This edition of the Quaver chapbook is uncommon: WorldCat does not find any institutional holdings of this Walker printing, and NSTC lists only a slightly different title.

•  This ed. not in NSTC.   Removed from a nonce volume. Page edges untrimmed, several with short tear from outer margin; pages slightly age-toned, otherwise clean.  (37201)

In the series Collection des auteurs classiques, françois et latins, this was issued in the same year in 4to and 18mo formats. The present, octavo format is not only handsomely conceived butvery “handy in the hands.”

Binding:  Full crushed red morocco, gilt spine and boards, signed Petit Succs. de Simier; gilt rule on board edges, gilt rolls on turn-ins, marbled endpapers, green silk placemarkers. All edges gilt. Each volume in a light board open-back slipcase covered with marbled paper.

Provenance:  Bookplates of Casimir L. Stralem, Clarence E. Clark, and Brian Douglas Stilwell, the trio presenting an appealing set of styles.

WorldCat locates copies of this edition in this format at only four U.S. libraries (UCLA, Georgetown, Library of Congress, Harvard).

•  Bulletin de la Librairie Morgand et Fatout 10951; Brunet, V, 1078–79; Jammes, Les Didot, 25.   Bound as above, joints of all volumes slightly cracking with volumes otherwise only lightly worn; some tape repairs to the delicate slipcases. Age-toning and foxing of faintest varieties only. Very Good. (40317)

•  Publisher's printed yellow paper wrappers over printed paper–covered stiff boards; wrappers with spine sunned, minor edge wear. Contents clean and crisp. Very good.  (34969)

•  Bibliography of the Fine Books Published by the Limited Editions Club, 221.   Quarter black calf with gilt lettering to spine, and French marbled paper sides, this copy without the glassine dust jacket and the slipcase; rubbing to corners and spine-ends. Interior lightly age-toned with the very occasional finger-smudge. A compelling copy from the artist's bookshelf; and the illustrations are amusing and bright!  (39561)

•  Publisher's cream paper wrappers; darkened, back wrapper with light spots, spine creased with chip at head. Pages clean.  (35687)

So Much of the Diary, here in its 1845 second edition, was originally printed in 1844, while Some Further Portions is here in its first printing.

Binding:  Contemporarymatched bindings done by Zaehnsdorf, signed on each front turn-in: brown morocco, framed and panelled in gilt and black fillets with gilt-stamped fleur-de-lis corner fleurons, turn-ins similarly designed, and board edges with gilt roll; spines with gilt-stamped titles and volume labels, blind-stamped compartment decorations, and gilt-stamped fleurs-de-lis in compartments. Top edges gilt. Back pastedown of each volume with gilt-stamped example of Zaehnsdorf's oval medieval bookbinding apprentice device, from a design by Jost Amman.

Provenance:  Front fly-leaf of second volume with a woman's tantalizingly not-quite-decipherable ownership inscription: “E[something] Anne Fan[something!]s [/] Farnley 1848.”  Most recently in the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.

•  NSTC 2R2740 & 2R2743; Ing, Charles Whittingham: Printer, 1795-1876, 32.   Bindings as above, variously rubbed to extremities; offsetting to endpapers from turn-ins. Vol. II with ownership inscription as above. Pages lightly age-toned with occasional minor smudges or spots; front fly-leaf of vol. II (only) more notably spotted. A handsome set of an intriguing Victorian — and feminine — perspective on the domestic side of this dramatic period in the 17th century.  (37855)

The edition was limited to a total of 240 copies; this is one of the 75 unsigned copies printed for the two American publishers, bound in hand-marbled Fabriano paper done by Susan Johanknecht and Claire Van Vliet. The text was hand set in Walbaum, also by Johanknecht and Van Vliet.

•  Fine, Janus Press 1975–80, 40.   Publisher's lilac marbled paper–covered boards with tan shelfback, front cover with printed paper label. A clean and crisp copy.  (32334)

•  New. Publisher's blue cloth shelfback and French swirl marbled paper over boards; white paper label on front cover.  (35760)

Binding:  Publisher's green cloth with a young farmer's vignette stamped in white, black, and gilt on the cover, spine with gilt-stamped title and bird vignette.

•  BAL 16671.   Binding as above, dust jacket lacking, very minor rubbing to extremities and front cover vignette. Front pastedown with ownership inscription of Alice Grace Stone. Clean and fresh.  (35049)

•  Bibliography of the Fine Books Published by the Limited Editions Club, 518.   Publisher's quarter navy buckram and light blue paper–covered boards, spine with author stamped in silver, in original matching slipcase; slipcase showing minor shelfwear with spine and edges gently sunned, volume spine likewise gently sunned, otherwise crisp and solid.  (37247)

•  NSTC 2R11677; Lowndes 2099; Hugo, The Bewick Collector, 434.   Contemporary half dark green morocco with red marbled paper sides, spine with gilt-stamped title; some rubbing and with a bit of green discoloration to paper of front cover. Minor offsetting to frontispiece and title-page; mild to moderate foxing in first third of volume and to last few pages.  (21934)

