Binding:  Publisher's blue-gray cloth, front cover with vignette of a tree rooted in a heart, bearing silhouette portraits of a woman and man done in black and gilt on a cream paper inlay; binding signed “MA” — Margaret Armstrong.

•  BAL 15377 (for first ed.); Gullans & Espey 158.   Binding as above, top edge gilt; very slightly cocked, edges and extremities lightly rubbed. Faint waterstaining to some lower outer corners. A nice copy of an engaging work.  (35751)

Binding:  Publisher's grey silk, front cover with affixed color-printed illustration, spine with title stamped in black, in a striking lucite slipcase.

•  Binding as above, lucite showing predictable minor shelfwear, overall a beautiful copy. An uncommon printing of work by one of the most popular contemporary crime writers; actually, ofan all-star trio of writers.  (33332)

We trace only five copies in U.S. libraries of the Haymarket item andnone of the novel.

•  Contemporary half brown cloth in imitation of leather, with marbled paper sides; rubber-stamp of Milwaukee bookseller C.N. Caspar on back pastedown. Haymarket item printed on highly acidic paper and brittle, brittle, brittle, and totally browned; novel with foxing. (32122)

The first three volumes were printed in Amsterdam in 1734, and each opens with an engraved frontispiece; the fourth volume was printed in Cologne in 1739. All four volumes have title-pages printed in red and black, with the fourth specifying that Nicole's notes were translated by Mademoiselle de Joncourt.

Provenance:  All four title-pages with small early inked ownership inscription in upper outer corner of “A. Thorpe, York.”

•  Period-style quarter mottled calf and marbled paper–covered sides, spines with gilt-stamped leather title and volume labels and gilt-stamped compartment decorations. Vols. I and II with frontispiece rectos institutionally rubber-stamped, with bleed-through into images; ownership inscriptions as above. Pages clean.  (27243)

•  Publisher's tan and brown printed paper–covered boards; spine somewhat darkened, paper chipped at spine and cracking along front joint. Front and rear free endpaper with inked presentation inscriptions dated 1914. Pages age-toned; one leaf with short tear from outer margin.  (33100)

Binding:  Publisher's blue cloth, front cover pictorially stamped in cream, black, and gilt, spine stamped in cream and black.

•  Binding as above, minor rubbing to extremities, a few spine letters with tiny spots of rubbing. One leaf with lower outer corner torn away. Clean and fresh.  (28606)

Part of the “Harper's library of select novels” series, the work appears here with vol. I in the second printing (vol. II had only one printing); the binding is BAL's state A, with the front cover of vol. II incorrectly marked “No. XXV.”

•  American Imprints 14120; Wright, I, 2024; BAL 15715.   Publisher's green cloth, covers and spines stamped in black; corners bumped, spots of discoloration, spines sunned (and a little bubbled) with extremities rubbed. Ex–social club library: 19th-century bookplate and call number on endpapers, title-pages pressure-stamped. No other markings; endpapers foxed and pages with intermittent moderate spotting.  (26533)

•  Apparently not in Palau.   Repairs to first leaf of part I, with loss of a very few words; close trimming of two pages touching some lines without actually taking type (this last suggesting the hasty production typical of such cheap, essentially ephemeral publications).  (38510)

Binding:  Publisher's brown cloth, gilt-and black-stamped.

•  A little spotting, a little shaken; a good++ copy.  (34001)

This is an uncommon edition: WorldCat does not find any institutional locations. There is apparently one copy of the same printing at the University of Essex, and the date given here is based on their assessment.

•  This edition not in NSTC.   Removed from a nonce volume; sewing loosening, with signatures starting to separate. Pages age-toned, with small area of waterstaining to upper outer margins; title-page with small spot of staining; plate mounted (some time ago), with three small spots of staining and some darkening around caption. A very readable copy of a striking and strikingly vivid morality tale.  (37200)

•  NCBEL, II, 1583 (for the 1854 ed. on which the present ed. was based). Publisher’s textured cloth, worn, covers framed in decorative blind-stamping, spines ruled in blind and simply gilt-stamped with titles and volume numbers; spines faded, slightly discolored, all pulled with cloth lost above page level and one with additional chip out of cloth near head. Front pastedowns with tickets from a Nashville bookseller. Many pages with light offsetting (darker following frontispieces) and foxing such as the paper is prone to; front free endpaper of vol. IV with pencilled ownership inscription and back fly-leaf of vol. II with pencilled annotations. (4737)

The presence of the genealogy is explainable because Peralta dedicated this work to Alvaro Navia Bolano y Moscoco, an oidor of the Lima audiencia. The currying of favor aside, the essay is fascinating for providing important sociological and political information about the family and its nexus with other elite families of Mexico, Peru, and Spain.

