•  Brooks 692; Brunet, V, 638. This ed. not in De Lama, not in Schweiger.   Modern quarter green morocco and green pebbled cloth–covered boards, spines with gilt-stamped title and gilt rule–framed compartments; spines sunned (not unattractively), volumes lightly rubbed overall. Some pages creased in the press, with variable spotting/soiling/foxing, the last generally speckle-type; still asolid, dignified set. (40179)

•  Brooks 594; De Lama, II, 106; Giani 71 (p. 54); Schweiger, II, 1006.   Bound as above, rebacked with the original spines laid down; sides and edges with moderate scuffing. Faint spotting, occasionally more pronounced, to many page edges; pages overall clean. Bodoni's unadorned typesetting embodies classical elegance.  (40168)

Provenance:  Covers with armorial supra-libros of Henry Welbore Agar-Ellis, 2nd Viscount Clifden (1761–1836), with his motto: “Non haec sine numine.” Front pastedown of deep blue with armorial bookplate and “C” shelf-list tag at one corner, front free endpaper with bookplates of Robert Wayne Stilwell and Brian Douglas Stilwell.

•  Brooks 514; Brunet, V, 673; Giani 46 (p. 48).   Binding as above, rebacked with original spine laid down and recent gilt-stamped red leather labels; corners and lower edges rubbed. Bookplates as above. Free endpapers with offsetting from turn-ins. Pages notably clean clean and crisp. A striking copy of this dramatic presentation. (40163)

•  Brooks 650; Giani 92 (pp. 57/58).   Contemporary green calf, covers framed in gilt double fillets with gilt-tooled corner fleurons, spine with gilt-stamped leather title-label and gilt-tooled compartment decorations between gilt-ruled raised bands, board edges and turn-ins with gilt rolls, all edges gilt; spine and board edges browned, spine label chipped, joints and extremities rubbed. Pages faintly age-toned, otherwise clean.  (40176)

•  Brooks 1017; Brunet, V, 667; De Lama, II, 175; Giani 179 (page 72).   Bound as above, rebacked with original spine sunned to brown reapplied; sides with scuffs (some showing signs of refurbishing) and with edges and extremities moderately rubbed.A monument of both literature and typography in a very clean and handsome copy. (40192)

•  Publisher's grey marbled paper–covered sides, front cover with gilt-stamped coat of arms, spine with black-stamped title; spine a touch sunned with unobtrusive small scuff towards foot, sides very slightly sprung, slipcase lacking. Front pastedown with bookplate as above. Volume clean and unworn, beautiful and uncommon.  (30597)

Binding:  Publisher's quarter parchment over handsome, textured, swirl-printed tan paper; spine with gilt-stamped author and title. Edges uncut.

•  Bound as above; corners bumped, spine darkened and rubbed, joints also rubbed. Title-page with small paper adhesion, one other page with light smudge, a little light dust-soiling along the uncut lower edges, otherwise clean.  (29724)

•  Fine, Janus Press 1975–80, 41.   Publisher's navy cloth, front cover with illustration on paper as above; spine very slightly sunned, outer front corners showing most minimal wear. Van Vliet's lithograph bright and beautiful.  (32333)

•  Publisher's paper wrappers. A fresh, clean copy.  (37134)

This isnumbered copy 173 of 275 printed. The text was set in Garamond type with decorative initials in red and page ruling in blue, and printed by Robert Ashwin Maynard on Japanese vellum.

•  Harrop, Gregynog Press, 6.   Publisher's yellow buckram, spine with gilt-stamped title; sides mildly dust-soiled, spine slightly darkened, back cover with two areas of discoloration near upper edge. Pages gently age-toned and entirely clean.  (35245)

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

•  Kelly, Checklist of Books Published by William Pickering, 1851.9; Keynes, William Pickering (rev. ed.), p. 75.   Binding as above, original silk bookmark present. Pages gently and evenly age-toned, otherwise clean and fresh. A desirable copy.  (40820)

The title-page is printed in black with two blue lines; the portrait of Emerson is in blue on a pale ochre field; the colophon incorporates a large blue “H.”

Lawrance Thompson (1903–73) was a member of the English faculty at Princeton University and the official biographer of Robert Frost.

•  New. Publisher's gray cloth shelfback with orange-red marbled paper sides. Deckle edges. In the original gray cloth openback slipcase.  (35754)

This is the first printing of Thoms' edition; the work was issued separately, and later reprinted as part of the three-volume Collection of Early Prose Romances (1828). WorldCat locatesonly four U.S. institutional holdings.

