8vo., black cross-grained calf with a single gilt fillet border surrounding a narrow floral roll border with corner floral ornaments; smooth spine without title, horizontal bands and elaborate mosaic tooling within the compartments; a.e.g. Stamped on the upper cover are the initials R. S. and the date 1824. Slight wear. Pink coated endleaves.The text is set in blackletter. The 25 full-page engravings are of two distinct styles. The first ten are borderless and loosely drawn; they depict the life of Jesus and the saints. The final set of fifteen portray the stations of the cross; they are all set within the same style architectural cartouche and each has a descriptive text beneath. It is interesting to note that THE PUBLISHER OF THIS MISSAL REFERS TO HIMSELF ON THE TITLE-PAGE AND LATER ON AS BOOKBINDER. The style binding is uncommon hereabouts and quite attractive.

8vo., full burgundy crushed morocco with a double gilt fillet border surrounding a large floral border with elaborate corner tools extending towards the center, topped by hawks; in the center of the covers is a large rectangular panel composed of four gilt fillet borders with a wavy border in between and a central crowned supralibros. Spine with five raised bands, much gilt decoration and a morocco title label with the initials, C. M. Very attractive color, block-printed endleaves; a.e.g.Striking calligraphic main title-page rendered in colors and signed F. Pietsch. Each of the 303 numbered pages of text (there is a seven-page index at the end not numbered), has a triple-ruled, red-and-black border; the text is written in a sloping cursive hand in black ink with occasional passages and headlines in red. There are several elaborately decorated Part Titles, another of which is signed as before. Interleaved (but not numbered) are a series of engraved illustrations taken from religious books, all of which have several lines of text below. The prayers are selected for Morning, Evening, Mass, Confession, Communion, and other Prayers together with the Liturgy of the Hours and the Litany. A VERY ATTRACTIVE example in a handsome, CONTEMPORARY BINDING.

8vo., original printed blue wrappers, side stitched, altogether untrimmed.A wonderful example of the use of "Civilité" types from the collection of Joh. Enschedé & Zonen, dating back to the 16th century. The first printer to make use of a character of this style was the type founder and printer Robert Granjon of Lyons. Granjon received a Royal Patent of ten years for his "lettre françoyse d'art de main." But this Patent did not prevent its imitation. The name, lettre de civilité, is derived from La Civilité puérile... a translation from Erasmus by Jehan Louveau, published by Jehan Bellère in Antwerp in 1559. After its publication, works of this kind, even into the 19th century, were often printed with similar characters. They met with most success in the South Netherlands. These types were often imitated, even by such famous printers as the Plantins of Antwerp.Here we have a splendid example PRINTED FROM THE ORIGINAL TYPES OF THE 16TH CENTURY.

8vo., full crushed burgundy morocco with a double gilt fillet border surrounding a narrow scalloped border. Spine with five raised bands and understated gilt decoration, title on a black morocco label; a.e.g. The bottom margin of the title has been cut away as has the bottom margin of D1; bookplate removed from the front pastedown.A curious and attractive BOOK OF HOURS displaying a number of different typefaces used in combination. For the most part, the type is a very legible script that takes on the appearance of handwriting. Interspersed for emphasis is a standard roman typeface of no special distinction; at the end, though, and in one place at the beginning the printer inserts a form of CIVILITÉ for several pages. The Litanies begin with a woodcut of Heaven, and there are numerous woodcut-decorated initial letters, headpieces and tailpieces. An altogether attractive 18th century book.

Lg. 4to. (11 3/8 x 9 1/4 inches), rich burgundy velvet, deeply stamped on both covers. Within a solid outer border, the design is composed of a wide, gold, seashell border (cadre “rocaille”). In each of the four corners there is a fully realized portrait of a young scholar reading or writing. On the inside front cover, printed in gold on coated white paper, set within a rococo floral design, we find the days of the week. On the inside rear cover, covered in heavy embossed white paper, are a set of three expandable pouches for correspondence: Lettres à répondre, Lettres répondues, and Notes diverses. The content of the portfolio consists of eight sheets of blotting paper sewn into matching white embossed paper. There are off settings from earlier use (blue and some black ink), but the portfolio is in excellent condition. It is preserved in a cloth clamshell case.Although this portfolio is not a book, it certainly was produced at the atelier of a highly skilled French (undoubtedly Parisian) bookbinder, around the middle of the nineteenth century. We have reviewed the literature dealing with French decorative romantic bookbindings and cannot place the plaques used in its execution. Comparisons with the occasional surviving French bookbinding of this period, executed on velour, reinforce our opinion that this is a remarkable example of the bookbinders’ art at the height of the romantic era in bookbinding.