In this series of ten sermons Peralta studies the passion of Christ beginning with Jesus in the Garden of Gethsemane, progressing to the appearance before Pilate, the application of the Crown of Thorns, and the carrying of the Cross, ending with the Resurrection and Ascension. The sermons were clearly written for presentation at the University of San Marcos where he was the rector and they were presented in an engaging tone of a storyteller. The second sermon begins, for example, “Celebrada ya en el Theatro de el mas felize [sic] Huerto el Primero [sic] triste Acto de la mas mysteriosa Tragedia; doliente preliminio de la accion mas divina, lacrymoso Vestibulo de la mas alta Frabrica; entra a ver deseosa y resistente la memoria la primera Scena [sic] de la angustia, el primer Articulo del sufrimiento, y la primera Estancia del dolor.”

Clearly this is a work that presents the scholarly community with a major source for study of not just Peralta's rhetoric but of Peruvian Enlightenment rhetorical practices in general.

Soon after the work was published it found disfavor with the Peruvian Inquisition and it wasrecalled and expurgated by the Holy Office beginning in 1739, the year after publication. Other copies were expurgated as late as 1789. This copy was spared the ravages of the censors.

Provenance:  19th-century ownership stamp on front flyleaf of the “Casa de Ejercicios de San Juan Bautista.”

•  Medina, Lima, 916; Palau 218091; Vargas Ugarte, Impresos peruanos, 1457. On the censorship of the work, see: Slade, David y Jerry Williams (eds.), Bajo el cielo peruano: The Devout World of Peralta Barnuevo. La Galería de la Omnipotencia and Pasión y Triunfo de Christo (Chapel Hill: The University of North Carolina Press, 2008).   Modern tan calf, round spine, raised bands. No worming. Some stray stains in margins with most staining or “toning” near the end. Generally a clean crisp copy.  (35326)

Binding:  19th-century textured red roan in imitation of morocco, both covers and spine gilt extra with elaborate floral and foliate designs, title in each case in red relief “on” a pair of gilt panels textured with cross-hatching. Covers framed in triple fillets, the second delicately cornered with small diamonds, surrounding a border incorporating floral corner brackets and a floral base supporting an arch that itself breaks out in flowery flourishes. All edges gilt.

Evidence of Readership: A previous owner has tucked in a newspaper clipping of a poem titled “What is Love?” as well as two poems printed on silk and framed in paper lace (gilt in the one case, pink and white in the other), titled “To Papa” and “Farewell.”

•  Faxon, Literary Annuals and Gift Books, 258; Tepper, American Gift Books & Literary Annuals (2nd ed.), pp. 84–85 (see copy 2); Thompson, American Literary Annuals & Gift Books, pp. 106–07.   Bound as above, rubbed along board edges with very small worm holes along joints, light glue action to pastedowns. Light age-toning with the occasional spot or stain, plates moderately to heavily foxed; a few gently creased pages, one gathering loosely attached to binding. Lay-ins absolutely charming.  (38203)

The poem was originally printed in 1771. While this mid-19th-century chapbook was printed with reckless disregard for the amount of ink that actually wound up on any given page (for that is very uneven), it does feature a wood-engraved vignette on the title-page and what appears to be a tombstone tailpiece. It is also uncommon, WorldCat locatingno U.S. institutional holdings of this printing.

As the final page is devoted to an enticing description of “WARKWORTH CASTLE” and its environs, set in larger type than the poem, we wonder if this wasgiven or sold to tourists as a souvenir?

•  NSTC 2P11186.   Removed from a nonce volume; one leaf with two nicks to outer edge. A look at the enduring appeal of medieval legend to the Victorian audience.  (37230)

Provenance:  Title-page with signature of noted illustrator and caricaturist George Cruikshank, dated 1832, in pencil with part of one letter in ink; most recently in the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.

