Download Illustrated Books, Fine Press Books, Fine Bindings, and Books About

The B ook B e au tiful :
Illustrated Books, Fine Press Books,
Fine Bindings, and Books About Books
“If the Book Beautiful may be beautiful by virtue of its writing or printing or illustration, it may also
be beautiful, be even more beautiful, by the union of all to the production of one composite whole,
the consummate Book Beautiful. Here the idea to be communicated by the book comes first, as the
thing of supreme importance. Then comes in attendance upon it, striving for the love of the idea to
be itself beautiful, the written or printed page, the decorated or decorative letters, the pictures, set
amid the text, and finally the binding, holding the whole in its strong grip and for very love again
itself becoming beautiful because in company with the idea.
“This is the supreme Book Beautiful or Ideal Book, a dream, a symbol of the infinitely beautiful in
which all things of beauty rest and into which all things of beauty do ultimately merge.”
—Thomas J. Cobden-Sanderson, co-founder of the Doves Press, in his treatise
The Ideal Book or Book Beautiful, published in 1900, item 27.
Illustrated Books
aubrey be ardsley
“His Strongest Illustrations”: Beardsley’s King Arthur, His First Illustrated Book—
An Outstanding Copy In Original Parts
1. (BEARDSLEY, Aubrey) MALORY, Thomas. The Birth, Life and Acts of King Arthur, Of His Noble Knights of the
Round Table. London, 1893-94. Twelve parts. Quarto, original gray pictorial wrappers, uncut and partially unopened;
custom chemise and half morocco slipcase.
$12,500.
“Each century has produced its own version of the Arthurian tapestry, but Malory’s will never be forgotten” (PMM 29). J.M.
Dent’s version contains illustrations “by the then-unknown Aubrey Beardsley. Though a Burne-Jones influence was evident
in the early chapters, Beardsley soon developed the Art Nouveau style characterized by whiplash line, abstract floral motifs
and starkly contrasted black-and-white forms. Far more original was his treatment of content, for his knights, lethargic and
spiritless, are completely dominated by their mistresses and the fays. Far from glorifying chivalric romance, Beardsley
satirized it, shocking Victorian sensibilities with his effeminate heroes, androgynous nudes, lecherous satyrs and sensual
angels” (Lacy, 46). This was Beardsley’s first illustrated book, originally published in two issues, both in 12 separate parts:
300 numbered copies in gray wrappers printed on Van Gelder paper (the present copy, known as the “superior issue”—later
bound in three volumes due to the thickness of the paper); and 1500 copies in green wrappers (later bound in two giltdecorated cloth volumes). It uses the Caxton version as its original, with modern spelling. “Morte d’Arthur brought
[Beardsley] instant recognition and the artistic leadership of a decade often known as the ‘Beardsley period’… The Malory
drawings are his strongest illustrations” (The Artist and the Book 16). Lasner 22. Interiors fine, with the usual mild offsetting
from illustrations. Spines and front wrapper of Part XII gently tanned; expected minor edge-wear to original wrappers. A
superior copy of the “Superior Edition” in the original parts, most uncommon and desirable thus.
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The Book Beautiful: Illustrated Books
First edition, “superior issue,” of Aubrey Beardsley’s magnificently illustrated version of Malory’s masterpiece, one of only
300 copies on handmade Dutch paper, with 15 full-page and five double-page illustrations, as well as over 20 rubricated
initials, over 40 borders and nearly 300 in-text decorations throughout. An outstanding uncut copy in the original parts
with original pictorial wrappers, rarely seen in this condition.
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sh ake spe are
“The Finest Set Of Shakespeare Illustrations Ever Made”
2. (BOYDELL, John, publisher) (SHAKESPEARE) A Collection of Prints from Pictures for the Purpose of Illustrating the
Dramatic Works of Shakespeare… London, 1803. Two volumes bound in one. Elephant folio (22 by 28 inches), 19th-century
three-quarter brown morocco, elaborately gilt-decorated spine.
$23,000.
