Sm. 4to. (10 x 7 1/2 inches), publisher's burgundy cloth with a paper label on the spine (and a second label tipped in at the back). Top edges gilt, others untrimmed. First edition, limited to 350 copies, not to be confused for the 1969 Burt Franklin reprint. The work contains a memoir of Pickering; facsimiles (in red and black) of the many Pickering devices; a hand list of his publications; and 37 facsimile reproduction of various title pages. A useful and attractive book.

8vo., original tan printed wrappers. One in a series of Anthropological Leaflets of the Field Museum designed to give brief, non-technical accounts of the more interesting beliefs, habits and customs of the races whose life is illustrated in the Museum's exhibits. This study concentrates on conditions as they prevailed in the 17th and 18th centuries. It is illustrated with 10 full-page photographs of pipes, snuff bottles, etc. FINE.

32mo. (1 3/4 x 1 3/16 inches) in a clamshell case measuring 11 x 8 1/8 inches. Publisher's plain red cloth over boards; the bright yellow clamshell case has a central cut out section into which the book fits, and a silk ribbon to assist in its removal. FINE.Published by the Gesellschaft der Bibliophile to celebrate their annual meeting in Leipzig 23-25 Oct. 1926, the volume contains a foreword signed by B. Lässig and is a facsimile edition of a miniature book originally published in 1856 in Olbernhau. The subject of this charming Housebook is for those planning marriage. A search of OCLC turned up JUST TWO COPIES.

8vo., seventeenth century acid calf, plain sides; spine with five raised bands and gilt decoration within the compartments, except for the one with the red morocco title label. Minor wear to the front joint, board edges gilt, all edges marbled.The first appearance of this work by Lavater, a Protestant minister from Zurich, was in 1570, and there were several subsequent editions into the next century. Examples from the sixteenth century are uncommon (and most institutional references are to copies on microfilm). Lavater's treatise focuses on night-walking spirits of the dead [lemures] and ghosts, which presage great events such as the fall of an empire or some natural disaster. His contention, in part, is that many of these apparitions are not the souls of the dead but are in fact the work of demons. The book is considered by some as a precursor of the study of psychology four centuries hence. See: Thorndike VI, 530. Adams. L 301. Caillet II. 434.

4to., full green morocco with various color morocco onlays and gilt tooling and titling, in an matching clam-shell case [by Claudia Cohen].This long awaited book, a sequel to Baskin's printed-but-not-published VNKNOWN DVTCH ARTISTS (1983), is limited to but 26 copies, eight of which form the Deluxe Edition (which contains a second suite of the plates "printed variously & on different papers; a water-color drawing & a canceled copperplate"). Copies 9-26 comprise the Regular Edition, of which this is an example; it consists of portraits of 16 imagined Jewish artists along with a note on their invented biographies, their artistic heritages & their achievements. The work is entirely the creation of Leonard Baskin who has arranged the ingenious typography, written the specious lives, etched the copperplates that display the portraits in rich & imaginative color & in odd juxtapositions, including the use of interesting counterproofs, that allow for compositions built of the same portrait. The geometric texts have been set in van Krimpen's Spectrum types and have been printed on a variety of European hand-made papers using an Albion hand-press. The portraits have been pulled on the same sheets as the letterpress employing divers techniques (and many passes through the press), to achieve their color brilliancies. The resulting book Baskin calls, "...this little hoax...a small fantasy inventing & imagining early Jewish artists and their work which happily answer a number of exceedingly difficult art-historical problems." See: Works in Progress. The Gehenna Press the Work of Fifty Years. p. 111.

Lg. 4to. (11 7/8 x 9 inches), publisher's turquoise cloth with gilt titling, spine a little sunned, but a very good copy of a book that, because of its size and weight, is invariably disbound, or altogether rebound. First edition of this bi-lingual edition devoted to the art of this innovative genius who "masters the language of the poster like no other, and whose designs for book jackets …are all derived from the same rich soil that nourishes the garden of his posters." If the prose that introduces the artist is a bit over the top, the more than 220 plates (in color and in sepia tone), some with multiple images to the page, absolutely convince the reader of just how good a graphic artist Hohlwein was. From tobacco to travel, from automobiles to accessories, his posters, calendars, cigarette packs and sheet music are as fresh today as they were when they first made their appearance. An important work about an important artist, difficult to find in original condition.