8vo., burgundy straight-grained morocco with a series of gilt borders, straight and decorated, resulting in a large central panel. Smooth spine framed with gilt borders and horizontal scroll-work dividers with leaf-and-flower tooling. In the top and large central compartments there are two different neoclassical gilt-stamped vases. At the bottom is an oval gilt cartouche with ownership initials: M. H. [above] g. D. The title is gilt stamped on a black morocco label. Board edges gilt, inner gilt dentelles, bright-yellow raw silk pastedowns (bookplate, ex-libris stamp and owner's name in ink—all different owners); a.e.g.Fifth edition. The text is set in three columns. Light occasional browning. A PARTICULARLY HANDSOME period binding.

Sm. 8vo., publisher's tan roller-printed cloth with a leafy pattern (most unusual!), with the title stamped in gilt on the cover, which is a little rubbed; interior a bit browned with a light tide line towards the back. Although the list of engraved plates calls for six plates each with four portraits, there are two additional plates not called for of metallic tributes. The 24 heroes of the Reformation include the usual suspects: Luther, Beza, Huss, Knox, Calvin, Cranmer, &c. Each gets a brief biography to accompany his portrait. An unusual book.

Folio (15¼ x 11¼”). Yellow linen with colored decoration to top board. 1¾” fraying to tail of spine. Slight wear to head of spine and corners. 24 plates in color and black and white, some tipped in. Theophile Alexandre Steinlen was a Swiss-born leading poster artist.

8vo., very handsome full polished calf with a series of decorative borders (gilt and blind) in the manner of Edwards of Halifax; spine with five raised bands and a black morocco label with gilt and blind decoration within the compartments. A.e.g., pink endleaves.Based upon Holbein's original 15th century designs, Wenceslaus Hollar, the Bohemian etcher born in Prague in 1607 created copper plates for his own Dance of Death. In 1647 an edition of 30 copperplates was brought out in London; another edition from these plates was published in 1651. The plates then disappeared from sight until the late 18th century when several editions from the "newly discovered" plates began to appear. The copperplates apparently came into the hands of an English family of nobility, from whom the bookseller, Edwards, obtained them. We have compared the plates of our edition with the plates of the ALSO SCARCE 1804 edition (printed by C. Whittingham for John Harding) and with the more common 1816 edition (printed by B. McMillan for J. Coxhead) and notice unmistakable differences in small details, which may be the result of the copperplates having been "rebitten with great care," according to Douce, or entirely recut.The title-page of our edition carries no place, date of publication, or publisher's name. We have inferred, however, that is it the 1789 printing of the plates (before the rebiting); the 1794 Edwards edition (See: No. 249 in the Minns Catalogue) is described thus, "Printed from the original plates rebitten with great care to prevent injury in the retouching."See: Warthin, A. The Physician of the Dance of Death. pp. 72-76. Douce, F. Holbein's Dance of Death. pp. 111-113.

Folio (12 x 8 inches), full burgundy oasis morocco, spine and cover decorated and lettered in gilt; t.e.g. In the original cloth-covered board slipcase with red morocco ends. One of 320 copies (this is copy cxxxvi designated for Great Britain), set in various sizes of Mardersteig’s Zeno type and printed at the hand press of the Officina Bodoni on mould-made paper. The English text is from the King James version of the New Testament. The striking title-page was cut in wood by Reynolds Stone, and the 114 woodblocks that illustrate the text have been recut by Bruno Bramanti (except for the last eight, which were cut after his death by his pupil Italo Zetti). The cuts were made after the original illustrations by Bartolomeo di Giovanni, from the 1495 Epistole et Evangelii, an incunable which Mardersteig considered to be the most considerable achievement of 15th century Florentine book illustration. Truly one of the great books of the Press. Fine. See: Officina Bodoni 126. Barr 64.

