Tall 4to. (13 x 10 inches), half blue morocco over decorated boards; accompanied by a CD recording of the music for the first production of the play by the Red Clay Ramblers.One of 300 copies printed in Erhardt type on French mould-made paper with black and white drawings by STAN WASHBURN, the well-known Bay Area painter and printmaker, who, along with Mr. Shepard, signed the book's colophon. Mr. Shepard was awarded the Pulitzer Prize for his 1979 drama, Buried Child, and this play, A Lie of the Mind, was named winner of the New York Drama Critics Circle Award for the best new play of the 1985-1986 season. A FINE COPY, as published, accompanied by the original Prospectus.

Sm. 8vo. (6 1/4 x 4 1/16), full acid calf with a single narrow floral border on the covers; spine with five raised bands and elaborate gilt decoration. Board edges gilt, inner gilt dentelles, a.e.g. (by Zaehnsdorf). This exceptionally well printed edition with its six engravings by W. Bromley after drawings by M. Archer employs excellent typography and a few well chosen head and tail pieces, making it highly attractive and readable. The unfinished narrative attacks sentimentalism wherein Sterne playfully moralizes so as to present an almost delicate caricature of moralizing itself. It is hard to understand today how for so many years it was read with great seriousness. It was first published in 1768, the year of Sterne's death.

Two vols., sm. 4to., full black grained cloth over beveled boards; spine and covers heavily ornamented with gilt and blind relief decoration, far too elaborate to describe. At the top and bottom (on the edge of the outer border), are two gilt lines: To•the•Memory•of•Elizabeth Strachey• and *Coelum * Non * Animum*. Elizabeth Strachey was born 14 February 1810, the eldest daughter of R. W. Wilkinson of Woodbury Hall, Bedfordshire. She married Edward Strachey of Sutton Court, Pensford, Somerset on 27 August 1844 and died without issue on 11 April 1855. Émile Souvestre (1806-1854) was a French novelist-playwright who did much better with his novels than for the stage, although he deliberately aimed at making the novel an engine of moral instruction. He is said to have felt in harmony with Mrs. Strachey's translations of his works, which include The Bargeman of the Loire, The Lazaretto-Keeper, Confessions of a Working Man, The Sea-Shore Gleaner, An Attic Philosopher in Paris, Family Memoirs and The Widower's Old Age (three chapters of which Edward Strachey added to volume two from M. Souvestre's unfinished work). These volumes were published: "To the memory of her to whom these translations are chiefly due, while her hand, in them, as in all things else, was ever joined with that of her husband."The bindings by Leighton could not be more elaborate and were probably done expressly for these privately printed volumes. In our Catalogue 32 (item 45) we offered one of two known copies bound in dark blue crushed morocco. Both are now in private collections. The brass stamping plataes (which were shared by the morocco and cloth bound copies), were used again by Leighton for an 1868 edition of Oliver Goldsmith's The Traveler in a somewhat altered fashion (i.e. he removed the memorial lines at the top and bottom, replacing them with two lines of gilt decoration to try and achieve balance; he also removed Elizabeth Strachey's initials from the central panel on the covers, replacing it with an uninspired design element). In fine condition.

8vo., publisher's bright green cloth with an all-over blind-embossed design on both covers; spine titled in gilt. Preserved in a quarter morocco clamshell case.FIRST EDITION. The book was based on a series of lectures on Kings George I-IV and their times, delivered by Thackeray in the United States and London, which were printed in Cornhill Magazine. This copy belonged to Albert M. Cohn, the bibliographer and noted collector of the work of George Cruikshank. It is difficult to imagine a nicer copy. Van Duzer 70.

4to., three-quarter crushed green morocco over cloth sides; spine with five raised bands and gilt decoration [by Riviere]. The joints and hinges have been renewed using morocco that closely matches the sunned spine and corners.First edition of Trevelyan's second book, it consists of sixteen poems, sonnets and translations, classical in origin, each of which is illustrated by a classical chiaroscuro woodcut printed in black and olive green, much in the manner of the work of the 16th century artist, Goltzius, and his contemporaries. The brilliantly conceived title-page, also printed in black and olive green, makes use of a highly decorative border and a large chiaroscuro print by Fry, the noted English painter and art critic. Trevelyan was the brother of the English historian, George Macaulay Trevelyan, and published much of his own poetry and translations from the Greek during his long and distinguished career at Cambridge. Uncommon and VERY HANDSOME!See: Colebeck Collection. Vol. II, p. 880.

Thick 8vo. (8 1/2 x 5 1/2 inches), two vols bound in one. Brownish red oasis niger with a double gilt fillet border on the covers; spine with five raised bands and detailed gilt tooling in the compartments. Slight rubbing at the top of the spine; all edges marbled; bookplate: R. Kenneth Cock.The Sforza family ruled in the second half of the fifteenth century at Milan. From their obscure origins as soldiers of fortune they established themselves as a princely house and one of the leading powers of Italy. Among those noted for their cultivation of the arts were Francesco Sforza (1401-1466) and his son Lodovico Sforza (1451-1508), both Dukes of Milan. It was Lodovico who gained further prominence through the employment of Leonardo da Vinci. A comprehensive history derived from early sources.

8vo., red morocco, lettered vertically, with the staff of Hermes in the center of the spine, the figure of Britannia on the upper cover and the Cap of Liberty on the Lower cover, marbled end-papers and edges. Occasional foxing and some darkening of the spine; there is A SMOKE IMPRESSION OF THE EMBLEM OF LIBERTY on the blank recto facing the publisher's ads. Bound by John Matthewman for Thomas Hollis, notwithstanding the manuscript note tipped onto the front pastedown, cribbed from the DNB and some late edition of Boswell's Life of Johnson. In a fine quarter morocco clamshell case.According to Rothschild (quoting a note by Thomas Hollis from the sale catalogue of his Library), "This edition was printed at my request, and under my general direction. The Preface which stands first in it was canceled, and both Prefaces were Latinised by the ingenious Mr. Bowyer." The tools are the second version re-cut by Pingo. Hollis is said to have purchased one hundred copies of this book for presentation. An altogether unsophisticated example of a Hollis binding, with an added smoke proof of an important tool.See: Rothschild Nos. 2731 and 2732. Maggs Bros Cat. 1075 (an almost identical binding, on the same book, but with the figure of the seated owl on the lower cover). See also: Edward Bayntun-Coward. Catalogue III. No. 51.

Oblong 8vo (4 1/4 x 6 1/4 inches), bound in quarter powder blue morocco gilt lettered spine over marbled paper covered boards with leather tips. The text is 64 pages followed BY FOURTEEN ORIGINAL MARBLED SAMPLES. First edition, limited to 350 numbered copies. This attractive book reprints the first American Treatise on Marbling, an account which appears in the April, 1829 issue of the Journal of the Franklin Institute, with additional text by Wolfe. Beautifully printed in letterpress on handmade paper and finely bound by Gray Parrot. Fine, as Issued.