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

•  NSTC 2H28672. This edition not in Kelly, Checklist of Books Published by William Pickering (see 1828.22 for three-volume collection); likewise Keynes, William Pickering (rev. ed.), (see p. 92 as above).   Modern pebbled black morocco, front cover with gilt-stamped green morocco title-label, in matching morocco and marbled paper–covered slipcase; slipcase rubbed, volume spine sunned and rubbed. Pages faintly age-toned with scattered small spots of light foxing.  (37602)

Binding:  Publisher's lime green cloth with a black and while collage-inspired paper label on each front cover; the pair housed in lime green cloth slipcase with black paper sides and paper labels on front and spine.

•  Chambers 70.   Bound as above, ink on pastedowns somewhat tacky with some offsetting, one leaf attached to pastedown with partial tear to fold; light to moderate age-toning affecting Japanese paper, otherwise bright and clean. Definitely an engaging piece of art.  (37197)

VOLUME 1:  Epostola. 21 Septembris 1788 (Sallander No. 46); Indulto. 18 February 1789 (Sallander No. 51); Lettera pastorale. No date. (Brooks 1348); Omelia recitata al popolo. 1789, (Sallander No. 54); Indulto. 1790. (Sallander No. 55);Omelia. Recitata nel giorno di Pentecoste, 1790 (Sallander No. 56); Omelia. Recitata nel giorno dell' Assunzione di Maria Vergine. 1790 (Sallander No. 57); Omelia. Recitata al popolo nel giorno si San Bernardo. 1790 (Sallander No. 58); Indulto pubblicato. 1791 (Sallander No. 59); Omelia. Recitata nel giorno di Pentecoste, 1791 (Brooks 432); Omelia. Recitata nel giorni di Tutti li Santi. 1791 (Brooks 433); Omelia. Recitata nel giorno di San Bernardo, 1791 (Sallander No. 61); Indulto. Per la Quaresima. 1792 (Sallander No. 65).

Provenance:  Front pastedown with bookplates of “G.P.C.” (Pegasus design) and Fratelli Salimbeni (with shelving designation).

•  Brooks, Compendiosa bibliografia i edizioni Bodoniane, 497.   Contemporary marbled paper–covered boards, faded and rubbed; bookplates as above. Page edges untrimmed. Light foxing, as typically seen in these Bodoni printings.  (40157)

Provenance:  From the library of American collector Albert A. Howard (sans indicia).

•  Quarter blue cloth with gray paper spine label over lovely marbled paper; issued without a dust jacket.A bright and clean copy.  (37600)

•  Publisher's cream paper wrappers in folded heavy taupe paper wraps, front wrapper with gilt-stamped title. Front free endpaper with pencilled annotations. A clean, crisp copy.  (32675)

The work was limited to 100 copies all printed on Japan vellum. It has an engraved vignette on the black and red printed title, small illustrations or vignettes on 50 text pages, 11 vignette borders or headpieces (three of them in color, 10 of them in anextra state), and 10 tipped-in color plates. The illustrations are by Henri Gervex, J.A. Gonzalès, L. Kratké, Albert Lynch, Adrien Moreau, and Félicien Rops.

Binding:  Full red crushed morocco with five raised bands. Covers with a triple-rule gilt border; spine gilt extra with gilt beading on bands. Triple gilt fillet on board edges. Wide turn-ins richly tooled in gilt and with cream and blue leather inlays that are also gilt-tooled. Blue silk pastedowns and free endpapers. Marbled paper fly-leaves. All edges gilt. Binding signed “David.”

Provenance:  Red leather bookplate of Cortlandt Field Bishop, the famed collector of the early 20th century and, at one time, owner of the TWO most important auction galleries in NY/USA.

Original full-color wrappers bound in.

•  Vicaire, VII, 924.   Uncut copy. Bound as above with original wrappers bound in; front joint (outside) somewhat abraded. A very pleasing copy.   (26675)

This is copy no. 7.

Provenance:  Presentation copy to Arthur H. Scribner, a president of Charles Scribner's Sons and a Princeton alumnus, signed by Van Dyke, “March 17, 1898, Dies Sancti Patricii.”