3 vols, sm. 4to (10 1⁄2 x 8”). Blue cloth with gilt decoration and lettering to both covers and spine, slight edge wear; untrimmed. Contains often lacking Beardsley Christmas card. Each volume with bookplate of Robert and Gladys Koch to front pastedown. Gladys was a well known antiques dealer and her husband, Robert, was an art historian best known for his books on the great American decorative artist, Louis C. Tiffany and master graphic artist, Will Bradley. Dr. Koch specialized in the Art Nouveau period and authored articles on posters. Each volume with bookplate of Willis Vickery to front pastedown. Willis Vickery was a well known judge in Cleveland whose important library collection was sold at auction in 1933. The Savoy was a journal produced from January to December 1896. Authors such as Yeats and Beardsley were represented. Also playing a prominent role in the production of the journal was Oscar Wilde. Important publication of the Art Nouveau period.

8vo., publisher's patterned purple cloth, faded, with elaborate gilt and blind decoration; a.e.g. The book consists of 280 pages of short prose and poetry, illustrated by eight full-page color plates, printed by the innovative firm, Thomas Nelson and Sons, in Edinburgh, who, according to Joan Friedman (Color Printing in England 1486-1870): "began producing color work in the 1850's." Nelson's innovative color printing is a major subject of Bamber Gascoigne's recently published, Milestones in Color Printing 1457-1859, where he devotes nearly 50 pages to its publications (oddly, the book being offered here is omitted). The color effect is achieved in this case by printing a steel engraving in purple ink, followed by additional tints applied lithographically. See: Friedman. 171. Gascoigne. pp. 75-119.

8vo. ( 8¼ x 6½”). Complete run published in 13 volumes of famous Art Nouveau periodical. Bound in publishers yellow pictorial cloth. Included works of most famous artists of the day including Beardsley, Le Gallienne, and Henry James.

Two vols., tall 8vo. Volume I bound in full native dyed terra-cotta goatskin with black onlays, blind tooled, carrying, in black Greek characters, the name Agamemnon across the top of the front and back boards (and spine), and the name Æschylus across the bottom. Full black goatskin inner doublures, leather joints, red Japanese endpapers, silk headbands. Volume II in a similar design but with the colors reversed; across the top, in terra-cotta Greek characters, is the word Choephoroi, and across the bottom is the word Eumenides. The doublures are terra-cotta, the joints, endpapers and headbands as before. Each is housed in a quarter-morocco clam-shell case. Each volume is signed by the binder. Limited to 140 copies by the Allen Press, they were the only limited edition in English translation, and represent the 48th and 49th books of the press. The type is Menhart Unciala, printed in black and brown; the running heads are Solemnis and Libra types, Greek-letter calligraphy and decorations are from Greek sources. The all-rag paper is handmade and especially watermarked at the Richard de Bas mill in France. The books were printed on dampened sheets on an Albion press made in Scotland in 1882.Denise Lubett, Fellow of the Designer Bookbinders since 1971, is one of the 38 binders who was asked to contribute a chapter to A Bookbinders' Florilegium, a publication of the H.R.C., in which these artist-craftsmen talk about their approach to the art of binding books. We quote: "...great purity of style and design usually bring forth great beauty...if we no longer bind books so that they become too fragile to handle...if we can ascertain that this bound book can be handed down for a number of generations, then we will have achieved a better and more significant role as modern bookbinders." The volume we are offering epitomizes these ideas. The Oresteia is a trilogy of Greek tragedies written by Aeschylus. The first story concerns the king Agamemnon who returns from the Trojan War to face the wrath of his wife, Clytemnestra, for sacrificing their daughter. To make matters worse, Agamemnon is accompanied by his concubine, Cassandra. While bathing, Agamemnon is murdered by his wife, and Cassandra is killed too. In the second play, Choephoroi, Clytemnestra sends her surviving daughter, Electra, to Agamemnon’s grave, where she happens to meet her brother, Orestes. The siblings talk and eventually discuss a plot to avenge the murder of their father. The plan works, and Orestes kills his mother and her new husband. Orestes becomes tormented by the “Furies” since matricide is particularly horrific. Eumenides, the final play in the trilogy, addresses whether the Furies torment of Orestes is justified. Events leading up to a trial by 12 Athenians involve, among others, Apollo and Hermes. At the trial, Orestes is represented by Apollo, and the Furies represent the other side. At the end of the trial, the jury is evenly split, and Orestes is relieved of the wrath of the Furies.