8vo., contemporary tree calf with a red morocco spine label. A full-page advertisement for Thomas's "Printing in its Great Variety," type set within an oval leafy border, appears on U4v (there is a small hole in the ad affecting the floral border and two words of text on the recto), U5-6 list of books for sale in his bookstore in Worcester.The author, Alexander MacBear died in 1784 and his name does not appear on the title-page. The book consists of 236 unnumbered pages with the entries in alphabetical order. A fine example of the bookmaking skill of Isaiah Thomas, one of America's foremost printers. Uncommon, especially in this condition.Evans. 33638

4to. (11 1/4 x 8 inches), publisher's decorated cloth with a printed paper spine label; slipcased. A fine copy of the first edition, limited to just 200 copies, printed in Caslon type on hand-made English paper, signed in the colophon by the translator and the poet, and further inscribed by the translator on the front end leaf.John and Rosalind Randle's Whittington Press has been making small run quality books for three decades, and this collaboration is a prime example of their thoughtful work. The blend of well set, cleanly printed text with fine Chinese calligraphy and illustration is a joy to behold. FINE as issued.

8vo. (9 ¼ x 7 ¼ inches). First edition. Original yellow linen with number 11 lettered in red on spine and front cover, Bauhausbucher lettered in red on front cover, and Die Gegenstandslose Welt lettered in red on spine, top edge dyed red. Near fine in good, original white dust jacket designed by Moholy-Nagy and printed in black and orange. Profusely illustrated. Book 11 was one of six that covered subjects outside of the Bauhaus curriculum. In it, Malewitsch introduced the art movement known as Suprematism, which elevates artistic “feeling” over visual phenomena, relying heavily upon fundamental shapes such as squares and circles.

8vo., contemporary printed gray boards. An uncut and untrimmed. REMARKABLE SURVIVAL of a fragile binding, with minimal wear. This second American edition (after the seventh London edition), follows by a year the Philadelphia edition (which was after the fourth London edition). It was a very popular, albeit, pseudonymously written book in which the author, now a Minister of the Established Church, retells his travels to foreign lands as an officer in the Royal Navy, from a Christian viewpoint.A PRIME EXAMPLE of early nineteenth century book making

8vo. (7 x 5 inches), bound in simple boards with the title information in black on the upper cover and spine. Slightly hand soiled, spine a little darkened. One of 600 copies for America, SIGNED by the artist on the colophon page.The Belgian printmaker, illustrator, draughtsman and painter, Frans Masereel, was born in Blankenburg in 1889 and died in Avignon in 1972. He worked in Paris but moved to Switzerland during the great war where he associated himself with a circle of artists and writers headed by Rolland Romain, who wrote the Foreword to this "novel without words." In stark black and white Masereel tells the story of a man who has drunk steadily of all the springs of life, someone who has known all its joys along with all its disappointments, and forsakes everything in his search for peace in Nature. Masereel created a number of such illustrated books and is also well known for having contributed a series of 12 woodcuts entitled, "How a Book is Made at the Officina," for the book, The Officina Bodoni: The Operation of a Hand-press during the First Six Years of Its Work, published in Paris in 1929 by the Officina Bodoni.

Original drawing (approx. 12 3/4 x 8 1/2 inches), matted, framed and glazed, executed in charcoal, bistre, watercolor and india ink. The drawing formed the basis for the dust jacket art (with minor alterations), for the first edition of the work, which was dedicated by the artist to his wife.Albert Sterner was born on London in 1863 and spent his youth in London and in Germany. He studied art on the Continent, coming to New York in the early part of the century, where his first public exhibition was held at Keppel's East 16th Street gallery. He is famous for having illustrated Stone & Kimball's ten-volume edition of Poe, and other books. His drawings and prints have also been exhibited in the Toronto Museum, the V&A, the British Museum, Pinacothek (Munich), Kunstgewerbe Schule (Dresden), and in this country at the NYPL, Yale and Harvard University.Accompanying the drawing is a copy of the published book along with the difficult to find dust jacket.

