•  Binding as above; edges and extremities rubbed, small cracks in leather of front cover and spine, a few small abrasions to back cover. Pages age-toned with occasional light spotting, otherwise clean. Evocative, charming.  (27354)

This is copy number 1496 in edition limited to 2000, translated from the Spanish by Gregory Rabassa with an introduction by Alastair Reid. The colophon page issigned by both Rabassa and Reid, and also by the illustrator, Rafael Ferrer. The illustrations by Ferrer, a native Puerto Rican, numbereight full-page oil paintings reproduced by the Seaboard Lithograph Corporation and25 in-text ink drawings plus a full-page original graphic handprinted by the Blackburn Studio, New York, on Rives paper, laid in at the back. Ferrer's images, with their bold lines and colors, belong to the New Image school of painting, which bears the unmistakable influences of Neo-Expressionism, Surrealism, and Dada. G.G. Laurens designed calligraphy for the text, which was set in Monotype Fournier by Michael and Winifred Bixler at their Boston Letterfoundry, and printed by theStinehour Press in Lunenburg, VT.

Binding:  Quarter dark brown leather by Robert Burlen & Son over straw-colored natural jute and linen, with the title gilt-stamped on the spine.

This offering includes the monthly newsletter.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 532.   Binding as above, in matching brown slipcase with gilt title on box spine. Spine leather evenly sunned to café au lait, else clean and bright, in a near fine slipcase.  (30805)

•  Publisher's cloth, front cover and spine stamped in white, black, orange, and gilt; lacking the dust jacket, with binding slightly cocked, spine stamping a bit dimmed. Front free endpaper with inked ownership inscription.  (13027)

Binding:  In the style of a percaline mosaïquée, but the gilt and mosaic are applied to a textured pebbled cloth. Spine gilt extra with added “mosaic” of green, white, red and blue. Front cover with a blind-stamped border incorporating elegant corner-pieces; within this, “Souvenir de Versailles” gilt-stamped in an arc above a large on-laid crowned coat of arms flanked by banners and flags, this embellished in gilt with rich use of blue, white, red, blue, and green. Rear cover with similar blind-stamped border and a different large gilt-stamped center device strikingly incorporating an on-lay of blue stamped in gilt with a military medal. All edges gilt.

•  On this type of binding, see: Morris & Levin, The Art of Publishers' Bookbindings, pp. 94–97.   Binding as above, rubbed to the underlying boards at the corners of the boards and top of spine slightly pulled with one bit of rubbing. Scattered pale brown stains mostly on interleaves and sometimes visible on versos of plates; some discoloration in some margins of plates and occasionally into one; overwhelmingly a clean copy, remarkably bright and unfoxed. A strong and nice example of this category of “souvenir” and of a gilt mosaic binding.  (30464)

Binding:  Publisher's quarter white linen with blue-green paper sides, printed paper label on spine; the variant binding without the embossed medallion on the front cover and bearing instead a paper label that gives full publication details and describes the book as in “imperial 8vo” costing “two guineas net.” Top edge gilt, others deckle.

•  Bound as above, without the d/j. A very good copy.  (34706)

•  Publisher's cream cloth, covers and spine with gilt-stamped floral and geometric pattern; binding slightly cocked, lower outer corners showing minor wear, offsetting to rear free endpaper from a leaf of paper(?) once laid in. Top edge gilt, other edges uncut. Dust jacket and slipcase lacking, thus the more affordable as a book; a clean, solid, enjoyable copy.  (33516)

The plates are signed “F. Kearny,” an artist born in Perth Amboy, NJ, who studied drawing with Archibald and Alexander Robertson and engraving with Peter Maverick. From 1810 to his death in 1833 he practiced engraving in Philadelphia.

There are two states of gathering “U”: this copy has the typographical error “tibbon” with the stop-press correction to “ribbon” on p. 235.

The volume ends with advertisements for several sporting and fishing goods suppliers.

•  Shoemaker 27838; Howes K108; Henderson, American Sporting Books, 6; Phillips, Sporting Books, 21; Streeter Sale 4084; Bennett, Practical Guide, 60–61. On Stauffer, American Engravers, I, 148–49.   Publisher's sprinkled sheep with simple rope roll in blind on board edges, some abrasion to leather; round spine with gilt double rules forming “spine compartments,” black leather title label. The usual light and scattered foxing noted in all copies, nothing more. A very nice copy.  (28553)

There is, to us, a surprising and very interesting section on grapes and wines. The first part of our caption delights partly in discovery that maize, the “corn” of the U.S., is here called “turkey wheat” — with further note that you can make bread of it, but that the result is pleasing only to “barbarous” tastes! The entry as a whole showsGerard at his characteristic best, at once scientifically systematic and engagingly discursive.

Provenance:  Neatly lettered name of “W. Younge” at top of title-page; it is tempting to attribute this to William Younge, physician of Sheffield and Fellow of the Royal Linnean Society, whose online correspondence shows him to have been an eager collector of botanical books.