Sm. 8vo., full green morocco with a pair of double gilt fillet borders trapping a beaded border; floral gilt corner fleurons; the spine is decorated in a Greek key design, without titling. A.e.g. over red staining, printed floral endpapers. A handsome, unsophisticated binding of indeterminate age in fine condition.Ruth Mortimer points out that this series of 113 woodcuts was designed for the first de Tournes-Gazeau edition of 1547, and continued in use into the seventeenth century. The subjects were freely adapted from the Paris blocks--either directly or through Lyons copies used in editions by Jacques Moderne in 1544 and 1545—with considerable skill in added detail. The series is attributed to BERNARD SALOMON and are considered, "the most skillful of the Alciati interpretations."The Hofer-Harvard copy Ms. Mortimer describes is the 1580 sixth de Tournes edition. Our edition contains EXCELLENT IMPRESSIONS of the blocks and wide margins except for the title-page border which is closely trimmed along the right edge with minimal loss. Lower right corner of the first two leaves restored from the verso with a small ink addition to the border. UNCOMMON IN ANY EDITION, just one copy shows up in auction records for the past twenty-six years.See also: Cartier vol. 2. Brunet I, p. 148 (1547 edition only). Praz p. 6 (1547 edition).

Green cloth with classic Art Nouveau peacock image on front cover. t.e.g. Bookplate of Robert and Gladys Koch on front pastedown. Gladys was a well known antiques dealer and her husband, Robert, was an art historian best known for his books on the great American decorative artist, Louis C. Tiffany and master graphic artist, Will Bradley. Dr. Koch specialized in the Art Nouveau period and authored articles on posters. Name and address of previous owner on front end paper. 117 pp., 69 illustrations. Number 562 of 750 copies on enameled book paper. Includes sections on French posters and book covers, Posters and Poster-Designing in England, American Posters Past and Present, and Italian Posters and Mosaic Book Covers. As usual, lacking the Bradley poster that accompanied the book upon publication.

8vo. (6 1/4 x 4 1/4 inches), late 17th or early 18th century vellum over stiff boards with a red morocco title label; edges stained yellow. A few early marginal notes in brown ink; a very nice copy.Title-page with a large woodcut historiated border, the book’s 191 foliated leaves are nicely printed in italic type by Paolo Manuzio, whose name is absent from the volume. The Aldine Press had closed in 1529, upon the death of Andrea Torresano, and was subsequently reopened by Paolo Manuzio in 1533 who managed it for the heirs of Aldus and Torresano until 1540, when the heirs of Torresano began printing on their own, and the Aldine shop resumed printing under their own imprint: Aldi Filli. During the period 1533-1540 editions were issued using the imprint: Heirs of Also Manuzio & Andrea Torresano. In addition, they occasionally printed books, sometimes unsigned, for other printers and publishers, as here.The text of Delle Guerre Esterne was translated into Italian by Alessandro Braccio. Appian of Alexandria lived during the reigns of Trajan, Hadrian and Antonius Pius. He had an active political career and in retirement he turned to writing history, completing a history of Rome in 24 volumes (of which nine volumes survive complete, seven others in fragments). He is best known for his observations of military matters. An uncommon Aldine edition anonymously printed during the interregnum of the great house.See: Renouard. p. 116 no. 3. Adams A-1357

8vo., publisher's brown pebbled cloth decorated in blind and gilt; head and foot of spine slightly rubbed (otherwise quite fresh). Opposite the frontispiece (and before the title) is an eight-line quotation from Isaiah XLII, 16 PRINTED IN LARGE BLIND EMBOSSED LETTERS. First edition. The book begins with memoirs of eminent blind authors, including Homer, Milton, Ossian followed by more contemporary writers and concludes with a section of Collected Poems by Hall and other blind authors.