8vo., full dark blue (nearly black) grained cloth with elaborate blind blocked borders and inner corner fleurons. The large central gilt-stamped design is festooned with vases of leaves and flowers, highlighted with brilliant onlaid panels of green, red, yellow and blue. The somewhat less elaborate baroque design on the rear cover uses just the color yellow among the flowers. The spine is elaborately decorated with much gilt and red, green and yellow onlays; a.e.g. In a protective clamshell case with a leather spine label.A SUPERB BINDING on a brilliant book containing eight full-page color lithographs by BAYLOS, illustrating each of the stories. Sophie Malavielle (Reliures et cartonnages d éditeur en France au XIXe siècle [1815-1865] underscores the importance of the publisher's role in the history of polychrome bindings: "Lehuby [was] le plus important éditeur parisien de livres pour le jeunesse, sans doute le premier à vendre ce genre d'ouvrages en cartonnages d'édition en percaline dorée et mosaïquée. Il fait graver de nombreuses plaques."It is difficult to imagine a better example of the genre.

[_________] CLAUDEL, PAUL. PARTAGE DE MIDI. Paris (Gallimard), 1949.[_________] DUMAS, ALEXANDRE. KEAL. Adaptation de JEAN-PAUL SARTRE. Paris (Gallimard), 1954.The Three: $450.Or: $160. each. 3 vols. 8vo., all in multi-colored HIGHLY ORIGINAL, paper-bound, LIMITED EDITIONS (2090, 2060 and 950 respectively), after maquettes by PAUL BONET, the most famous bookbinder-designer of this century; the other after Mario Prassinos, another leading designer. The bindings are affordable versions of their one-of-kind morocco cousins, which sell for as much a $50,000 when they are by Bonet. An uncommon opportunity to own a Paul Bonet-designed binding for comparatively little.

8vo. (8 3/4 x 5 1/2 inches), original blue-gray wrappers. An attractive, tall uncut copy with a minor damp stain to the lower margin of the last few gatherings. Altogether unsophisticated.The engraved title-page features a 3 1/4 x 3 1/4 inch vignette of a right hand holding a partially unrolled Hebrew manuscript against a dark background, signed with the monogram GL (LG?), after a drawing by Correggio. The still visible guide lines for the text of the title suggest that this is a VERY EARLY STATE of the plate.FIRST EDITION of this introduction to a course for learning Hebrew. The author points out many similarities between other Semitic languages, including Arabic and Ethiopian (and of course Hebrew), and gives typographical examples within the text. The central theme of the work contains a translation of the first song of Moses with commentary and annotation. NUC cites three copies.

8vo., publisher's brown ribbed cloth with minimal wear to the extremities. Bookseller's ticket on the front pastedown. A very BRIGHT CLEAN COPY.Second edition of the first American bookbinding manual with twelve full-page plates of binding designs, decorations and tooling plus seven examples of marbled paper, in addition to the illustrations in the text. The work reproduces specimens of rolls and hand-stamps made by the early American bookbinder tool-makers, Gaskill, Cooper and Fry.Nicholson was born in St. Louis but lived most of his life in Philadelphia where he founded the firm of Pawson & Nicholson in 1848. The book's section on marbling is based on C.W. Woolnough's The Whole Art of Marbling and it includes seven specimen sheets marbled by Charles Williams of Philadelphia, in the following patterns: French or Shell Marble, Light Italian, West End, Curl, Spanish, Nonpareil, and Dutch. These were among the most popular designs used at the time.The first edition appeared in 1856 and two subsequent 19th century editions, 1874 and 1887, were published and they, too, are scarce and desirable. See: Brenni 39. Appleton p. 83. Mejer 1950.