The contents of these two volumes appear to be based almost entirely on John Roach's Beauties of the Poets of Great Britain, although Roach is not cited as the editor, the pieces are in a different order than originally presented, and there are a few minor changes: “The Negro Boy” is not included here, while several “runic odes” by Mathias and Penrose have been added. The expected highlights of Pope, Gray, Cowper, Burns, Chatterton, Goldsmith, etc. are present, as well as lesser-known pieces such as Mrs. Carter's “Address to Meditation,” Mary Darby Robinson's “Trumpeter,” and Helen Maria Williams's “Sonnet to Twilight” and “Sonnet to Hope” (the latter memorized by Wordsworth, whose first published poem was “Sonnet, on seeing Miss Helen Maria Williams Weep at a Tale of Distress”).

The volumes are illustrated with 18 wood-engraved plates signed by Sears, Willis, and others — not the 1793 originals.

Provenance:  Ownership note of “Adams Jewett, M.D.” to top of title-page.

•  This ed. not in NSTC, Lowndes, or Allibone. Not in British Library OPAC, not in NUC Pre-1956, not in OCLC, not in COPAC.   Recent marbled paper–covered boards, spines with printed paper labels. Each title-page with early inked ownership inscription in upper margin as above. Some pages with offsetting; spots of light to moderate staining; one page with pencilled annotation.  (25339)

The author, who spent most of his life in Derby, was a sculptor as well as a Derbyshire historian, and he appears to have supplied theoriginal illustrations here himself. The two pairs of plates (one lithographed, one steel-engraved) are done in notably different styles — we suspect that two different engravers worked from Robinson's sketches. Robinson wrote one additional Twitcher piece in 1881, describing a visit to the Royal Agricultural Show, not included in this gathering.

All the Twitcher books are now scarce: WorldCat finds very few U.K. holdings of these titles and virtually no U.S.

Provenance: First text page with early pencilled ownership inscription of Mr. H. Mills in upper outer corner.

•  Crismas: NSTC 2R14138; Visit: NSTC 2R14139; Second Visit: NSTC 2R14140; Watter Cure: NSTC 0643751.   Later quarter green calf and fine combed marbled paper–covered sides, spine with gilt-stamped title; minor shelfwear. Pencilled ownership note as above. Light age-toning; first two works with mild foxing and last leaves with avery light, old waterstain across a lower corner. A highly personal production in text *and* illustration; an entertaining and very uncommon gathering.  (36501)

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

•  NSTC 2D7678. Not in Gumuchian; not in Osborne Collection.   Publisher's original printed paper–covered boards; paper slightly darkened, edges and extremities rubbed, joints refurbished. Now in a sturdy, dark blue cloth–covered clamshell case and matching slipcase. Pages evenly age-toned. One leaf with tear from lower margin, touching two lines of text and lower edge of one illustration (without loss); one leaf with short tear from lower margin not touching text. A worthwhile copy of this unusual parody, in its original binding and nicely box-housed. (39980)

These volumes offer his “Composiciones líricas originales” in vol. I and “Composiciones dramáticas originales” in vol. II. The frontispiece is a fine lithographic portrait of Don Ignacio, in Romantic style of course; there is a liberal use of handsome tailpieces. The whole was compiled and edited by the author's brother Antonio.

This first edition is uncommon in our experience as dealers in Mexicana.

Provenance:  Masonic stamp, “Porfirio del Rio” on title-page; inscription to fly-leaf of A. Quijano, 1916.

•  Palau 273981; Sabin 72510.   Handsome contemporary quarter red morocco with red mottled paper sides, boards rubbed; spine exuberantly tooled in gilt, bright. Foxing and spotting variously; provenance indications as above.  (31961)

Binding:  Publisher's dark green cloth, front cover and spine with flowering branches stamped in black, spine with gilt-stamped title.

•  BAL 16902 (not matching either described binding); Wright, III, 4619.   Bound as above, extremities rubbed not too roughly; front cover with small areas of faint discoloration. Front free endpaper with inked ownership inscription (S.M. Woodburn) dated [18]81 and tear with a bit of loss from upper margin. Generally clean and nice with occasional light spots; ads at the back giving extra pleasure and interest.  (28406)

Binding:  19th-century black pebbled calf, spine with gilt title surrounded by various double gilt rules and arabesque stamps, covers framed with double fillets in blind around two drawer pulls connected by a rule of dots surrounding a mostly oval gilt foliate design. All edges gilt; original brown silk ribbon placeholder present. Front pastedown with binder's ticket of T. Edmondson, 38 Marketplace, Lancaster.

Provenance:  With gift inscription “Elisabeth Sophia Jameson to her much Loved Daughter Maryanne Jameson Lancaster July the 7 1848" on front fly-leaf in ink and a pencilled note “C.S.F. July 10 1915" immediately below. A small rubber-stamp green monogram, possibly C.S.F.'s, appears at the bottom of the title-page. Most recently in the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.