Watercolor on paper (22 1/4 x 15 1/2 inches), matted, framed and glazed. Signed and dated, Baskin 1980, lower center; signed and dated ind inscribed "Lament" on the verso. The work consists of seven heads in three rows, forming an inverted triangle, with Hebrew calligraphy separating the rows. It illustrates verse 3:34 from The Book of Lamentations. The watercolor has been reproduced on the dust jacket of The Six Days of Destruction by Elie Wiesel & Albert H. Friedlander (Paulist Press, 1988).Leonard Baskin is one of the most important American artists working today. His sculpture, prints, drawings, watercolors and the books of his Gehenna Press are represented in Museums throughout the world, and his monumental bronze relief fills a fifty foot wall at the recently dedicated Franklin Delano Roosevelt Memorial in Washington, D.C.

Tall 8vo., publisher's printed gray boards reprinting a modified version of the title-page (the cover quotes excerpts from poems by Burns, Shakespeare and an anonymous poet; the title-page contains one poem longer poetic quotation, also anonymous). Spine with printed title and decoration. WONDERFULLY PRESERVED in a cloth chemise and folding case.Although the title-page refers to this as the "fifth edition" that attribution is questionable. The British Library records nothing before 1847; NUC records just three copies of this same 1826 edition, nothing earlier; the only auction record for the work dating back to 1966 is for an edition of 1883.In addition to the appeal of these posthumously published poems in Scottish dialect (they first appeared in The Montrose Review), there are seven primitive, charming hand-colored etchings depicting witches, demons and dragons. Beattie (1786-1823), was the son of a Kincardinshire crofter who established himself successfully as an attorney at Montrose and in the end committed suicide from disappointment in love. His principal poems were contributed to the above mentioned Montrose Review. To find a copy of what must have been a very popular work in such fine condition is remarkable

4to., newly bound in period style quarter green polished calf over marbled boards; spine with simple gilt decoration and a red morocco title label; t.e.g., other edges untrimmed. A TALL COPY in a handsome binding by Gray Parrot of Hancock, Maine.Bewick 326 engravings include most of the animals from A (Adive) to Z Zorilla) listed in the five-page index of this sixth edition. In addition, there are four proof pulls of the following Bewick cuts: A rural scene, A wanderer with a dog, Sowing crops, and a Fishing scene, laid in. Of the many books claimed as Bewicks, probably only the Quadrupeds and the two volumes of Birds, with some question about the second volume, were designed and executed by Bewick himself. See Hugo. p. 24.

8vo., stitched into green pastepaper wrappers with a paper label on the cover. One of 150 copies printed in van Krimpen's Spectrum type on Nideggen paper, in which the artist-printer-publisher describes the Warwick Press from inception to its three year anniversary and coincidentally celebrates her thirtieth year. There is a striking self-portrait on the title and a drawing of two ducks on the colophon, both touched with color. The colophon is signed by Ms. Blinn and is also inscribed. FINE, AS ISSUED.

4to. (12 14 x 9 3/4 inches), publisher’s green canvas cloth with the title stamped in gilt on the cover and spine. Fine.Published in London (by A. Zwemmer ) and in New York (by E. Weyhe), based on the German edition (by Ernst Wasmuth), this first American edition contains 120 spectacular plates, early examples of close-up botanical photography. Professor Blossfeldt’s photographs are today also valued as pioneering examples of abstract images. The book is often broken up for the value of the individual plates, and the remaining intact copies are often shabby if not disbound. This is a beautiful copy of a keystone photography book, which was reprinted in 1932, 1936 and well into the late twentieth century (1999)

4to., original gilt stamped rust cloth; FINE. In his Introduction to this Jubilee Catalogue, the company founder, T. W. Bracher, traces the company's accomplishments, especially "Brachering," a revolutionary means of trimming headwear, an innovation that has, "...ensured that the name T. W. Bracher will be as long remembered in hatting as are the names of Crompton, Arkwright and Hargreaves in the cotton trade."The catalogue, HANDSOMELY PRINTED on coated paper, pictures the firm's line of hatbands (grouped within blue borders), labels (red borders), and "Flexible Labels, Leathers and Tips" (printed nine-to-the-page in GOLD, over a COBALT BLUE background, within gold borders). Bracher prided itself on being able to print or stamp on material of any kind; this catalogue was intended to exemplify their abilities.

8vo., crimson publisher's cloth; tiny piece missing from the bottom of the free end leaf, and a sketch (of a stage from above) in one margin. First edition of this one-act play set in New York near Times Square. Bynner was also known for his poetry and translations, some of which were from the Chinese.