•  STC (rev. ed.) 11752; Alden & Landis, European Americana, 636/25; Nissen, Botanischebuchs, 698n; Pritzel 3282n; Johnston, The Cleveland Herbal, Botanical, and Horticultural Collections, 185; Woodward, Gerard's Herball: The essence thereof distilled (London, 1964). On the source of the blocks, see: Hunt Botanical Catalogue and Bowen, K. L., & D. Imhof, The illustration of Books Published by the Moretuses (Antwerpen, 1997). For “Turkey Wheat, “ see: Gerard, p. 81; for polenta, p. 71.   Late 17th-century English calf, plain style; rebacked professionally in the 20th century, later endpapers. As usual, without the first and last blank leaves. Three leaves with natural paper flaws in blank margins. A very good copy.  (34500)

•  Photographic dust jacket protected by mylar, not price clipped, over bright red boards; bottom edge bumped but no damage to jacket. Neat black “remainder” mark near spine on bottom edge; practically new!  (30106)

The two woodcuts (title-page and opposite A1r) are copies of illustrations appearing in Brant's famous work — the first, a version of the Ship and the second, of “The Corrupt Way to Live of Those Who Are Ruined.” The volume is, as one would expect, printed in gothic type (except for the biography). There are spaces with guide letters for capitals; the side margins have letters and numbers to aid in finding passages.

Provenance:  From the library of American collector Albert A. Howard (sans indicia).

•  Alden & Landis, European Americana, 510/5; VD16 G777 (& ZV 6437 for the Life); Adams G315; Ritter, Strasbourg, 955.   18th-century German boards covered with black-mottled paper, spine with paper label; rear board and spine now smoke-darkened, the latter totally (with loss of paper) and the former partly, with front joint tender. Light pencilling and inking on front endpapers, portion of front free one cut away, front fly-leaf partially detached; small blank area of top of title-page cut away and repaired long ago, small ink “A” in bottom margin. Light old waterstains with newer darker ones layered over them at most bottom corners, occasional instances of marginal worming. The final section, i.e., the Vita, is loose in the binding.  (37312)

•  Publisher's printed paper wrappers. Clean and crisp.  (31231)

•  Clean and fresh.  (31233)

•  Publisher's textured navy paper wrappers, in original brown paper envelope printed in red; envelope corners slightly worn. Wrappers and pages clean and crisp.  (31228)

•  The report is illustrated withnumerous plates and in-text illustrations depicting views of geographic features and cross-sections, as well as withfive maps, one color-printed.

•  Publisher’s olive-brown cloth, spine with gilt-stamped lettering attractively oxidized and with now-repaired tear in cloth; cloth rubbed at extremities and split along portions of the front joint (with this remaining solid). Front pastedown rubber-stamped by the institution to which Dalrymple gave his books (no other markings), front free endpaper with affixed label as described above, front fly-leaf with lower corner once folded in (now flattened). Pages very clean; in fact, avery nice copy.  (20233)

Signed by Gill at the colophon, with a note on the front free endpaper recording that this copy was done 19 February 1934 “at a lecture at the Edinburgh College of Art.”

•  Gill (second ed.) 22.   Publisher's textured olive cloth, spine with gilt-stamped title; dust jacket lacking, spine sunned, lower extremities showing faint shelfwear. Front free endpaper with early inked ownership inscription and later annotation as above. Sewing starting to loosen slightly; pages age-toned with scattered faint smudges.  (35328)

•  Gill (second ed.) 37.   Publisher's pink paper wrappers printed on front in blue, housed in matching pink and blue paper envelope. Pamphlet in fine condition; envelope with bumped edges and corners and a few spots of smudging.  (35362)

Provenance:  Ex–John Howell Collection of the Pacific School of Religion.

•  VD17 23:669552D.   Bound as above, the whole very solid and strong. Spine with small nails or brads visible to help secure text block, and almost certainly with a second filigree appliqué lost; covers with small piercings that may have to do with binding security or may be evidence of once-attached elements now lost although the design as-is does not seem “incomplete.” Later endpapers over original ones, one old endpaper with old inked jottings; bookseller's label of John Howell, no library markings. One section of textblock slightly extruded. A wonderful example of a Baroque-era, highly decorative metal binding.  (36073)

This is numbered copy 801 of 2000 printed, signed at the colophon by the artist. The appropriate Club newsletter is laid in.

•  Bibliography of the Fine Books Published by the Limited Editions Club, 500.   Binding as above, in publisher's green paper-covered slipcase. A handsome copy.  (31987)

numbered copy 80 out of just 100 printed

•  Publisher's Mexican bark paper wrappers bound on cream thongs; front wrapper with small splash of bright red. Pages very clean and crisp.  (31328)

Binding: Bound by Hayday in green pebbled morocco, spine with raised bands; two compartments with title and author and four with rich and elaborate gilt decoration; wide gilt composite borders to boards, board edges with gilt hatching, gilt zig-zag design on turn-ins. All edges gilt.