•  Later 19th-century half very dark blue morocco and marbled paper–covered boards, spine with gilt lettering and floral stamps in compartments, covers with double gilt fillets along edges of leather; gently rubbed, most notably to joints. Marbled endpapers, top edge gilt. Provenance indications as above. Light pencilling on endpapers; light age-toning with some spotting, mostly marginal. Neatly illustrated, and a copy in nice condition with exceptional provenance.  (37984)

•  Palau 220783.   Contemporary quarter maroon sheep and red pebbled paper–covered sides, spine with gilt-stamped title and compartment decorations; spine attractively darkened, edges and extremities rubbed, sides with spots of discoloration. Front free endpaper with private shelf-code sticker; title-page with private collector's rubber-stamp. Pages age-toned, with some scattered small smudges or spots of light staining.  (29936)

•  Palau 220773.   Contemporary mottled calf with gilt-stamped red leather title-label; minor wear to edges and extremities. Half-title rubber-stamped, no other markings. Pages age-toned with a few scattered instances of faint spotting or smudging.  (29867)

The inside front wrapper bearsan interesting little early affixed label reading “Such is life.”

WorldCat finds no copies west of Rochester, NY.

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

•  Not in Rosenbach.   Publisher's printed tan paper wrappers, lightly dust-soiled, extremities rubbed, spine unobtrusively reinforced. Moderate foxing; inkstain to outer portions of last few leaves, touching but not obscuring a few letters, paper brittle in stained area. Showing signs of age, but none of childish abuse.  (38473)

The forematter includes a history of the text, a bibliography, a study of medieval customs and the characteristics of the protagonists and antagonists, and an introduction to the versification.

Binding:  Contemporary dark brown morocco, covers framed and panelled in gilt fillets with gilt-tooled corner fleurons, spine gilt-lettered and with gilt-beaded raised bands and compartments stamped similarly to covers using same tools; board edges with gilt fillet, free endpapers in maroon silk. Doublures of brown morocco matching covers and stamped more ornately, in foliate and floral designs. Top edges gilt, page edges otherwise untrimmed; silk place marker. Front pastedown (doublure) signed, gilt-stamped, “The Harcourt Bindery.”

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

•  Bound as above, spine gently and evenly sunned to olive and spine edge of front cover slightly so, extremities lightly rubbed. Some gatherings in introduction and in notes unopened. Minor foxing throughout, pages otherwise clean. A great example of the binders' style/philosophy rewarding those who care actually to open their subtly-finely bound volumes; “but look, here's more!”  (37751)

Petrarch did not conceive of I Triomphi as a single, unified work: They do not represent a continuous writing, they differ in character one from another, and they were not assembled as a single poem until after his death. Still, once brought together the six are clearly Petrarch's greatest effort to bring the model of Dante's Comedy into his own canon.

•  Adams P-801; Fowler, M. Petrarch, Pet N 533a.   18th-century quarter vellum over marbled paper–covered boards with “Petrarca – Trionfi” inked to spine, all edges speckled red; volume rubbed, especially at corners, boards gently bent inwards at fore-edge, light worming at spine, one small mark on front cover. Part of a larger work as mentioned above, with light pencilling on endpapers and one instance of old crayon, small signs of worming on front endpapers and most inner margins with several repaired, light waterstaining to upper inner margins and also across upper outer corners at end, a no more than ordinary degree of variable light foxing and soiling generally and a handful of leaves with uneven edges from paper manufacture. A noble fragment, in fact very attractive and evocative.  (36559)

•  Brunet, IV, 575; Dibdin, II, 276–77; Schweiger, II, 725. 19th-century quarter sheep in imitation of morocco, with marbled paper–covered sides, spines with gilt-stamped titles; spines, edges, and extremities rubbed, vol. I with spot of discoloration to spine. Main title-page with shadows of pencilled numerals. Pages clean.  (16816)

Binding:  Contemporary mottled calf panelled with plain calf, framed in blind with blind-tooled corner fleurons, spine with gilt-stamped red morocco title-label.

Provenance:  Front pastedown with bookplate of John Thomas Ambrose (1798–1881), a philanthropist and solicitor in Mistley and Manningtree.