In 1786, Boydell “embarked upon the most important enterprise of his life, namely the publication, by subscription, of a series
of prints illustrative of Shakespeare, after pictures painted expressly for the work by English artists. For this purpose he gave
commissions to all the most celebrated painters of England for pictures, and built a gallery in Pall Mall for their exhibition. The
execution of this project extended over several years” (DNB). According to Boydell’s prospectus, a type foundry, an ink factory,
and a printing house were all specially erected for this monumental production. England’s finest artists—Reynolds, Smirke,
Fuseli, Romney, Westall, Northcote, Hamilton, Threw, Opie, Porter, and others—were employed for the project: “Among the
great talents engaged by Boydell it turns out that each artist produced outstanding work… the finest set of Shakespeare
illustrations ever made” (Franklin, 216). Originally issued with George Steevens’ revised text and in 18 parts forming nine
volumes, the first part of Boydell’s Shakespeare was published in 1791. Upon its completion, the whole was again issued in
1802. In the same year, the 100 magnificent plates, “the production of which swallowed up a fortune,” were issued separately for
the first time. These were again issued in 1803 and 1804. Sets were apparently issued with different numbers of plates, up to 100;
this copy, with 93 plates (omitting Smirke’s Seven Ages of Man plates, after Jacques’ famous soliloquy in As You Like It), collates
perfectly with the plate lists in each volume (Jaggard, 508). With both titles dated 1803 and dedication dated 1805. Jaggard, 508.
Occasional expert paper repairs to versos, a few plates remargined; impressions unusually fresh and clean; binding handsome.
A magnificent production.
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The Book Beautiful: Illustrated Books
Magnificent 1803 elephant folio issue of the prints for the sumptuous Boydell Shakespeare, with engraved frontispieces and
engraved title vignettes for each volume and 89 splendid full-page copperplate engravings (totaling 93 engravings) after works
by the period’s most eminent English artists—including Reynolds, Romney, Smirke, Stothard, Fuseli and Westall.
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“Undeniably Opulent”: Boydell’s Large Illustrated Folio Edition
Of Milton’s Poetical Works
3. (BOYDELL, John, publisher) MILTON, John. The Poetical Works of John
Milton… London, 1794-97. Three volumes. Large folio (13 by 17 inches),
contemporary full brown diced calf gilt rebacked.
$7500.
Boydell’s sumptuous large folio edition of Milton’s Poetical Works, “the ne plus
ultra of magnificent printing” (Dibdin), with three engraved portraits by William
Gardiner, an engraved plate Milton and his Two Daughters after George Romney,
and 28 intricate full-page engravings after Richard Westall.
Engraver, print publisher, patron of the arts, Lord Mayor of London, John Boydell
commissioned leading artists of the day to produce lavish editions of the greatest
English writers. This splendid edition of Milton was among them. It is one of the
first publications of William Bulmer’s London press for Boydell and is thought by
many to be its finest production. A 1793 prospectus presents Boydell’s Milton
venture in the light of his ongoing Shakespeare project: “‘this national edition of
our first Heroic Poet is intended as a companion to that of our first Dramatic
Poet’… Initially, the prospectus had called for ‘the best engravers, after the
designs of the first artists,’ [but] in the end, Boydell commissioned Richard
Westall to illustrate the whole text [one painting per book]… Westall’s drawings were exhibited at the Shakespeare Gallery in
1797” (Luisa Calè). “Undeniably opulent, but their straightforward, literate typography and printing spared them from
ostentation… These superb books must have occupied proud places in the stately libraries of 18th-century manor houses”
(Blumenthal, 31). In 1793 George Romney made a painting of Milton and his Two Daughters, for which Boydell paid 50 guineas
for the right to reproduce. A copperplate was engraved by Benjamin Smith in 1795 and it appears in this edition at page cxii of
Haley’s “Life of Milton.” Lowndes, 1556. Armorial bookplate of Lord Rivers. Paper repair to front free endpaper and fly leaves of
Volume I, occasional very light patches of foxing, contemporary calf handsome. Near-fine.
One Of Only 250 Copies Signed By Richard Adams
And Illustrator John Lawrence, With Original
Watercolor Signed By Lawrence
Signed limited first illustrated edition of Adams’ first and bestloved book, one of only 250 copies signed on the title page by Richard
Adams and on the frontispiece by illustrator John Lawrence and
with original watercolor illustration signed by John Lawrence, in a
beautiful full morocco-gilt binding by Sangorski & Sutcliffe
featuring pictorial gilt-stamping of rabbits on the front cover and
rabbits and rushes down the spine.
