This became, apparently, a Broadway play and then a film starring Charlie Chaplin's brother Syd Chaplin!

Binding:  Signed binding by Margaret Armstrong: Publisher's blue-green cloth, front cover and spine pictorially stamped in light green, cream, and black, with “MA” on front cover.

•  Gullans & Espey, Checklist of Trade Bindings Designed by Margaret Armstrong,158.   Binding as above, cocked; extremities and front panel mildly rubbed. Pages and plates clean. An entertaining novel in an attractive presentation.  (35662)

Binding:  Publisher's tan cloth, front cover with double iris design stamped in green, white, and violet.

•  Binding as above, minimal rubbing only. Pages and plates clean. A beautiful copy.  (28613)

•  Gamba 2323; not in Brunet. Contemporary vellum over paste boards, outer edges yapp, spine with hand-inked title; vellum torn and partially lost over lower edge of front cover, with signs of wear and small spots of staining elsewhere. Ex-library, front pastedown with Italian institutional bookplate; yet volume otherwise free of markings. Title-page verso with affixed scrap of paper. Intermittently occurring light dampstaining in upper margins; otherwise clean.  (17693)

This is a copy of the third edition. Searches of NUC, WorldCat, and COPAC locate no copies of this edition and only one library worldwide reporting ownership of either the first or the second edition (the second, at Princeton).

•  Publisher's printed dun-colored wrappers; excellent repairs to spine. Some finger soiling.Overall very good, with the coloring very neat and vivid.  (38809)

Merlin also printed a duodecimo edition in 1767; in the present edition, “Fragmens de philosophie morale” is found on pp. 273–340, followed by the Addition and Approbation.

Provenance:  Front pastedown with large, round, gilt-stamped armorial leather bookplate of notable 19th-century bookseller and book collector James Toovey; smaller, round, gilt-stamped “I.T.” bookplate with motto “Inter folia fructus” (also Toovey's and of cream-colored leather); and bookplate of Sir Montague Shearman.

Binding:  Contemporary crimson morocco, covers framed in gilt triple fillets; spine gilt extra with gilt-stamped leather labels, board edges and turn-ins with gilt rolls. This volume (complete in itself) seems at one time to have been part of a set of Marmontel's works, and bears an (unnumbered) spine label reading “Oeuvres de Marmontel.”

•  Brunet, III, 1440; Cohen de Ricci, Guide de l’amateur de livres à gravures du XVIIIe siècle, 688; Graesse 406; Tchermezine 455.   Binding as above, with edges, extremities, and joints showing minor rubbing. Front pastedown with bookplates as above; front free endpaper with affixed slip of early cataloguing; rear pastedown with small chip out of paper. Light spots of foxing, slightly heavier around plates. All edges gilt.  (25776)

To that text he has added wonderfully striking woodcuts by the T.M.P.'s long-time artist Artemio Rodríguez and a working replica volvelle.

In his introduction Pascoe tells us about the press that Enrico Martinez used, the later printings of the Repertorio, and the special characters that were recast for this edition “en homenaje a los 480 años de imprenta en México-Tenochtitlán.”

Limited to 150 copies: “Florencia Ramírez compuso las letras de caja Poliphilus Blado, Castellar, con la cruz fourchée tallada por Antionio de Espinosa en 1554 y el punto alargado de Enrico Martínez, 1600. Juan Pascoe y Martín Urbina imprimieron . . . [el libro] sobre papel de hilo De Ponte” (colophon).

•  Laced-in binding of wrappers with paper label on front wrapper. As issued, new, beautiful. (40676)

Binding:  Publisher's brown cloth, front cover and spine pictorially stamped in orange, black, and tan with an image of Uncle Walt holding forth; the orange title lettering is LARGE and the image fills the entire cover.

•  Bound as above; minor wear to black portions of front cover, extremities slightly rubbed. Dust jacket lacking, as is typical; page edges untrimmed. Text age-toned, otherwise clean and crisp.  (41338)

The identity of the wood engraver of the 2" block is not known, but it might be attributable to R.S. Gilbert (of Philadelphia) who signed illustrations in the text of the Primer. It may also be that he engraved the block in hand, although some would attribute that to Alexander Anderson.

