NO U.S. editions in NCBEL.

•  Shoemaker 26032; NSTC 2S9985. No U.S. editions in NCBEL.   Period-style quarter tan cloth and light blue paper–covered sides, spine with printed paper label. Ex–social club library: pressure-stamp on title-pages and one other page, no other markings. One leaf with short tear from lower margin, not touching text; one leaf with tear from outer margin extending into text, without loss; two leaves with lower outer corners torn away. Occasional small spots of staining; minor offsetting in vol. II.  (28743)

•  Wright, II, 2174; Sabin 78641.   Publisher's brown cloth, covers blind-stamped with star-shaped design, spine with gilt-stamped title and blind-stamped decoration; binding cocked and rubbed, spine extremities chipped. Ex–social club library: 19th-century bookplate and call number on pastedown and fly-leaf, front free endpaper lacking, title-page pressure-stamped. No other markings. Pages faintly age-toned, otherwise clean.  (26565)

•  Richmond, Shaker Literature, I, 1279; MacLean, Shaker Literature, 441; McKinstry, Andrews Shaker Collection, 397.   Publisher's printed paper wrappers, unevenly age-toned; front wrapper with minor offsetting of printed text. Pages clean and crisp.  (27503)

The text is charmingly illustrated with numerouswood engravings by Alexander Anderson, made for Samuel Wood in New York between 1813 and 1835. “All were used variously in Massachusetts by Elisha Turner in Northampton and by Edward Livermore in Worcester, before they were acquired by Merriam & Moore. None of the cuts relates directly to the text. The book is illustrated by one engraving that is not by Anderson” (Pomeroy).

Provenance:  From the children's book collection of Albert A. Howard, small booklabel (“AHA”) at rear.

•  Pomeroy, Alexander Anderson, 2214; Hamilton, Early American Book Illustrators, 348; Cutt, Mrs. Sherwood and Her Books for Children, p. 137, G4.   Original printed paper wrappers in light pink, imprint on front and publisher's advertisement on rear as above. Wrappers faded and dust-soiled with chip to rear lower corner; foxing and light old dampstaining throughout, notable but far from nasty.  (38475)

Binding:  Publisher's brown cloth, front cover with black-stamped hunting scene and title framed in gilt, spine with gilt-stamped title.

•  Binding as above, corners and spine head lightly rubbed. Ex–social club library: call number on endpaper, rubber-stamp on title-page, no other markings. Pages clean.  (27113)

Editor, writer, illustrator, and translator Shoberl may be best known for his editing work on the English literary annual Forget-me-Not, although he published on a variety of topics.

Provenance:  From the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.

•  Shoemaker 35196. On Shoberl, see: DNB (online).   Quarter red roan in imitation of morocco and yellow paper–covered sides, spine lettered and ruled in gilt; spine evenly sunned, front cover lightly discolored, all edges darkened, none of this unattractive. Front fly-leaf with light pencilling and short marginal tear; light to significant age-toning and a small amount of waterstaining through most of text; creased or crumpled corners, a few spots/stains including to plate margins, one témoin, and a short marginal tear. Beautiful illustrations and interesting reading.  (38402)

ten oversized, folding maps

•  Sabin 81135; Howes S461; American Imprints 44-5635.   Publisher's plain paper–covered boards, recently rebacked with olive green cloth, spine with new antiqued printed paper label; paper rubbed and stained. Hinges (inside) reinforced. Ex–social club library: 19th-century bookplate, call number on endpaper, pressure-stamp on title-page and sectional title, no other markings. All leaves affected by an unusual sort of very light and remarkably even waterstaining that left the upper outer corners (only) untouched and even bright, with a variously wavy line of light to moderate brown marking the “border”; otherwise a few other pages with other soiling or staining; one page with smudge of green ink, touching but not obscuring text; one leaf with short tear from upper margin, not extending into text; and a bit of cockling. An excellent example of a good book that has suffered accidents but also is “better than it sounds.”  (29420)

•  Sewn in publisher's color-flecked grey paper wrappers. A crisp, clean copy.  (36079)

Binding: Publisher's ribbon-embossed green geometric-patterned cloth of Krupp's style Gt2; original printed paper labels.Do please click to enhance the image of this handsome American binding cloth— it's hard to show, but worth trying to see!