•  ESTC T17788; Lowndes 1843; Schweiger, II, 727.   Binding as above, rubbed and spine leather cracked; joints strengthened, portion of headband replaced, extremities subtly refurbished with toned long-fiber tissue. Bookplate as above. Varying degrees of age-toning, with a few signatures (only) browned or foxed and some leaves showing sometime exposure to water with no plates affected; additional engraved title-page lacking and index pages bound in incorrectly, interspersed with two poems towards the back of the volume!(29672)

Binding: Publisher's brown cloth, covers framed in blind, front cover with gilt-stamped urn of flowers, back cover with same design in blind. All edges gilt.

•  Faxon 655.   Bound as above, corners bumped/rubbed and base of rear joint and spine a little rubbed; gilt bright. Endpapers with early pencilled inscriptions, frontispiece with adhesion of a sliver of paper from title-page along inner margin, title-page with brown spot in lower margin offset onto lower edge of frontispiece. Sewing loosening with some early and final leaves starting to separate, title-page all but separated. Pages generally clean, with a few scattered spots; one upper margin with pencilled inscription mostly erased. A read and cherished copy, still sweetly sentimental and interesting to look at.  (30368)

Binding:  Publisher’s grey cloth with light and dark blue lettering on spine and front board, decorated with images of a plum tree (get it??) growing dollar signs stamped in light blue, dark blue and ochre. The cream dust jacket bears the same design with green decorations and lettering. Signed by Rome K. Richardson.

•  BAL 15961 (for first ed.); Minsky, Art of American Book Covers, p. 93.   Bound as above, with age-toned and chipped dust jacket having small tears along edges and larger tears at joints and fore-edges, bottom two inches of spine detached but present. Volume with small tear at spine-head, extremities of boards bumped; a handful of leaves with creased corners and bumping to fore-edges (not margins), and wrinkling to p. 383 that appears to have occurred during printing. A rather nice copy, seemingly uncommon in the dust jacket.  (37904)

•  Uncut, unopened copy in later wrappers (which are tattered). Text block split in two: requires binding. Edges dog-eared, some dust-soiling.  (21470)

This second edition was printed in the same year as the first; although the title-page mentions "an engraving by an eminent artist," no illustration is present in this copy.

•  ESTC T7920; NCBEL, II, 695. Recently rebound in marbled paper–covered boards, spine with gilt-stamped title label. Lacking engraving. A half-title (possibly not that belonging to this piece) has, at some point in the past, been cut in thirds and used to back/repair the title-page (to good effect, actually), leaf 45–46, and leaf 47–48 (text on p. 48, a list of "Pindar's" productions partially obscured by repair; the work itself, fine). One page (not the title) has been stamped by a now-defunct library; several leaves with tears, some repaired.  (3057)

While the title-page gives the publication date as 1550, the colophon is dated 1551.

Binding:  Brown pigskin, top and bottom of round spine with a gilt hash design repeated on raised bands; compartments defined by gilt double-fillets and with a gilt center device of a flower. Covers framed with triple gilt fillets, each corner with a small blossom; board edges with gilt triangle-and-dot roll; turn-ins tooled in gilt using two different rolls separated by a single gilt fillet. Marbled endpapers of a French combed pattern and all edges gilt. A 19th-century hand has written in pencil on the verso of the front free endpaper: “Pigskin by Desseuil.”

Provenance:  The Rev. H. Drury's copy: “Coll. per H. Drury Harroviae” at the top of front fly-leaf (and with five lines of his neat, small hand-written notes below that); his books were sold in 1841. English bookseller's catalogue entry pasted to verso of front free endpaper. 20th-century collation note by Quaritch on recto of rear free endpaper. Most recently in the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.