•  Heartman, Non-New England Primers, 96; Opie G 215; Shoemaker 33941; Rosenbach, Early American Children's Books, 714 (1828 edition).   Publisher's printed and illustrated blue paper wrappers; spine and extremities rubbed; hinges (inside) partially reinforced some time ago, reinforcements now separating. Pages age-toned with minor offsetting, otherwise unmarked and apparently untouched. Woodblock in excellent, clean, and (should that be desired!) fully usable condition. (41664)

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

•  Quarter dark blue morocco and vividly color-printed paper–covered sides with gilt-stamped title on spine, portfolio in matching paper, both housed in publisher's plain slipcase; portfolio spine and corners showing minor wear, main volume bright and fresh. Top edge gilt. One portfolio sample leaf with two short tears from one edge, papers otherwise in beautiful, crisp condition, as are the text pages of the main volume. A special copy in lovely condition.  (39552)

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

•  Bennett, American Nineteenth Century Color Plate Books, p. 75; Nissen, Botanische Buchillustration, 1331.   Bound as above, moderate rubbing overall with small scuffs, sunning to cloth at edges, front joint of vol. I partially refurbished some time ago. Pages and plates age-toned with offsetting from plates and intermittent foxing; one leaf with short tear into lower inner margin, not touching text. Laid in is a small scrap of paper bearing an appealingly homemade rendition of a pink flower, in what looks like watercolor. A strong, clean, and attractive set of a significant American and Philadelphia-associated botanical work, beautifully illustrated.  (41168)

An extremely popular work (it went through 25 editions after its first appearance in 1771), the work describes the adventures of an unnamed man, who, after engaging in a heated discussion with a philosopher friend about the injustices of Paris, falls asleep and finds himself in a Paris of the future.

Though condemned by French and Spanish authorities andforbidden by the Inquisition, the work was nonetheless a roaring success in Europe, going through numerous editions in multiple languages — and serving as a groundbreaking, genre-defining example of a futuristic paradise set in a real-world location. The present example is an unidentified imprint of the greatly expanded three-volume text of 1786, followed by Mercier's allegorical L'homme de fer. Wilkie suggests that this “nouvelle édition avec figures" was printed by Changuion in Amsterdam; each of the three books of the main work opens with its own tipped-in engraved plate, making thisone of the earliest illustrated editions.

•  Wilkie, Mercier's L'An 2440, 1787. Not in Brunet, not in Graesse.   Contemporary mottled sheep, spine with raised bands, gilt-stamped leather title-label, and gilt-tooled compartment decorations; spine and edges much rubbed, with spine extremities chipped. Front and back pastedowns with traces of red wax adhesions; endpapers with offsetting from turn-ins. Minor age-toning throughout; one page with early inked annotation. Though battered, a solid, early, nicely illustrated example of this landmark work.  (38525)

Provenance:  Front free endpaper with ownership inscription of Theodore H. Swan.

•  Publisher's green cloth, front cover and spine stamped in dark brown and gilt; very slight rubbing to extremities, otherwise clean and fresh. Pages faintly age-toned. One leaf with chip in upper margin; one leaf with tear from upper margin, extending into a few lines of text without loss. A solid, pleasing copy.  (41297)

•  Rosenwald Collection (1977) 1734; Cicognara 1524; Ruggieri 1111; Vinet 817. Not in Landwehr because this ceremony was not for a state entry.   19th-century half vellum with marbled paper sides; vellum darkened, sides scuffed. Some age-toning; a few short tears in lower margins. Very satisfactory condition.A fantastic book in a remarkable copy. (39787)

•  Publisher's textured taupe silk binding, front cover with patterned coral silk insert; spine with gilt-stamped title. Dust wrapper and original slipcase present, lower back corner of jacket slightly crumpled; otherwise a gorgeous, clean copy in an undamaged slipcase.  (24683)

•  Publisher's quarter teal morocco and cream cloth–covered sides, spine with gilt-stamped title, in original dust jacket (printed on both sides) and printed cork–covered slipcase; slipcase with corners a little rubbed, jacket with spine and extremities chipped, volume's spine a tiny bit rubbed and sunned at extremities; the volume itself in all, fresh and lovely. A nice copy of this remarkable first edition.  (35851)

Provenance:   Front pastedowns with armorial bookplate of James Wiseman of Glasgow; most recently in the library of American collector Albert A. Howard, small booklabels (“AHA”) at rear.

