[drop-title] Comedia famosa. El doctor Carlino. [colophon: Barcelona: En la oficina de Pablo Nadal, 1798]. 4to (21.1 cm, 8.3"). 32 pp. “Num. 60" in the upper left corner of the first page.
[drop-title] Comedia famosa. Un bobo hace ciento. [colophon: Valencia: en la Imprenta de la Viuda de Joseph de Orga, 1763]. 32 pp. “N.60" in upper left corner of the first page and “Pag. I” in upper right.
[drop-title] Comedia famosa. Las Amazonas de escitia. [colophon: Valencia, en la Imprenta de la Viuda de Joseph de Orga, 1764]. 32 pp. “N.68" in upper left corner of the first page and “Pag. I” in upper right.
[drop-title] Comedia famosa. Amparar al enemigo. [colophon: Valencia, en la Imprenta de la Viuda de Joseph de Orga, 1765]. 32 pp. “N.85" in upper left corner of the first page and “Pag. I” in upper right.
[drop-title] Comedia famosa. El alcazar del secreto. [colophon: Valencia, en la Imprenta de la Viuda de Joseph de Orga, 1765]. 32 pp. “N.86" in upper left corner of first page, and “Pag. I” in upper right.
[drop-title] Comedia famosa. Erudice y Orfeo. [colophon: Valencia, en la Imprenta de la Viuda de Joseph de Orga, 1765]. 32 pp. “N. 89" in upper left corner of first page, and “Pag. I” in upper right.
[drop-title] Comedia. El amor al uso. [colophon: Madrid: en la Libreria de Quiroga, 1799]. 32 pp. “I” in upper right corner of first page.
[drop-title] Comedia famosa. El mayor triunfo de Julio César, y batalla de Farsalia. [colophon: Valencia, en la Imprenta de la Viuda de Joseph de Orga, 1770]. 36 pp. “N.162" in uppper left corner of first page and “Pag. I” in upper right.
The Spanish National Library attributes this title to Francisco de Alsedo Herrera, not Solis.
[drop-title] Comedia famosa. La gitanilla de Madrid. [colophon: Valencia, en la Imprenta de Joseph, y Thomàs de Orga, 1780]. 32 pp. “N.232" in upper left corner of first page and “Pag. I” in upper right.
Binding: Full dark caramel calf single-ruled in gilt around blind-ruled border, gilt board edges and blind-patterned turn-ins, spine gilt extra with two black spine labels lettered in gilt. Marbled endpapers and brown speckled edges, green ribbon place holder.
Provenance: 19th-century bookplate of Robert Henry Clive on rear pastedown.
On the comedias sueltas, see: Bergman & Szmuk, Comedias Sueltas; McKnight & Jones, Catalogue of Comedias Sueltas; Sullivan & Bershas, Comedias Sueltas. Bound as above; extremities rubbed with loss to gilt on board edges, joints starting but volume strong, boards with a few stains and scratches. Sticker on front free endpaper. Gentle age-toning and occasional cases of foxing, most noticeable in El amor al uso, otherwiseclean and crisp. (30950)
His “major poem was The Chace, published in 1735 and dedicated to Frederick, prince of Wales. In four books of blank verse he conveyed the excitement and dangers of the chase as well as its place in history” (ODNB).
This is the third edition, printed by William Bowyer for Hawkins, in an edition of 1500 copies, attesting to the poem'sgreat popularity. A fourth edition followed in the same year and it continued to be printed in the 18th century with an edition appearing as late as 1800, and yet others in the 19th century!
Foxon, English verse, 1701–1750, S564; ESTC T30392. Modern boards covered in a brown stone-pattern marbled paper. Clean and not close-trimmed; very good. (32765)
Binding: Publisher's light yellow cloth decoratively stamped in maroon and dark green, front cover with color-printed pictorial paper onlay, in color-printed dust jacket as above. Cover and jacket sport three-quarter portraits of a charming, intelligent-looking young woman of the period; not the SAME girl, however!
This ed. not in Wright; see Wright, III, 5090 for single-volume first ed. Bound as above, volume slightly shaken, edges and spine extremities rubbed, tiny spots of insect damage to front joint; jacket darkened with spine head chipped and lower portion of spine torn away. Pages evenly age-toned, otherwise clean. (41299)
This short story, hand-set and letterpress-printed by R.T. Risk of Typographeum Bookshop, has beensigned on the colophon page by the author. The prospectus is laid in.