•  Bound as above; light rubbing particularly to spine-head, one slim scrape to front board and several to rear one. Endpapers lightly foxed, silk placemarker present with end a little frayed, old pencilling to verso of front free endpaper. Interior and illustrations clean and unmarked. A very good presentation copy of this classic.  (37320)

•  Publisher's teal cloth, front cover and spine with gilt-stamped title and decorative floral motifs; back cover and corners showing very slight scuffing. Back hinge cracked and front hinge starting; front free endpaper excised. Still, an attractive copy.  (18393)

Provenance: Bookplate on front pastedown engraved with the Duke of Bedford's family motto, “Che sara sara,” and the dated name of the family seat, “Woburn Abbey, 1873.” Later in the library of American collector Albert A. Howard (sans indicia).

•  Dobson, Thomas Bewick and His Pupils, pp. 70–86; Ray, The Illustrator and the Book in England, 50.   Half red morocco with textured cloth sides, gilt title to spine, and marbled endpapers; corners and joints rubbed, endpapers and first and last few leaves foxed with occasional such spotting or the occasional limited stain elsewhere. A beautiful production.  (37635)

The work isillustrated with a total of 12 engravings, including portraits of the first five presidents and an engraved half-title page.

Provenance:  Ownership signature on two front fly-leaves of Giles Satterthwaite, dated 1824; his note also, “Prise [sic] $1-75.”

•  Sabin 27871; Shoemaker 12704.   Contemporary sheep, spine with gilt-stamped title and compartment decorations; binding worn and abraded, spine leather much chipped and cracked with some fragments carefully reattached in first panel; joints, corners, and headcaps restored. Pagesfoxed and age-toned throughout, loosening in some signatures, torn and chipped in margins and corners of a few pages; inner margin of one front fly-leaf reinforced. Ownership inscriptions as noted.  (5503)

16 steel-engraved maps

While the title-page gives the Boston publication line described above, the printed front cover gives Philadelphia: Thomas, Cowperthwait, & Co., 1838; this is a later edition, following the first of 1832.

A first impression is that “child” readers had, in 1832, much greater powers of attention to print than is now common, but indeed the history here is — the stories are — absorbing and evocative.

•  American Imprints 50587.   Publisher's quarter sheep and printed green paper–covered boards, rubbed and worn; pages cockled and foxed, yet paper good and untattered. One page with stray ink marks, not obstructing legibility. A good, solid, pleasing copy.  (33716)

•  Cary 216.   Printed grey wrappers; a few small tears, covers and top edge soot-stained with a majority of top and side margins and a few whole pages affected, some worse than others. A “survivor” copy priced accordingly.  (36763)

The little volume also offers astriking wood-engraved frontispiece in orange and black by Jean Gabriel Daragnès (1886–1950) who additionally provided the wood-engraved headpieces, and the colophon notes the item was printed by Ducros, Lefèvre, & Colas.

•  Red and black printed cream wrappers, gently worn around edges; light age-toning with a few occasional spots, frontispiece offset onto title-page. A very nice copy.  (36392)

This isnumbered copy 46 of 1000 printed, signed at the colophon by the author/artist. The appropriate newsletter is laid in.

•  Publisher's gray Italian bookcloth with “natural eelskin spines,” each front cover with printed paper label, in a single matching slipcase; slipcase with minor dust-soiling, volumes clean and unworn.  (31524)

Elaine Kerrigan selected and wrote the introduction to this group of Graves's poems, illustrated witheight double-page plates by Paul Hogarth reproduced by Meriden Gravure Company from original watercolors. This is copy number 1496 of 2000 designed by Freeman Keith in monotype Bembo and Arrighi, and printed on Curtis cream-toned paper at The Stinehour Press in Lunenberg, VT. BothKeith and Hogarth signed the colophon.

A. Horowitz & Sons designed the binding in quarter brown buckram over black and red patterned tan boards, with author and title gilt on spine and top edge gilt. The appropriate LEC prospectus and newsletter are laid in.

•  Bibliography of the Fine Books Published by the Limited Editions Club, 517 (200 pp., in error). On Graves, see: ODNB online.   Binding as above, in a matching slipcase with cloth at top and bottom edges and printed spine. Glassine dust jacket present. Very nice copy.  (35206)

Sickness is a theme here

The volume is illustrated with a total of three wood-engraved depictions of New England buildings.

•  Publisher's pebbled terra cotta cloth, front cover and spine with gilt-stamped title; spine darkened and worn with gilt rubbed, sides with small spots of discoloration, cover gilt nice and bright. Some light smudging to margins, pages otherwise clean. All edges gilt.  (27649)

Finally, the printers are the usual admirable suspects: Bracamonte, Beteta, and Arevalo. It is interesting to see them represented by such UNusual ephemera!

•  Medina, Guatemala, 761; 814; 852; 1523; 1525; 1557; 1577; 1580; 1596; 1613, 1626; 1758 1898; 1806; 1918; 2138.   All items are in very good condition, in Mylar sleeves, the entire collection in a quarter morocco clamshell case.  (33845)