•  Adams A1185; Renouard 148:7; UCLA, Aldine Press: Catalogue of the Ahmanson-Murphy Collection (2001), 401; Edit 16 CNCE 1974 and CNCE 1975.   Binding as above. Very good, indeed excellent condition. A true collector's copy.  (37864)

Eugene Karlin (who signed the colophon) created thedelicate fine-pen illustrations; of these, 20 are full-page and 9 are in-text. The drawings of lovers engaged in the act of lovemaking are both tasteful and erotic; they are mostly heterosexual, with one — non-explicit — depicting two men). Robert L. Dothard designed the edition, which is limited to 1500 copies (of which this is numbered copy 1002), using a monotype Emerson font; the binding is quarter goatskin vellum with the title stamped in gold on a brown skiver label, and the sides are Swedish tan paper with a gold-stamped design on the front. The appropriate LEC newsletter is laid in.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 409.   Binding as above, in original glassine dust wrapper and slipcase; wrapper with lower corners chipped, slipcase with minor rubbing to gilt spine label, vellum spine with a few tiny brown spots (possibly as issued — the club newsletter for this volume says “Goats are real individuals, and that goes for their skins too; connoisseurs in such matters prize the mottled and stained appearance, which the skins come by quite naturally”). The whole generally clean and unworn; pages fresh and crisp. A beautiful copy.  (30460)

Not in NUC Pre-1956, WorldCat, or Catálogo Colectivo del Patrimonio Bibliográfico Español.

•  Not in Palau. Modern marbled boards with cordovan-colored gilt morocco title-label on front cover. A very good copy.  (7791)

The present volume is a late edition among numerous English, Scottish, and American printings of the poem but apparently the first of this restored and annotated text, although someone has provided misleading copyright information—both Stevens of Cincinnati and Andrus & Son of Hartford are on record as claiming to have copyrighted the text in 1846.

Binding: Contemporary brown morocco bordered in triple gilt fillets, with gilt foliate and arabesque motifs to covers; spine gilt extra with title, author, and floral motifs. Beautiful gilt inner dentelles.

•  On Pollok, see: Dictionary of National Biography, XLVI, 69–70. Binding as above, corners and joints rubbed with light edge wear; spine leather and irregular areas of covers faded. Gilt bright. Original green silk bookmark separated but laid in. Pages pleasingly white save for a very few spots and one area where a poetry clipping was laid in. Neatly pencilled ownership inscriptions dated 1848 to front pastedown and title-page. Lovely, if somewhat worn, copy of this once-beloved poem.

Presentation copy: From Prescott to Dr. Elliott dated 16 April 1846, probably in the hand of a secretary. Elliott was almost certainly Prescott's ophthalmologist.

Provenance:  Front free endpaper signed by Minnie Voorhees in April 1895.

Evidence of Readership:  One pencilled comment only, but that a striking one; under a footnote of Prescott's repudiating such conceptions of American “empire” as had justified the Annexation of Texas, someone has written, “This note is unfortunate for your former and future reputation, Mr. Prescott — ”

Binding:  Publisher's dark brown cloth, spine lettered in gilt with arabesque rules in blind and a gilt device, covers with elaborate arabesque frames stamped in blind.

•  BAL 16344.   Bound as above, well rebacked with original spine laid on, edges rubbed. Light to moderate age-toning and foxing throughout; inscribed as above, light pencilling on endpapers (and one leaf of text as above).  (36203)

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 275.   Original red slipcase present, rubbed; the volume contained, well preserved. A very nice copy.  (33379)

Provenance:  Ex–Allyn K. Ford Collection, Minnesota Historical Society, recently deaccessioned.

•  Good condition but clearly trimmed at top. Lacking most of the integral blank leaf. Written in a very clear hand.  (33352)

Binding:  Publisher's dark green morocco, covers embossed with arabesque designs surrounding a central gilt-stamped floral medallion, spine gilt extra. All edges gilt.

Provenance:  Given to Dona Caroline [sic] Tagl[e] by her husband (as per presentation page).

WorldCat locates only seven U.S. institutional holdings (DLC, ICN, MWA, NSyU, NN, PU, PPL).

•  Shoemaker 40147; Palau 236614. Central block similar to Wolf, From Gothic Windows to Peacocks, 7, here with addition of medallion. This edition not in Faxon, nor Thomson, nor Tepper; see Faxon 59 for further information.   Binding as above, edges and extremities gently worn, spine gilt lightly rubbed towards joints; some sunning. Mild to moderate staining/spotting/foxing. An attractive, uncommon volume representing an often unnoticed phenomenon.  (38391)

COSTUME!

