Graphically quite attractive.

•  Very good with one old fold.  (40355)

Provenance:  Inscription of M.A. O'Neil to fly-leaf, Portland, ME (1905); signature of Francis Massey O'Brien, Irish-American bibliophile and bookseller also of Portland, in his “Proinnsías Ó Bríain” form (1940).

•  Publisher's quarter brick red cloth with muted-apricot paper-covered sides; elegant gilt cartouche on front cover with author and title in black. Board edges lightly rubbed. A pleasing, attractive copy with pleasing provenance.  (29955)

The text was set by hand in Palatino and Michaelangelo, and printed in black and grey on Shadwell paper; this is one of 250 copies printed.

•  Two Decades of Hamady & the Perishable Press, 21.   Publisher's tan paper wrappers, front wrapper with blind-stamped title. Minimal wear to extremities, otherwise a clean and fresh copy.  (30930)

Provenance:  Inside box lid with bookplate of Vance Gerry of the Weather Bird Press; later in the children's book collection of Albert A. Howard, with small booklabel (“AHA”).

•  Publisher's printed paper wrappers, housed in the original printed paper–covered box with color-printed “Jeu du Thaumatrope” illustration; box edges and corners with minor rubbing. Booklet and toys clean, absolutely fresh, and ready for fresh experimentation!  (40819)

Provenance:  From the collection of Gerson Leiber, the artist, engraver, sculptor, and book collector, sans indicia.

•  Publisher's printed yellow paper wrappers; spine very slightly sunned, faint dust-soiling in upper inner portion of front wrapper, light creasing at lower edges, presenting very well overall. Pages fresh and clean. A nice copy of a very uncommon item.  (41504)

•  Fine copy in fine dust jacket, the flaps unclipped and retaining original price and month/year printing code.  (6815)

Limited to 56 (unnumbered) copies.

•  New. Sewn in stiff wrappers with printed label on front wrapper.  (41109)

In addition to discussion of this ornament's use by those various printers, Pascoe also offers interesting and sometimes new biographical information on the printers based on archival documents. His assessment of each printer's skills is informed by his own eye and decades of experience as a hand-press printer. His text is illustrated by more than 20 color illustrations and by examples of each printer's signature.

In all, a totally satisfying work on the skills and personalities and, at times, the tribulations of these early New World printers — itself beautifully printed in Pascoe's own unmistakable style.

•  Issued in a strong soft white cover printed in black and red, within a dove grey typographic over-wrapper printed in darker grey and red. As new.  (40046)

Juan’s narrative quickly establishes him as a master prose stylist, like Duncan, and as printers they are also equals, in my opinion, having worked with both. His dual identity as American and Mexican gives this compelling memoir a topical appeal beyond that of hand-press printing or poetry” (John Ridland).

•  Hardcover, set in Espinosa Nova and printed digitally in black and red throughout; binding in shades of cream with vintage printshop cover illustration on front and John Ridland's summary on rear. New.  (38863)

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

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

It is notable that the Pegasus included Jews and women at a time when Philadelphia was highly segregated by race, ethnicity, and gender.

•  BAL 18675. Not in Singerman, Judaica Americana.   Later brown linen over boards with title in gilt on spine; interior occasionally with a trace of light soil and, throughout, a very light, narrow, and almost decorative(!) sliver of old water intrusion across bottom and lowest fore-edges. In fact, a nice copy.  (41472)

•  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)

•  Fine copy.  (30791)

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)

The second sheet is for Stanfield's “Grand Local Diorama,” the grand finale of which involved the “magnificent display of the Falls of the Virginia Waters, seen through the Fairy Temple of Luminaria” — facilitated by a hydraulic apparatus capable of discharging 39 tons of water, “forming a coup d'oeil never before witnessed on any stage.”

A contemporary of Stanfield's once called him “the prince of scene-painters,” and his dioramas were legendary for their beauty and immersive effects.

•  Split halfway up center fold and neatly repaired from rear; one untrimmed outer edge slightly ragged. Gently age-toned. Delightful (and very displayable) piece of theatrical ephemera.  (36575)

Binding:  Publisher's olive green cloth, front cover and spine with flaming torch and floral garland designs stamped in black, white, and gilt (unsigned). All edges gilt.

