[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)
Bibliography of the Fine Books Published by the Limited Editions Club, 489. Binding as above, front cover and spine with gilt-stamped title, in original coordinated slipcase; binding crisp and fresh, slipcase all but unworn. A very nice copy. (31469)
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)
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)
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)
Accompanying the book is a broadside of Penmaen Press “Books in Print,” including an advertisement for Passion with positive blurbs from writer John Hawkes and the Library Journal.
Provenance: Though without indicia, from Andrew Hedden’s collection of press books and livres d'artiste.
Publisher's half tan cloth with tan and mauve printed paper–covered sides, spine with gilt-stamped title. Broadside printed on tan paper with one fold. A clean, tight, attractive copy offered in company with an interesting, uncommon lay-in. (30602)
Illustrator Rafaello Busoni created the book's numerous in-text and nine full-page lithographs in two colors, and signed the colophon. Designer George Macy chose a monotype Cochin font to be used at the Printing House of Leo Hart, and decreed a binding of imported cream linen stamped in brown, with French handmade marbled paper sides in various hues of brown.
Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 261. In original slipcase; some soiling and spots generally, with shelf-scrape marks; sturdy and on shelf satisfactory. Of the well-protected book, a near-fine copy, with the newsletter and retained half of the order form laid in. (29120)
This is no. 478 of 1500 copies designed and printed by Elmer Adler at The Pynson Printers in linotype Caslon on Hurlbut special paper, illustrated withone double-page map and 40 color wood engravings in text by Hans Alexander Mueller, who signed the colophon. Christopher Morley (1890–1957) contributed the introduction.
This handsome book was bound by Russell-Rutter Company in full brick-colored linen with a “silver”-stamped black leather spine label and brick red page edges; the slipcase is covered with blue and white patterned paper repeating sea scenes.
Provenance: Bookplate, “Lamberton.”
Bibliography of the Fine Books Published by the Limited Editions Club, 107. Binding as above, spine label (often lacking) present, in publisher's slipcase with minor shelf wear at the corners. A fine copy, in a good++ slipcase. (30477)
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)
Binding: Publisher's light blue-green cloth with dark teal lettering to front board and spine; cover stamp in dark teal and white of a woman with book in hand and two children at a window seat. Binding designed and signed by Victor Perard.
Provenance: Small pressure-stamp to front free endpaper reads, “Library of Samuel Page.”
Bound as above, spine faintly sunned; light rubbing to edges. Pressure-stamp to front free endpaper as above. Lovely and clean. (37736)
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.
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)
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)
All of the hints are here — sensational subject matter, vernacular language, poor typography, and poor printing mixed with inattention to composition and a sensational woodcut — that this wasa cheap production for a popular reading audience.
Provenance: Undeciphered early signature on title-page; later in the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.
20th-century light boards covered with light brown speckled paper. Clean, very good. (37833)
Later pale green cloth. All edges marbled. Cloth ribbon placemarker. (33239)
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)
TPL 5826. Publisher's printed papercovered boards, outer corners chipped and a lighter spot to front cover where there once was an old label of some sort affecting one word of type (“Price”); old, light waterstaining (with a darker edge) and some soiling to same cover, with evidence of the onetime moisture visible also to back cover and intermittently in the interior (especially to early leaves). Fragile. (25512)
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)
Dagmar Freist in Governed By Opinion: Politics, Religion and the Dynamics of Communication in Stuart London characterizes this work as “the fullest account of this [1640s] satirical perception of the London booktrade [as lawless].” She further opines that “without a doubt, the pamphlet was drafted for a smallstreet-theater performance, given, for instance, stage directions such as 'Enter Poet.'” The work is “packed with allusions to well-known people, circumstances, and cliches.”
In the underground London pamphlet world of the mid-17th century, “bawling hawkers” were wandering booksellers who sold pamphlets, newspapers, and books, while “trotting mercuries” were men and women who wereknown to cross-dress and who sold “new books” as opposed to “good books.” They were also notorious scolds.
The title-page has two woodcut images: to the right a man smoking a pipe and wearing a ruff, in large close-up, and to the left a standing woman holding a cup in one hand with her other resting on a large triangle bearing images of a ewer and another cup — both figures with rather elaborately dressed hair!
Having said all of the above here is where I confess that I (DMS) originally catalogued this item as an original 1641 printing only to be gently informed by John Overholt of the Houghton Library that it is a type facsimile of the original, one of a number of type facsimiles that J. Sturt caused to be printed and which he openly sold. Originally it bore his imprint information, but that has been removed. The type used is a good approximation of the original and the paper is old, and in this copy without a watermark.When used in conjunction with the digitized “certified original” copy in EEBO, this is a great teaching tool.
Provenance: 19th-century diamond-shaped bookplate of Henry Cunliffe.
For this edition: Hazen, “J. Sturt facsimilist,” in The Library, 4th ser., XXV, pp. 72–79; McKitterick, Old Books, New Technologies, pp. 89–90. For the original: Wing (rev. ed.) D2088; ESTC R23145; Freist, pp. 85–86. Late-19th- or early-20th century half red morocco with marbled paper sides, plain endpapers. Leaves no longer conjugate and each one sewn in with a blank sheet separating it from the next; and with added blank leaves at rear for bulk in binding. Minor spotting, some foxing, and age-toning, a grin-provoking spine title, andone of the best imprint lines ever seen. (37235)
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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