•  American Imprints 49627. On the binding, see: Krupp, Bookcloth in England & America, 1823–1850, Gt2.   Bindings as above, cocked; edges, extremities, labels rubbed, chipped, spotted — far from fresh, but also far from devastated. Ex–social club library: bookplate on each front pastedown, call numbers in a 19th-century hand (lined through) on pastedown and front free endpaper, title-pages and a few others rubber-stamped. No other institutional markings. Front hinge (inside) of vol. I starting, text block pulling away from spine, first few leaves starting to separate. Front fly-leaf with pencilled numeral and pencilled doodle/sketch of a chubby child; occasional faint pencilled annotations. A few scattered spots of staining, pages mostly clean.  (26294)

The present martyrology, first printed in 1846, reached seven editions during the 19th century, four of them printed by Leary & Getz, the printing arm of the famous Philadelphia bookstore generally and simply known as “Leary's.” Not unexpectedly, the volume is wildly anti-Cathoic but is also an excellent example of mid-century American bookmaking in its publisher's binding, illustration, and method of printing.

The binding is the publisher's red roan in imitation of morocco. Both covers are gilt-stamped with a triple rule border at the board edges and gilt corner devices; in the center of each board is a gilt vignette of a martyrdom based on one of the plates in the text. All edges are gilt.

The illustrations are wood engravings, mostly unsigned, but a few signed “Lossing.” There are several in-text wood-engraved portraits and there are additionally24 wood-engraved plates (including the frontispiece) that have been hand colored, probably by a stencil method.

The text is printed in double-column format from stereoplates, in roman type, with an interesting six-line capital at the beginning of each chapter.

Provenance:  “Mamie C. Swinton, from 'Aunt Jennie,' August 1870.”

•  Binding as above, rubbed at board edges and joints (outside); top and bottom of spine pulled with loss of leather. Short tears in foremargins of final blank leaves; scattered foxing and some brown spotting. Over all, a good++ copy; a very good representative ofthe genre, “ugly ideas got-up beautifully.”  (37226)

•  Publisher's cloth, lettered in gilt on the front. Near fine.  (26702)

Provenance: Title-page with affixed presentation slip from the State Historical Society; front free endpaper with affixed envelope flap addressed to the Rev. E.A. Dalrymple of Baltimore, MD.

•  Publisher’s cloth, spine with gilt-stamped title. Binding sturdy but with portion of spine cloth missing, exposing underlying material; corners bumped, extremities very lightly rubbed. Front pastedown with institutional stamp. Pages slightly age-toned, else clean.

Although not initially well-received by critics, according to Steinbeck's last wife he considered East of Edenhis magnum opus. He called it “the book,” saying, “I think everything else I have written has been, in a sense, practice for this . . . Having done this I can do anything I want. Always I had this book waiting to be written.” A decade following its publication, Steinbeck would win the Nobel Prize for Literature.

First state dust jacket with author's photo on rear panel and no ads; contains spelling mistake “bite” instead of “bight” on p. 281, line 38.

•  Publisher's green cloth with navy-stamped lettering to front board; red spine-label with navy lettering and border. Edges of boards lightly faded. Price-clipped dust jacket present with minor age-toning and chipping at extremities, minor loss to spine-ends; small tears at top of front joint and bottom of front fore-edge, and some rubbing to fore-edges. Rear free endpaper pulling from binding slightly, exposing about an inch of webbing. A nice, sturdy and readable copy.  (37822)

Stern was the life and business partner of Leona Rostenberg, their firm of Rostenberg & Stern having been one of America's most respected during the post –WWII period and known for its dealing in early printed books Dufief (1776?–1834) was a refugee from the French Revolution who from 1793 to 1818 lived in Philadelphia, where he taught French and ran a bookstore. Among the libraries he acquired was the large residue of Benjamin Franklin's!

•  New. Publisher's light brown cloth with paper spine label.  (35753)

The frontispiece portrait was engraved by James Barton Longacre (1794–1869) after the painting by Joshua Reynolds. Longacre was an American engraver of great talent: From 1844 until his death he was the Chief Engraver of the United States Mint. He is remembered for designing the Indian Head penny, the Shield nickel, the Flying Eagle cent, and other iconic coins of the mid-19th century.