•  Binding as above, extremities showing minor rubbing, each cover with one small spot of faint discoloration; front hinge (inside) slightly tender but holding. Inscription on recto of frontispiece has been erased. Offsetting from frontispiece to title-page; pages age-toned with a few scattered small, faint pencilled marks of emphasis. Very attractive.  (37530)

•  Original printed wrappers, with a faint fold mark across width of wrappers. Three small punch holes penetrating inner margins, from front to back, without touching text. Mild foxing in margins. Overall, a very good copy.  (9984)

Binding:  Publisher's purple cloth, gilt-stamped title on spine; each cover framed in blind rules, with foliate and drawer-handle motifs surrounding a gilt leaf device at center. All edges gilt.

•  Bound as above, almost entirely sunned to brown and with a very little rubbing. Light to moderate age-toning and foxing throughout; lacks frontispiece, other three plates present and brightly colored. Overall a handsomely done collection of letters about roses (and life).  (35940)

•  Publisher's printed green paper wrappers; minimal shelfwear. Light offsetting from wrapper turn-in to outer portion of first page (illustration), otherwise clean and fresh.  (41526)

•  Not in Shaw & Shoemaker. Removed from a nonce volume; stapled and respined with archival tissue. Six-digit number stamped on title-page.  (198)

•  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)

Binding:  Textured blue cloth, front board with corner maple leaves in blind and elaborate gilt center medallion with lettering. On the spine, the Baron appears to be cutting the rope he's hanging onto that dangles from the Moon, with a lion and alligator waiting underneath him. Undoubtedly he'll come out alive!

•  Bound as above; mild rubbing to extremities and rear board, spine cocked very slightly. Some occasional light foxing and general age-toning to interior. Fantastic fun for lovers of adventure and art. (39527)

Binding:  Publisher's lavender cloth, front cover with lily design stamped in gilt, white, and purple, spine with decorative gilt-stamped title. Top edges gilt, others deckle. Signed “MA,” Margaret Armstrong.

This is one of a series of twelve of Reed's books for which Armstrong did the designs, all on the same lavender cloth. The Reed covers are among her best-known, and this one is quite pleasing with its lily-petal mosaic effect.

•  Smith, American Fiction, 1901–1925, R-122; Gullans & Espey, Checklist of Trade Bindings Designed by Margaret Armstrong, 182.   Bound as above, minimal rubbing to extremities and stamped lilies, minor sunning to spine; front cover clean and bright. Plates with small areas of spotting to upper edges, apparently from printer. A very nice copy. (41298)

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

Binding: Publisher's blue-green cloth binding with front cover and spine stamped in gilt, burnt sienna, and green (we have seen a variant in a wine colored cloth). Front cover with a paper portrait onlay signed by Christy.

Provenance:  Front fly-leaf with inked inscription “From the Hedding girls, Mar. 12, 1905.”

•  BAL 16657.   Binding as above, slight rubbing to extremities, dust jacket and box not present. A clean, fresh, very giftable copy — particularly for childhood sweethearts! (41260)

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)

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)

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)

This appears to be not only the first but the only 20th-century edition of the only work published by Roe, whose name is also given as Mrs. Alfred S. Roe on the title-page; the eight plates were done bypopular children's illustrator Bertha G. Davidson. A search of WorldCat finds this two-woman collaboration physically in only two U.S. institutions (Harvard and the University of Chicago).

Binding:  Publisher's sage green cloth (unsigned) stamped in black, white, and gilt, with the two children dancing and playing their tambourines on the front cover, and good dog Napoleon on the spine.

•  Not in Wright.   Publisher's cloth as above, spine very slightly darkened, minimal wear to extremities. Front fly-leaf with early pencilled ownership inscription. Pages faintly age-toned, otherwise clean. A solid, pleasing copy of this scarce New England–flavored item; a tale offering much sentimentality, but also plenty of realism. (41370)

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)

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 ed. not in NSTC.   Removed from a nonce volume. Pages age-toned, else clean.  (38501)

•  NSTC 2A17980 (for all years 1855–61).   Removed from a nonce volume. Title-page with small inked numeral in upper outer corner, otherwise clean.  (17033)

•  Sewn; wrappers chipped, front separating near spine; author's name pencilled on front. Ex-historical society copy with stamp on title-page. Some page edges irregular and with short tears.  (650)