•  Quarter “vellum” paper over gray paper–covered boards, dark teal lettering to front board; corners a bit bumped, very faint dirtying of boards. Interior bright, with fore- and bottom edges untrimmed. An unassumingly simple production from a good press, now uncommon and here inscribed by the author.  (38239)

This is the first edition of his first published work, a description of Japan, and is based on previously published and unpublished sources that were available to him thanks to his association with the Elzevir firm and friendship with Willem Blaeu. The second part of the work, “Descriptio regni Siam,” is a translation into Latin of J. Schouten's Beschrijvinge van de regeringe, macht, religie, coustuymen, traffijcquen, en andere remercquable saken, des koninghrycks Siam.

Both texts treat of religions, customs, political organization, society, and history. As a coda to the “Descriptio regni Siam,” pp. 225 to the end provide “Brevis informatio de diversis gentium religionibus,” including large sections on the religions of Africa and Asia (including China); a page on those of Mexico, Peru, and Chile; sections on ancient Greece and Rome; and pages on Russia, Armenia, and Islam.

The volume begins with an engraved title-leaf showing a royal audience chamber with many people kowtowing to the emperor, and, in another portion of the page, Asian scholars with a book and map.

Provenance:  19th-century Hungarian stamp on verso of title-page “Teleki Pal Gr Pribekfalva.”

•  Copinger, Elzevier, 4802; Willems 1095; Berghman 1927; Rahir 1109.   Contemporary vellum, soiled. Title-leaf loose but present; lightly reattached. A very little old underlining in ink; a good copy.  (35534)

•  Sewn in publisher's printed paper wrappers; wrappers slightly age-toned, otherwise a clean, handsome copy.  (14424)

•  Brooks 548; De Lama, II, 96–97; Giani 59 (p. 51).   Contemporary half brown calf and marbled paper–covered boards, spine with gilt-stamped leather title-label, marbled endpapers and all edges marbled; rubbed overall with fore-edge and spine label chipped, pin-hole worm action to spine/joints without this reaching interior. Free endpapers, front fly-leaf, and final blank each with one horizontal crease in lower portion; front endpapers with pencilled annotations. Occasional light to moderate foxing.  (40167)

Provenance: The publisher-issued bookplate and box label proclaim that this copy belonged to L. Haskell Sweet, a New York businessman.

•  Coigney 308.   Publisher's quarter vellum and marbled paper–covered sides, spine with gilt-stamped title; original glassine dust wrapper and original charcoal-colored paper-covered box with personalized label present, wrapper with chips, short tears, and some creasing, and box split at seams with two side elements fully detached (one lost). Vellum of the volume's spine faintly darkened and spotted, book otherwise clean and fresh with top edges gilt; sweet identification as above. A good catch.  (28332)

•  Keynes, William Pickering (rev. ed.), p. 94; Kelly, Checklist of Books Published by William Pickering, 1836.17; Ing, Charles Whittingham, 13; Horne, The Compleat Angler 1653–1967, 43.   Bindings as above, spines gently sunned; front free endpapers stamped “Bartlett & Co, Boston” in upper outer corners. Occasional minor foxing/spotting; vol. II with mild waterstaining to lower outer portions, more pronounced to first few leaves and later ones. An enduring classic, in a beautiful set. (40961)

This is the first published edition of Waugh's essay, which was first printed privately by Alastair Graham in 1926. As Christopher Sykes and Christopher Wood describe it in the preface and postscript, respectively, Waugh's account of the Pre-Raphaelite Brotherhood is not very scholarly (for one, Waugh makes biased remarks about William Holman Hunt, who married not one but two of his relatives, the sisters Fanny and Edith Waugh); however it is regarded as the first serious bit of writing by one of the greatest novelists of the 20th century. A commission followed to write the biography of Dante Gabriel Rossetti, Waugh's first full-length book.

The text was designed by Robert Hamilton Dalrymple using Monophoto Modern Extended 7 and printed on Zerkall mould-made paper at the Westerham Press, illustrated withsix plates reproducing portraits drawn by Dante Gabriel Rossetti, William Holman Hunt, and John Everett Millais, of each other. The binding, in navy blue cloth with the title stamped in red on the front cover and spine, and matching red endpapers, was designed by Hunter & Foulis of Edinburgh. Of an edition limited to 475 copies, this is number 118, written in manuscript below the colophon.

•  Binding as above, in protective mylar wrappers. Short marginal tear to bottom of one leaf, elselike new.  (30683)

The colophon notes that this text was printed from Bembo, Cleland Initial, and Sistina types on Niddegen paper.

