies. Includes ten full color pasted down illustrations with captioned tissue guards. English artist Eleanor Fortescue Brickdale (1872 - 1945) studied at the Royal Academy and painted in a style similiar to John William Waterhouse. She is best known for her illustrations of Tennyson's 'Idylls of the King.' Very good in full vellum boards with gilt title to spine and front cover. Gilt illustration of an angel on the front cover. Minor wear to edges of boards and minor rubbing to boards and spine. Boards are slightly warped as is common with vellum. Marbled endpapers and top edge gilt. Occasional spots of foxing throughout, heaviest on early and late pages, but clean overall. 246 pages. POE/010218.
London and New York: Frederick Warne and Co., Ltd., n.d. Hardcover. A nice reprint of this charming edition of Browning's famous poem. There are color illustrations throughout by Greenaway that capture the spirit of the poetry. Bound in green pictorial paper boards with yellow titled linen spine label. A few small nicks to paper boards but very good. Small brown stain along top and bottom of front pastedown and rear free endpaper. Ink ownership signature on free front endpaper. Very good condition. 8 x 10 inches. 48 pages. CHlL/011518. 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.
New York: D. Appleton & Co., 1872. Leaf from William Cullen Bryant's Picturesque America. This work is a delineation by pen and pencil of the mountains, rivers, lakes, forests, water-falls, shores, canyons, valley, cities and other picturesque features of our country. Print method is wood engraving on heavy paper. This print was never washed with some foxing in the margins only. Print measures approximately 9.45 x 10.63 in. Archivally matted. #51945. Fine.
New York: Grosset and Dunlap, 1945. Hardcover. Signed and inscribed by the author and dated 1957. A bedtime story book. According to Burgess, his stories are written "to teach the truth in regard to these little wild folk (Peter Rabbit, Mr. Toad, etc.) and their ways, and to stimulate a love of nature." In red paper covered boards with black title to spine and front cover. Illustrated. In red illustrated dust jacket with white title to spine and front cover. Wear and a few chips to edges of jacket. Fading to spine panel of jacket. 189 pages. CHILD/032818. Near Fine / Very Good.
New York: Farrar and Rinehart, 1941. Andrew Wyeth. Hardcover. Limited to 650 copies. SIGNED by the author and artist. This is a special Delaware edition printed exclusively for the Greenwood Book Shop. This copy is not numbered and is marked in pen as "over - run." Part of the Rivers of America Series, this book gives a detailed history of the Brandywine River. Very good in original brown cloth boards with purple and gilt title label stamped on spine. Minor wear to edges of boards and spine ends. Light rubbing to hinges. There are a few light markings to the front board. There are a few small spots of foxing to the illustrated end pages and the first few pages. There is also a previous owner's signature in pen on the front end page; otherwise, the interior is clean. Vignette illustrations by Andrew Wyeth begin each chapter. Includes a laid-in newpaper article about an accident on a bridge across the Brandywine north of Wilmington, DE. At the top of article written in pen is "Baltimore American February 8, 1884." 285 pages including index. STA/060911. Very Good.
New York: Maxton Publishers, Inc., 1947. Hardcover. Version for young readers by Roselle Ross. Green paper backed illustrated paper covered boards with black title to front baord. Minor edge wear to boards. Interior is clean and bright and filled both black and white and full color illustrations. Green illustrated dust jacket with black spine. Minor edgewear and chipping to jacket. Two very small open tears to front panel of jacket. Very Good + in Very Good DJ.
Paris: Le Livre de Demain, Artheme Fauard & Cie, (1933). Paperback. Very good in yellow paper wrappers with black title to front wrapper and to spine and illustration to front and rear wrapper. Minor browning to wrappers and wear to spine ends. Slight foxing throughout though text remains clean and bright. Includes 32 lovely original woodcuts. 126 pages. In French. FRELANG/101415. Very Good.
Cheloniidae Press, 1984. Hard Cover. Number 19 of 60 copies for the Deluxe Edition with an extra suite of prints. Signed and numbered by the book artist. There were 225 copies in the standard edition. This beautiful book is in a unique custom binding designed and executed by Robert Wu at his studio in Toronto in 2018. Robert is an exceptionally talented Taiwanese-Canadian designer bookbinder and paper marbler from Toronto, where he has lived since 2006. He began binding books in the 1990s and studied with several master binders. His splendid bindings can be found in public and private collections in Canada and the United States and he has received several awards. His specialization is in the grand tradition of French Art binding - Reliure d'Art. His eight years of architectural training is evident in the quality of his designs and the precision of his execution. The deluxe edition includes a suite of signed and numbered wood engravings and one etching by Alan James Robinson, a master printer and artist who established the Cheloniidae Press, later called The Press of the Sea Turtle, in 1979. The text used for this edition was first published in 1650, “corrected and much enlarged by the author.” English author Sir Thomas Browne (1605 - 1682) was fascinated with the natural world. In this text he describes a variety of horned animals and ponders the varying medicinal value of their horns. His text has been beautifully printed and illustrated by Robinson with unicorns, horned beetles, a walrus, a narwhal, and more. Robert's imaginative and marvelous binding is in red leather with a black spine label with title in silver. The red leather binding is stamped with the title in white, black, and blind running vertically from top to bottom of both covers. The front cover has an elaborately embossed white leather inlay with a faux ivory oval ornament with an illustrated narwhale horn. The rear cover has the same inlay with a portrait of Thomas Browne in the faux ivory. Marbled endpapers from Robert's studio with his binder's seal on the rear pastedown. Printed in Van Dijck Monotype on obsolete Whatman Paper, Blue White Laid. The book, prospectus, and suite of loose plates are housed in a custom clamshell box covered in beige linen. In fine condition. Unpaginated. [56 pages] ARTB/092118. Fine.
Toronto: Cheshire Cat Press, 2017. Number 19 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/010819.