Binding:  Green morocco, both covers blind-embossed with a round center medallion depicting a man and a woman (or goddess) in a garden by a greenhouse, he seated with a rake on one shoulder and a spade by his side, she standing and extending a hand to him to either give or receive a branch of fruit; medallion surmounted by a lyre and framed in elaborate acanthus and foliate motifs. Brown marbled endpapers; all edges sprinkled brown in a pattern resembling marbling.

Provenance:  Inked ownership inscription (David Scott?) dated 1963 on front fly-leaf; title-page with early inked inscription of E.R. Potter.

•  American Imprints 26935. Binding not in Wolf, From Gothic Windows to Peacocks.   Binding as above; edges and extremities rubbed, front joint tender and starting, spine slightly sunned. Ownership inscriptions as above. Intermittent mild to moderate foxing; offsetting to title-page from portrait. Aged but elegant, in a notable binding.  (38209)

Binding:  Publisher's ribbon-embossed green floral-patterned cloth of Krupp's style Ft6.

•  American Imprints 53109; Palau 322394; Sabin 91388. Not in Smith, American Travellers Abroad. On the binding, see: Krupp, Bookcloth in England and America, 1823--50.   Publisher's green floral-patterned cloth, spine with printed paper label; corners and spine foot rubbed, spine head pulled, paper label darkened with edges chipped. Front free endpaper with pencilled ownership inscription; occasional pencilled annotations and marks of emphasis. Light to moderate foxing.  (25425)

Origin & Provenance: The writer was neither Lieutenant Colonel William Steuart, who died in 1839, nor William Steuart, chief statistician of the Bureau of the Census, who was born in 1861; rather, this was beyond a doubtthe William M. Steuart for whom Steuart Street in San Francisco was named — the acting chairman of the California State Constitutional Convention in 1849 and a one-time candidate for governor of the state.

Steuert first went to California as a secretary to Commodore Jones and maintained strong ties to the family.

•  Folded as mailed, with traces of original red wax seal; lower inner corner reinforced with cellophane tape some time ago. Two small spots of staining. A personal yet politically instructive window on contemporary opinion, written by someone who was surely (kindly!) “spinning” yet (also) knew whereof he spoke.  (36541)

The second part (pp. 267–403), which contains its own title-page, is a collection of testimonies by “inspired writers,” or Shakers professing their faith in the book's divine source.

“Read and understand all ye in mortal clay,” exhorts the title-page — “Received by the church of this communion, and published in union with the same.”

Provenance:  In the library of Colgate Rochester Divinity School; inscription on front free endpaper “To be returned to Amelia G. Mace, Office.”

•  Sabin 32664, 79708; and 90701.5 for revised collation.   Contemporary sheep, recently rebacked in plain calf with gilt-ruled bands and gilt-stamped green leather title-label. Ex-library copy, with rubber-stamp on all paper edges and p. [1]; rubber-stamped five-digit number at base of p. [iii]; inscription on front free endpaper in blue ink (see above); and faint traces of a librarian's penciling at inner margin of p. [iii] and verso of title-page. Small bookseller's ticket at lower outer corner of rear pastedown. Some foxing, especially to endpapers; offsetting from leather affecting title-page and following page, at edges; very good condition.  (24495)

Binding:  Publisher's quarter “tiger-striped” orange-brown cloth with gray cloth sides, front cover with gilt-stamped title and black-stamped door, spine with gilt-stamped title.

•  BAL 18880; Johnson, High Spots of American Literature, 69; Wright, III, 5242.   Binding as above; minor rubbing, spine gilt dimmed. Front hinge (inside) tender. Ex–social club library: call number in 19th-century hand on front free endpaper, rubber-stamp on half-title and title-page, no other markings. A very clean, nice copy.  (26250)

The second volume contains “The Sands of the Green River” (Neith Boyce), “The Unsullied Brow of the Viceroy” (Edwin Lefévre), “The Saving of Jim Moseby” (Anthony Leland), “The Escape” (Dabney Marshall), “Dick” (Maria Louise Pool), “The Primrose Dame” (John Regnault Ellyson), “When His Majesty Nicholas Came to England” (Clinton Ross), “At 'The Temple of Unending Peace'” (Alfred Dwight Sheffield), “The Tumbrils” (Nathaniel Stephenson), “Gil Horne's Bergonzi” (Maurice Thompson), “Her Last Love” (Clarence Wellford), “A Little Boy of Dreams” (Beatrice Witte), and “The Wolf in Sheep's Clothing” (Edith Franklin Wyatt).