•  Rose wrappers with black lettering on front; spine gently faded. Light pencilling on front endpaper. A simple yet elegant production.  (36075)

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

•  Publisher's printed paper wrappers; spine sunned, light shelfwear to lower edges, lower outer corner of back wrapper lightly creased across. Interior clean and fresh; vignettesbright.  (41523)

The colophon notes, “300 copies have been printed for private distribution. . . . Design by Margaret B. Evans.” John Logan supervised the presswork through chapter eight, and Frederick Warns finished after Logan's death.

•  Garrison A19.12.   Publisher's blue-grey textured cloth, spine gilt-stamped; printed on light green laid paper with all edges deckle. As new.  (40073)

While Ford used the Stokes name on this Antwerp printing (and again later in the same year on a Parisian printing to which he resorted after Whistler's representatives successfully halted the Belgian production and confiscated most of the existing copies), Stokes denied having been involved in any way.

Provenance:  Inked inscription of noted educator and book collector Jahu Dewitt Miller on final blank page.

•  For the story of Ford's pirated edition, see: E.R. & J. Pennell's Life of Whistler, 1908, V. II chap. 34, pp. 100–13.   Publisher's heavy gray paper wrappers, front wrapper with title stamped in red; spine creased and sunned, corners rubbed, rear wrapper very unobtrusively reinforced. Now housed in a violet cloth–covered chemise and a quarter deep purple morocco and violet cloth–covered slip case, with outer box edge and case spine and front cover sunned, case showing light shelfwear overall. Front two fly-leaves with short tear from upper margin; a very few instances of light spotting, generally not occurring within text. With laid-in auction catalogue information regarding publication and textual details; final blank page with inked inscription as above. Now very uncommon.  (36545)

This brief history was printed in an edition of 250 copies at the Bird & Bull Press. The Press's bibliography says: “Title line and colophon [are printed] in Arrighi; the text [is] printed in Garamond type on Hodgkinson's Bird & Bull paper” and the wrappers are “Burnt Sienna roller-printed paste paper . . . [with the] title on [a] paper label on [the] upper cover.”

• Taylor & Morris, Twenty-one Years of Bird & Bull, B3.   New. Publisher's “burnt sienna” patterned wrappers as above.  (35763)

Whitworth was perhaps the most effective English ambassador to Russia in the first half of the 18th century. His Account was originally written for the foreign office and remained in manuscript till Walpole printed it. The DNB (on-line) writes of it, “Succinct and perceptive, it was a survey of Petrine Russia which held its readership through to the century's end and beyond.”

Horace Walpole (1717–97), the 4th earl of Orford, is best remembered as the author of the Gothic novel The Castle of Otranto. Among bibliophiles he is also remembered for his private press, variously known as the Officina Arbutana or the Strawberry Hill Press. Walpole's almost fantastic wealth allowed him the connoisseur's luxury of maintaining this noble enterprise, which he operated in the arena of the rebirth of fine printing in Great Britain that was being carried on by the Foulis brothers, Baskerville, and others.

Provenance:  20th-century bookplate of William & Helena Hand.

•  Hazen (1973 ed.), Bibliography of the Strawberry Hill Press, 5; ESTC T138827; Rothschild 2560; Cox, I, 195.   Contemporary sprinkled calf, gilt spine extra, gilt dull; joints and hinges with good repairs. Two old booksellers' descriptions taped to front pastedown. Off-setting from the turn-ins on the front and rear free endpapers and fly-leaves, title-page, and errata leaf; else, quite clean. A handsome book.  (26862)

•  Bound as above, spines slightly sunned and spotted; each volume with small faint trace of now-absent shelf label. Pages clean and fresh. A very nice trio. (41344)

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

•  Kelly, Checklist of Books Published by William Pickering, 1836.18; Keynes, William Pickering (rev. ed.), p. 96; NSTC 2W34141; Pickering & Chatto, William Pickering (catalogue 708), 277.   Quarter dark brown roan in imitation of morocco and rose-pink paper–covered boards, spine lettered in gilt; paper gently rubbed and faded, front hinge (inside) just starting at top, two small pencilled notes on endpapers. Booklabel as above. Light age-toning, some light staining on endpapers. Signatures mostly unopened. Early English poetry presented within a historical context and in “antiquarian” style. (39487)

This is copy 22 of 50; the engravings are signed and numbered 22 of 75.

The illustrations are by David Moyer.

Poet and artist look humorously at early 20th-century fathers: baritone, critic, physicist, militarist, machinist, and photographer.

•  Binding as above, with title embossed on cover and red-cord sewing. Fine copy.  (35481)