Lavender blue wrappers with paper front label printed in the same color; spine sunned. Interior clean. A wonderful copy of this signed limited edition. (38013)
This is one of 207 copies printed; Hamady's distinctive pressmark, calligraphed by Sheikh Nasib Makarem, appears here in blind at the colophon.
Two Decades of Hamady & the Perishable Press, 25. Publisher's navy paper wrappers, front wrapper with blind-stamped title and vignette. A crisp, clean copy. (30788)
Provenance: Front pastedown with bookplate of Francis John Breck, Jr., dated 10/29/72. Later in the library of Robert L. Sadoff, M.D., sans indicia.
Binding as above, spine and edges sunned to brown, joints opening from head and foot, edges rubbed. Endpapers with offsetting from turn-ins and front free one loosening; pages slightly age-toned. A handsome example of this enduring classic, with Mackenzie'slovely, lyrical illustration. (39825)
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)
Provenance: From the library of Robert L. Sadoff, M.D., sans indicia.
Ray, French Illustrated Books, 292 (for French first ed.). Contemporary half brown morocco and brown cloth, leather edges ruled in single gilt fillet, spine with gilt-stamped title and author, gilt-ruled raised bands, and gilt-framed compartments, binding done by W. Roach Co. of New York; edges and extremities showing moderate rubbing, middle cloth portion of outer edges of covers with small area of light discoloration. All edges gilt. A clean, attractive, unfoxed copy. (39857)
This isone of 500 copies printed by Saul and Lillian Marks at the Plantin Press in Los Angeles; Mary Kuper did the wood engraving of a Samoan scene.
Provenance: Miniature bookplate of Raymond A. Smith to front pastedown.
Publisher's orange paper–covered boards with tan paper shelfback, front cover with red-stamped cruciform motif, spine with title in red. A clean and fresh copy. (35704)
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 second story [9 pages] concerns the trials and eventual death of a princess who becomes betrothed against her will to a yellow dwarf, and the futile struggles of her lover, the King of the Golden Mines, with the Dwarf and the witch-like Desert Fairy to rescue her.
“[No.] 7” printed at foot of title. The title woodcut vignette is of two men pushing out a boat from the shore of a lake with an anchor and basket in the foreground and a castle in the background. Also illustrated with a decorative woodcut border on title & two tailpieces, one depicting the head & shoulders of king with a crown and halberd, the other showing two lovers sitting under a tree and a group of women dancing around a maypole.
Very good. Original self wrappers (unbound; removed). (38498)
In some ways even more militantly abolitionist than Uncle Tom, this novel's complicated plotdrew liberally on real-life figures and events that Stowe cited in a long and detailed Appendix, to create and assert a realism as to slavery and its effects that readers would find undismissable..
Provenance: Front free endpaper of vol. I with inked inscription: “To Miss Matthews As a Phillipoena Pay[men]t From G.S.R. October 7 1856.” (“Phillipoena” was a German-derived game involving love and friendship penalties or “forfeits” between couples; make of that what you will!) Most recently in the library of Robert L. Sadoff, M.D., sans indicia.
Binding: Publisher's straight-grained very dark brown cloth, covers framed in blind-stamped leaf and vine decorations, spines with gilt-stamped title and “Boston” at feet; plain yellow endpapers.
BAL 19389; Wright, II, 2391. Bound as above, slightly cocked, lightly rubbed overall and moreso at corners; spine extremities chipped. Varying degrees of foxing; some signatures starting to loosen. Inscription as above! (41279)
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)
Evidence of Readership: A reader has helpfully added inked marginal reference numbers approximately every eight lines, for ease of navigation, and entered one small correction in an early hand.
Provenance: From the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.
Schreiber, Colines, 68; Renouard, Simon de Colines, pp. 166–7; Moreau, Éditions parisiennes du XVI siècle, III, 2292; Adams S1957. Bound as above, gently rubbed with some loss of leather at corners; joints (outside) refurbished and front one beginning to crack but covers solidly attached. A few pencilled notes on endpapers; faint touches of hand-coloring on title-page and (perhaps) one leaf of text. Light age-toning with a handful of spots, three small marginal paper flaws including one to title-page; two other small holes and one repair. Provenance and readership markings as above, perhaps a third of the marginal numbers partially trimmed. A pleasurable book to hold oruse. (38144)
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)
“The book was designed by Ronald Gordon at the Oliphant press, New York, and printed by letterpress at the Anthoensen Press, Portland, Maine” (colophon).