Bindings:  Both volumes in publisher's pinkish-tan cloth, all edges gilt. Vol. I's spine in dark blue, each cover with A.E. Borie's Art Nouveau design of a woman walking down the street while reading, stamped in black, green, yellow, and blue. Vol. II's spine in red, covers each with striking black and red reproduction of Claude Bragdon's Chap-Book poster of the “Sandwich Man”: a vignette of a bowler-hatted man in triplicate, wearing Chap-Book sandwich boards.

•  Kramer, Stone & Kimball, 119 & 168.  Vol. I: Binding as above, minimal shelfwear, faint smudging to sides. Pages with a few instances of pencilled marks of emphasis, mostly but not entirely confined to the first essay, pages otherwise clean. Vol. II: Binding as above, very slightly cocked, sides with faint spots of discoloration, light wear to extremities. Two stories with faded inked marks of emphasis, and one with a few pencilled marks; a very few small spots of staining, pages otherwise clean.  (29013)

The volume includes steel-engraved and heliotype plates, several of which have protective tissue, illustrating the interiors and exteriors of the campus. An article on Catharine Hopkins, a former Associate Principal of the seminary, is laid in, as well as an errata slip.

Binding:  Publisher's brown cloth with beveled boards; gilt lettering to spine and front board with college seal gilt to the latter.

•  Bound as above; boards mottled and rubbed, spine faded. Very light spots of foxing throughout, with a few spots on a handful of plates. A sound decent copy.  (37801)

An abolitionist document important in its own right, not just as “support” of a fiction's faithfulness to fact.

•  BAL 19357 (for first London ed.).   Contemporary pebbled paper with roan shelfback, spine with gilt-stamped title, foliate designs, and “L, C” at foot; rubbed. Pages slightly age-toned, with occasional small spots of foxing. A solid copy of an early printing.  (34942)

•  Later pale green cloth. All edges marbled. Cloth ribbon placemarker.  (33239)

warmly inscribed with Christmas greetings from the poet

•  Clean, crisp copy in publisher's red cloth, slightly darkened, gilt-stamping on front cover still bright. Front free endpaper with number stamped in upper right corner, also with author's gift inscription as described above; pages clean.  (4898)

Provenance: “Miss Carrie G. Skinner, Fort Ann Village, NY.”

•  American Imprints 43-4820; Sabin 93131.   Publisher's violet cloth, covers blind-stamped with central gilt-stamped urn vignettes, spine with gilt-stamped title and decorations; cloth sunned especially at edges and spine, corners bumped, front joint with small spots of old insect damage. Front free endpaper with early pencilled ownership inscription, as above. Foxed; a few poems with early pencilled annotations (brief) — one is, simply, “Splendid.”  (27650)

•  Garrison A7.1.a. Publisher’s olive paper–covered boards, front cover and spine stamped in gold; lacking the now seldom-seen dustwrapper, spine very slightly darkened, extremities showing touches of wear. Top edge gilt. Front free endpaper with inked ownership inscription dated 1903. Pages clean. A good-looking copy.  (15733)

Binding:  Publisher's ribbon-embossed brown cloth with flower and acanthus leaf design (Krupp's style ft1), spine with gilt-stamped title.

•  American Imprints 53164; Adams, Manual of Historical Literature, 168. On the binding, see: Krupp, Bookcloth in England & America, 1823–1850, ft1.   Binding as above; corners rubbed and small rubbed spot on front cover, spine extremities chipped, spine head with small lightly discolored area from now-absent label. Ex–social club library: bookplate and early inked call number on front pastedown, title-page pressure- and (faintly) rubber-stamped. No other markings. Front hinge (inside) partially reinforced with paper some time ago. Scattered light staining. A nice book.  (26289)