Tall 8vo., original bluish gray boards with white paper spine, worn with two small pieces wanting; original paper spine label; quite a tall, sound, uncut copy. With bookbinder's ticket of T. Garson, at the same Greenwich Street address as the printer.Arden, a counselor at law and a great admirer of John Jay ("...a firm patriot, an enlightened statesman, an upright man, and sincere Christian."), says in his Preface that he has attempted to fill "a chasm" caused by the neglect British writers have had for Ovid's Tristia and Fasti. He provides both the Latin original and his own translation in what turns out to be a delightful, well preserved example of New York printing from the early part of the last century.Shaw & Shoemaker 6358

Sm. 4to., recent full vellum over stiff boards with a decorative gilt frame border [acorns and leaves]; four corner fleurons and a larger central gilt device. Square spine with gilt bands, acorns & leaves in the compartments, in the manner of a contemporary binding. Professional repairs to the title-page with the loss of a few letters and the last part of the date, which have been supplied in manuscript facsimile; the lower corner of A2 and a small piece of the border has been skilfully repalaced. Occasional soiling and light water staining to the lower portion of the leaves in the last three signatures. A few marginal notes [the names Andras Praga and Andreas Praga] towards the front and some faded notes on the blank verso of the Moth & Candle full-page device [Palatino's personal emblem], opposite Rampazetto's colophon.62 ff , A-G8; H6; it collates according to the copy described and illustrated in Morison/Marzoli Calligraphy: 1535-1885, Item No. 3 [1578], in which the original blocks of the 1540 edition are also used from C4 to the end. On the verso of the letterpress title-page is the woodcut portrait of Palatino, followed by a Sonnet by Tomasso Spica in italic. The next seven pages contain the IMPORTANT New Preface in italic by Palatino, in which [according to James Wardrop], "...[he] comes to terms with that larger public from which he had always held himself aloof." This is followed by a "Woodcut plate with [the] title written in very beautiful Chancery letter [Morison]." Palatino had two professions, that of writing-master and that of notary "by Apostolic authority." His writing book is very diverse, the first part dealing systematically with the chancery cursive. The next section on cryptography is entirely original (probably a result of Palatino's friendship with Trifone Benzi, according to Osley). The third section abandons the realms of practical handwriting for those of fantasy. "There are monograms of intertwined Roman capitals," according to Osley, "a rebus, and assorted exotic alphabets--Greek, Hebrew, Chaldean, Arabic, Egyptian, Indian, Syrian, Saracen--each framed in a cartouche but without any explanatory matter." In spite of these "excesses," Palatino devoted most of his attention to the chancery cursive hand because of its continuing popularity in Rome. The book closes with a section advising on the selection of writing instruments, recipes for ink, cutting the quill and learning to write (he advises that one should go to a master). Giovanni Battista Palatino (born in the Calabrian town of Rossano), was, above all, extraordinarily proud of the Roman citizenship he acquired in 1538. See: Bonacini 1343. Brunet IV, 314. Morison/Marzoli 3. Osley, A. S. Luminario. pp. 46-58.

Lg. 8vo. (9 3/4 x 6 1/2 inches), full straight grained crimson morocco with a quarter inch scroll border and four leafy fleurons in the corners; spine with five raised bands and one large gilt fleuron in each of the compartments, except the one with the title information. Board edges gilt, inner gilt dentelles, watered silk end leaves; a.e.g.The work contains 47 leaves of portrait plates and 116 unnumbered pages of text, including an Introduction on the rise and progress of painting in Scotland. The number of portraits and text pages is at variance with the copy reported to OCLC First Search, 50 and 128 respectively, but the present copy appears to be complete, not withstanding the fact that not every portrait has a corresponding biographical text. This discrepancy is borne out in the editor's own Introduction: "The reader will observe that, of two or three of the portraits here given, there are no letter-press descriptions, because the persons are sufficiently known." An earlier work different from the present collection, Iconography Scotch, or Portraits of Illustrious Persons of Scotland. London (Printed for Isaac Herbert), 1797, also unsigned and unpainted calls for 50 plates while Grass states 52 plates. Many of the portraits in the book are after paintings by the celebrated George James (1588?-1644) at Taymouth and other places. In addition the usual array of royalty, there are portraits of scholars (Sir Thomas Hope), poets (William Drummond, Arthur Johnson), scientists (James Gregory, inventor of the reflecting telescope), and painters (Sir John Medina). A very nice copy of an attractive and interesting book.