An essential work for collectors of American detective and mystery fiction.
Publisher's quarter black cloth with marbled covers in black and white, with original glassine wrappers. Clean, fresh, fine. (34721)
First published in 1843 and first printed with illustrations in 17 monthly parts 1853–54, the misadventures of the enthusiastic Mr. Jorrocks appear here “printed for subscribers from the plates of the Original Edition issued by Bradbury, Agnew & Co.” The volume is illustrated with 16 hand-colored, steel-engraved plates and 31 wood-engraved plates by famed caricaturist John Leech. The colored scenes, many involving horses or hounds or both, are carefully and artistically tinted; the social scenes are more delicately shaded than the vivid hunting scenes. In addition to the color and black-and-white plates, numerous in-text wood-engravings decorate the text.
Binding: Publisher's crimson cloth, front cover with horse and hound vignettes stamped in black and gilt, spine with black and gilt portrait of Jorrocks himself.
NCBEL, III, 967. On Surtees, see: Oxford Dictionary of National Biography online. Binding as above, spine much sunned but covers bright and fresh. Signatures almost entirely unopened; contents pages and a few other early signatures awkwardly opened with resulting edge tears, including to upper margins (only) of five uncolored plates. One colored plate with tiny scuff in image. Despite described faults, still a solid, bright, beautifully illustrated copy with a great deal of charm. (30448)
First published in 1847, these vividly rendered hunting scenes appear here “printed for subscribers from the plates of the Original Edition issued by Bradbury, Agnew & Co.” The volume is illustrated with8 plates by Phiz, hand-colored, and 13 steel-engraved plates by W.T. Maude. While Phiz's caricatures are sharp and witty, the coloring itself is rather elegantly restrained. In addition to the color and black-and-white plates, numerous in-text wood-engravings decorate the text, the whole providing many depictions of the hunt.
Binding: Publisher's crimson cloth, front cover and spine stamped with hunting vignettes and hound decorations in black and gilt.
NCBEL, III, 967. On Surtees, see: Oxford Dictionary of National Biography online. Binding as above, spine much sunned but covers bright and fresh, minimal wear to extremities. Signatures unopened. Save for the dimmed spine, a beautiful and bright copy. (30434)
First published in 1853 as a 13-part serial, the Sporting Tour appears here “printed for subscribers from the plates of the Original Edition issued by Bradbury, Agnew & Co.” The volume is illustrated with13 hand-colored and 30 steel-engraved plates by famed caricaturist John Leech. The colored scenes, most of which depict hunting or riding scenes, are carefully and attractively done with nicely shaded tints. In addition to the color and black-and-white plates, numerous in-text wood-engravings decorate the text.
Binding: Publisher's crimson cloth, front cover and spine stamped with horse and hound vignettes in black and gilt.
NCBEL, III, 967. On Surtees, see: Oxford Dictionary of National Biography online. Binding as above, spine much sunned but covers bright and fresh. Signatures unopened. One leaf holed in text with loss of a few words and with some light discoloration around this, without loss of sense. Save for the dimmed spine, a beautiful and bright copy. (30426)
First published in 13 monthly parts in 1860, the machinations of Rosa and her mamma appear here “printed for subscribers from the plates of the Original Edition issued by Bradbury, Agnew & Co.” The volume is illustrated with12 hand-colored, steel-engraved plates and 8 wood-engraved plates by famed caricaturist John Leech. The colored scenes, some involving young ladies in elegant dress and some horses and hounds, are carefully and artistically tinted; the social scenes are more delicately shaded than the vivid hunting scenes. In addition to the color and black-and-white plates, numerous in-text wood-engravings decorate the text.
Binding: Publisher's crimson cloth, front cover with black- and gilt-stamped hound decorations and a gilt-stamped vignette of two flirting equestrians, spine with black and gilt Cupid vignette.
NCBEL, III, 968. On Surtees, see: Oxford Dictionary of National Biography online. Binding as above, extremities slightly rubbed, spine much sunned but covers bright and fresh. Signatures unopened. A clean, unread copy, with lovely plates. (30470)
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