•  Binding as above, very gently rubbed at corners and joints, top back joint (outside) just starting, front cover very slightly splayed. Light age-toning throughout, a handful of specks, one small marginal spot. Provenance markings as above, binder's ticket offsetting to front endpaper. Despite the sound of the necessarily recited faults, this isa strong, lovely copy of this handsome production.  (38254)

•  Brunet, IV, 1375.   Contemporary vellum, later recased using green silk bands with new headbands; vellum slightly sprung, back cover with significant area of discoloration (from glue inside?), binding showing moderate wear overall but sturdy and serviceable. All edges stained blue. Bookplate as above. Four final leaves lacking, see above. Pages clean; last few leaves with waterstaining at inner portions, final leaf adhering to free endpaper. If you want a neat, compact yet compendious, early 17th-century distillation of “Ronsard” in one volume — here it is!  (39486)

This edition was designed by the great American typographer (or “typster,” as he labeled himself) Bruce Rogers, and he left his mark on its final page; it was limited to 425 copies printed at the Riverside Press in Cambridge, MA. Bound in maroon paper–covered boards with a white paper spine label printed in black, this is copy 405 and is in its original dust wrapper and with its box, beingrare thus.  The spare label is tipped in at the back.

•  Work of Bruce Rogers, 101.   Bound and in its box as above; dust jacket and box label sunned, box edges rubbed. The pristine text is, which can be read with enjoyment by peeping, is unopened and uncut.  (30539)

“This edition follows exactly the text of the original Belfast issue of 1897 except that certain misprints have been corrected,” according to the edition statement; the text is ornamented with reproductions of the originalthree wood engravings by W.M.R. Quick. The present example is numbered copy 719 of 1250 printed.

Provenance:  Calligraphic bookplate of Norman J. Sondheim, American collector of fine press books.

•  McKitterick/Rendall/Dreyfus 33.   Publisher's half sheep and pink, red, and brown mottled paper–covered sides, spine with gilt-stamped title; spine gently sunned, extremities a bit rubbed. Front pastedown with bookplate as above; light foxing to endpapers, with a very few faint spots elsewhere. Lovely Nonesuch production of a “must read it to believe it” novel!  (32039)

Provenance: Unidentified stencilled ownership mark of an anchor flanked by a “G” on the left and an “I” on the right contained in an oval with a solid outer ring and an inner one of dots.

•  Brooks 629.   Contemporary light boards covered with tan paper speckled with red; paper of spine damaged with loss. Housed in a simple one-ply phase box.  (39613)

•  Two Decades of Hamady & the Perishable Press, 90.   Publisher's paper wrappers, front wrapper with title printed in off-white. Crisp and clean.  (30903)

•  Two Decades of Hamady & the Perishable Press, 58.   Binding as above. A clean, fresh copy.  (41059)

Provenance:  Bookplate of Louis Boutemy, later owned by Tisseyre Boutemy.

WorldCat locates five U.S. libraries reporting ownership (Pierpont Morgan, NYPL, State Library of Indiana, St. Johns, St. Catherine University).

•  Brunet, V, 1491.   19th-century half red morocco and marbled boards, rubbed at extremities; top edge gilt, silk place marker. Foxing of a the lightest sort and that not “throughout.” A lovely copy. (40332)

•  Brunet, IV, 1421. Contemporary black half morocco over blue pebbled cloth, spine beautifully gilt extra, leather edges ruled in gilt; volume clean and virtually unworn. Front pastedown with private collector’s bookplate and with institutional rubber-stamp (no other markings); some soiling and offsetting to front pastedown and free endpaper. Many leaves lightly to moderately foxed, a few more heavily — the paper here was not as good as it might have been. One leaf with short tear from upper margin, touching page number but not text. An attractive production. (19301)

•  Brooks 641; De Lama, II, 117; Giani 84 (p. 56).   Contemporary light green paper–covered boards, spine with gilt-stamped leather title-label; binding rubbed, soiled, joints and extremities chipped. Scattered small spots of foxing, only; first four leaves showing larger (but still limited and diminishing) evidence of exposure to a pale purple'ish liquid. Pages generally clean.  (40174)

•  Publisher's teal cloth, spines with gilt-stamped title; spines with gilt slightly dimmed and minor extremity wear, front cover of vol. II with a small light smudge. A solid and pleasant set, with its pages very crisp and clean.  (33164)

•  Publisher's red cloth, spines gilt-stamped, in matching slipcase; volume spines sunned, slipcase showing minimal shelfwear. Overall very clean and crisp.  (33160)

Provenance:  From the library of Robert L. Sadoff, M.D., sans indicia.

•  NCBEL, III, 1138; NSTC 2R21229.   Contemporary tree calf, covers framed in small floral gilt roll, spine with gilt-stamped red and green leather title and author labels, spine compartments with gilt-stamped floral decorations, board edges and turn-ins with gilt rolls; minor rubbing to spine, joints, and extremities. Light foxing. An interesting piece, in distinguished dress. (39827)