•  Publisher's quarter vellum and light blue buckram sides, spine with gilt-stamped title; vellum darkened and spotted, sides with mild wear and discolorations; front hinge (inside) slightly tender. Front free endpaper with a very faded (all but illegible) early inked inscription; margins with scattered light smudges, pages and plates otherwise clean. A volume clearly pored over . . .  (35542)

The "Story of the Country-Mouse and the City-Mouse," Prior's satiric and politically motivated response to Dryden's "Hind and Panther," is not included, but the long pieces "Solomon on the Vanity of the World" and "Alma" are present. The "Life of Mat. Prior" in the first volume commences beneath a small engraved portrait.

Binding:  Later sprinkled calf, covers gilt-ruled with gilt inner dentelles, spines gilt extra with gilt-stamped leather title and volume labels. All edges saffron.

Provenance:  Both volumes with armorial bookplates of Sir Robert D'Arcy Hildyard.

•  On Prior, see: Dictionary of National Biography, 397–401. Leather cracking over joints with hinges tender; spine tips a little dry and pulled; upper and outer edges of all covers somewhat darkened; light wear to extremities. Light foxing to some pages. In fact a very handsome pair. (3402)

Procter was a philanthropist as well as a poet, involved in several charitable and feminist causes, and contributed to Dickens' Household Words under the pen name “Mary Berwick” in hopes that her work would not be judged based on her father's friendship with Dickens. She died shortly before the publication of this new edition of her poems.

Binding:  Red morocco over bevelled-edged wooden boards, spine with gilt lettering, rules, and stamped compartment decorations of acorns and oak leaves; covers with a wide composite gilt border incorporating laurel crowns and more oak'y ornaments surrounding a large gilt spray of holly and ivy. Marbled endpapers, all edges gilt.

•  Eckel, First Editions of the Writing of Charles Dickens . . . A bibliography, pp. 163–64; Podeschi, Dickens & Dickensiana, B293.   Bound as above, heavy boards sometime separated and reattached; extremities rubbed with spine pulled. Dedication page mentioned by Eckel lacking; foxing and minor staining to edges of frontispiece portrait with one other illustration and adjacent page foxed also. Previous owner's notes in pencil on front endpapers. A Good+ copy (priced accordingly) of this attractive production.  (37385)

•  Publisher's red cloth, front cover and spine stamped in black, spine with gilt-stamped title label (gilt just showing in our photograph); cloth very slightly rubbed over corners and spine extremities, with a small smudge to front cover near head of spine and spine stamping a bit dimmed. Reverse of frontispiece with inked gift inscription dated [18]87. One leaf with short tear from outer margin, not quite touching text.  (14353)

•  Brooks, Compendiosa Bibliografia di Edizioni Bodoniane, 361; Brunet, IV, 916; Dibdin, II, 360–61; Graesse 467. On Prudentius, see: Catholic Encyclopedia online.   Recent half vellum and paper–covered sides, vellum edges graced with gilt single fillet, spines with gilt-stamped leather title and volume labels and with gilt-stamped Greek key design; binding discolored and a little bubbled from proximity to fire. Edges untrimmed, signatures unopened; vol. I with surprisingly various old waterstaining, sometimes faint and sometimes not, in upper margins of first half and outer margins of last few leaves. Interior of both volumes otherwise clean, with no markings, save that the endpapers are smudged and those untrimmed edges, plus occasional small areas of margin contiguous, are darkly smokestained from that fire. This is a book that has suffered, yet a production that is still as lovely as Dibdin said it was and a set well worth having.  (25517)

Edmund Dulac created the book's enchanting illustrations, consisting of 10 full-page and six in-text watercolors, a two-color decorative title-page, and decorative head- and tailpieces, and initials, also in two colors. Ernest Ingham designed the book using a monotype Poliphilus font.

The binding is full Russian-red cloth with apolished brass design of a cockerel set in the front cover and a gilt-lettered title on the spine. (The cloth is brighter than we seem to be able to make it appear, here.) This edition is limited to 1500 copies and this offering includes the monthly mailing notice.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 205.   Binding as above. In a glassine wrapper with shallow edge tears and chips, contained within a chemise covered with Russian-red paper with gilt cockerel design with gilt-lettered spine; spine sunned and paper chipped. The whole in an unevenly sunned slipcase, with slight loss of paper to top edge at mouth and spine. A fine book, in a good+ slipcase.  (22314)