•  Contemporary bindings, joints and extremities mildly rubbed, vol. II spine a little sunned; vol. I in pebbled dark red roan and vol. II in red morocco but with all tooling done to match — covers framed in gilt double fillets, spines with gilt-ruled bands, gilt-stamped titles, gilt rolls at head and foot, all edges gilt. Bookplates and labels as above; vol. II half-title with early pencilled ownership inscription. Mild to moderate foxing to plates (more noticeable to vol. I frontispiece and titlte.-page) and surrounding leaves. Not quite a perfectly matched set, but rather fascinatingly close; an engaging and attractive pair with a pleasing provenance.  (41049)

The present edition of the first work isrevised and enlarged with added material on Algeria. It should be noted that the second work is here in the “mieux imprimée et plus correcte” of the two editions printed in 1632 (according to Willems), while the third work is the first of its two 1632 editions (with the final line giving “LXV. menses”). All three were first printed by Elzevir in 1630.

Produced in Elzevir's typical compact style, the three together form a small but very thick omnibus.

•  Willems 416, 367, 366.   Contemporary vellum, spine with hand-inked title; light dust-soiling, traces of now-absent shelf label at foot of spine, upper corners bumped, and wormtrack to front endpapers not reaching/affecting title-page. Texts faintly age-toned with occasional spots of very light foxing, otherwise clean. A fine little fistful.  (41379)

•  Lipperheide, Katalog der Freiherrlich von Lipperheide’schen Kostumbibliothek, 285m. Contemporary quarter morocco with marbled paper–covered sides, spine with gilt-stamped title; joints and edges rubbed, joints cracked and leather chipped at spine extremities. Front free endpaper separated but present; front pastedown and free endpaper institutionally rubber-stamped. Pages clean. Absorbing.  (19549)

The ballad is hereillustrated with two handsome woodcuts: the title-page features a large vignette of Dick and John at their loom, and the final text page displays the patterned carpet itself.

Provenance:  From the chapbook collection of American collector Albert A. Howard, sans indicia.

•  ESTC T052020.   Disbound from a nonce volume, with early inked numeral in upper outer corner of title-page. Title-page foot with faint shadow of pencilled annotation; pages with very minor foxing.  (41145)

Provenance:  Author’s inked inscription “A mon bon ami, Amand Lemire [/] E. Morice” on front free endpaper. From the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.

•  Printed paper over boards imitating 16th-century strap-work and panelling on covers, with gilt lettering on otherwise plain spine and four gold dots at the corners of the covers’ inner panels; rubbed with some paper chipped, front upper corner and hinge cracked, front free endpaper reattached with paste and chipped at bottom. Light to moderate age-toning and foxing throughout; colors and illumination remarkably bright. A pretty little thing with plenty of charm.  (37895)

The gathering comprises: Bibliophilic, Typographic and Politically Correct Bijoux. That's a wrap! [1996]. Nos. 2 & 3. [1] f. each. (folded); Chinese Handmade Paper. [1986]. [4] pp.; Chinese Decorated Papers. [1987]. [1] f.; The Etching of Figures. [1998]. [4] pp. (specimen laid into some copies of Dard Hunter & Son; this example including the mysterious “yellow image”); The First Fine Silver Coinage of the Republic of San Serriffe: The Bird & Bull Press Commemorative 100 Coronas. 1988. [4] pp.; Numismata typographica. [1992]. [1] f.; The Private Press-Man's Tale. [1990]. [1] f.; Swine Print. [1978]. [4] pp.; Three Early French Essays on Paper Marbling 1642–1765. [4] pp.; Trade Tokens of British and American Booksellers & Bookmakers. [1989]. [4] pp.

•  Items clean and unworn. Swine Print with crease from previous folding. An attractive, interesting gathering of uncommon ephemera.  (31235)

This is copy 152.

•  Publisher's quarter cranberry-colored calf with decorated paper over the boards, in a cream-colored paper wrapper. A fine copy.  (30522)