4to (11 x 8 ½”). Rare dust wrapper with chips at edges. New and enlarged edition illustrated with sixty-five reproductions in colors and one hundred and fifty in monotone. Authors inscription to Mr. Williams signed and dated November 1928. 370 pp. with 65 color illustrations and 115 black and white. Most of the great Art Nouveau poster artists are represented including Mucha, Cheret, Crane, the Beggarstaffs, Beardsley, Grasset, Bradley, Hardy, Lautrec, etc. Rarely found in this fine condition.

8vo., contemporary calf; rubbed but very solid, top of the spine chipped, spine label no longer readable; internally quite clean.FIRST AMERICAN EDITION of Ovid (there was a New York printing in 1795); this edition contains a Prosody Table and references (after the manner of Mr. Stirling), pointing out, at one view, the scanning of each verse; it also contains Davidson's English notes. The Latin text (with its English translation below), follows 40 pages of introductory material and is headed by an attractive wood-engraving [1 1/4 x 3 5/8 inches]; there are wood-engraved tail-pieces at the end of most of the books. See: Evans. 22753.

Sm. 4to., three quarter contemporary calf over marbled boards; extremities rubbed, spine partially perished, sound. Wonderful calligraphic title-page and dedication (Dent, scuplcit), followed by nineteen psalms and eight hymns, the music and lyrics nicely engraved. The effort was undertaken to raise monies for the Orphanage for Female Children. VERY NICE.

8vo. (7 5/8 x 5 3/4 inches) publisher's marbled paper over boards; paper spine label. We liberally quote Jos. Blumenthal's Bruce Rogers: A Life in Letters 1870-1957: "The book, which consisted of the introduction and twenty-four large diagrammatic roman letters, each on a separate page, was very well printed by Bor.’s young friend Peter Beilenson at his Walpole Printing Office...the Bruce Rogers printer's mark of Father Time and the thistle appeared on the colophon page, indicating that he closely supervised the making of this slender book, which was done with forthright simplicity and charm."In addition to being a poor man's Champ Fleury (or at least the Grolier Club version, designed by Rogers, and now a highly collectable—and expensive—example of his work), this delightful book, printed in the very depth of the depression, is filled with good humor, including Rogers' "graphic pun" perpetrated on the colophon page in which, he recreates Geofroy Tory's cube, on which there are superimposed roman capitals; on B.R.’s cube he chose the then appropriate letters IOU.

4to. (11 ½ x 9 ½ inches), full brown levant morocco, triple gilt fillet rules near edges create single large comparment to both boards. Spine with 5 raised bands, each with horizontal gilt rule across center, creating 6 compartments , each bordered by double gilt rules. Elaborate gilt tooling to compartments except for plain second compartment containing gilt stamped title. Third compartment stamped “Amst. 1734.” Heavily tooled gilt dentelles, marbled endpapers; a.e.g. Bound by Chambolle-Duru. Label of Charles C. Kalbfleisch on front pastedown. Portrait by Drevet after Vivien, 25 plates after Debrie, Dubourg and Picart by Bernards, Folkema, V. Gunst, and Surugne, vignettes and tail-pieces, after Dubourg, Duflos, Shenk and others. Contains the 6-page “Ode en vers” that was suppressed by order of the Court. From the 1944 Charles C. Kalbfleisch sale. In morocco-backed slip case. A choice copy of one of the most beautiful books of the 18th Century.

8vo., crushed dark burgundy morocco du cap with two gilt fillet borders and elaborate corner pieces made up of groupings of individual floral tools; spine with five raised bands and similar floral decoration within the compartments. Board edges gilt, inner dentelles, t.e.g.; stamped with the name of the binder on the lower front turn-in: THE ATELIER BINDERY.First edition. With a PRESENTATION INSCRIPTION on the flyleaf tO THE DEDICATEE, D. George Derry, Esq., dated Christmas, 1919. Laid in is a one-page ALS from Scott to Derry [20 May 1916] on the letterhead of the New York bookseller, Brentano's, thanking him for his hospitality, "In all the years of my life in America I have tasted no such enjoyment of a home and country life." The book contains nine essays including one for which the collection has been named.The binding is very attractive and in EXCELLENT CONDITION, which along with the book's close association makes for an especially desirable copy. Scott, a transplanted Englishman, was also the author of The Pleasure of Reading and The Uses of Leisure.