An “outstandingly popular animal story… in a few years the book’s
popularity in English-speaking countries had come to rival that of
The Lord of the Rings” (Carpenter & Prichard, 563). “Here is the Odyssey and Iliad of rabbits, for people of all ages—a splendidly
written adventure story” (New York Times Books of the Century). Awarded both the Carnegie Medal and the Guardian Award
for Children’s fiction. Artist John Lawrence is widely regarded as one of Great Britain’s most talented illustrators. He has twice
been awarded the Victoria & Albert Museum’s Francis Williams Award, which is presented for accomplishments in book
illustration. This edition of Watership Down, featuring dozens of his illustrations in black-and-white and in color, is considered
to be among his best works. The first edition of Watership Down was published in 1972; this is the first illustrated edition.
Bookplate. Fine and beautiful.
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The Book Beautiful: Illustrated Books
4. ADAMS, Richard. Watership Down. London, 1976. Octavo,
original full green morocco, elaborately gilt-decorated spine and
covers, slipcase.
$3000.
4
Nijinsky, With 12 Hand-Colored Illustrations
By Barbier
5. BARBIER, George and MIOMANDRE, Francis de. Designs on
the Dances of Vaslav Nijinsky. London, 1913. Tall, slim quarto,
original white paper portfolio, uncut and unopened; custom
clamshell box.
$8200.
Limited first edition in English of this lavish visual credit to the
great Nijinsky, one of only 400 copies, with 12 striking full-page
line blocks by George Barbier, hand-colored en pochoir.
“We have our despair, our sadness, our violated love and this thing,
most dread of all—the passing of the days between our hands,
helpless to cherish aught they give. But in the spring, the Russian
Ballets and NIJINSKY return. And all is forgotten” (Francis de
Miomandre). This glowing tribute is illustrated with 12 full-page,
pochoir-colored line blocks of Nijinsky in his various roles by Art
Deco legend George Barbier, who began his career as a costume
and set designer for the Ballet Russes. Renowned for his achievement
in costume and fashion illustration, his art work is epitomized by a
characteristically elegant, stylized line. Text and plates fine,
moderate soiling and rubbing to original paper portfolio.
“Hear The Voice Of The Bard!
Who Present, Past, & Future, Sees”
Limited Nonesuch Press edition, one of 1575 copies printed on
handmade paper, the first complete edition of the poet’s writings,
with over 80 plates reproducing Blake’s paintings and engravings.
Together with Mona Wilson’s important Life of William Blake, with
an additional 24 tipped-in collotypes, one of 1480 copies.
This is the first attempted collection of Blake’s prose and the first edition to contain all of his poetry and prose. It includes many previously unpublished and important letters and fragments, and draws
on the poet’s annotations and manuscripts to present corrected texts
of numerous poems. Keynes arranges Blake’s writings chronologically, so the reader can clearly see how his mythic system evolved.
Wilson’s Life is still considered the standard biography. “I have always regarded her book as the most important biographical
account of Blake to have appeared since the second edition of Gilchrist’s Life in 1880” (Keynes). Bookplates. Fine.
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The Book Beautiful: Illustrated Books
6. BLAKE, William. The Writings. Three volumes. WITH: WILSON,
Mona. The Life of William Blake. London, 1925-27. Together four
volumes. Quarto, original half vellum, uncut and unopened. $2800.
5
Baudelaire Illustrated By Chimot
7. (CHIMOT, Édouard) BAUDELAIRE, Charles. Le Spleen de Paris. Paris, 1926.
Large octavo, contemporary full straight-grain navy morocco gilt; custom
slipcase.
$2200.
Limited illustrated edition of Baudelaire’s prose poems about Paris, one of 625
copies printed on Vergé d’Arches paper, with ten lovely original etchings by Edouard
Chimot, very handsomely bound in full morocco-gilt by T. Steibel.
Victor Hugo “said that Baudelaire introduced a frisson nouveau into poetry—an
exacerbated sensibility that quickens only to a beauty containing the elements of
corruption. His prosody was classical in its perfection, but he was a precursor of
modern poetry by his perception of the symbolic correspondences of scents, colors,
and sounds, by his exploration of the musical possibilities of language and, above all,
by his remarkable evocative power” (Reid 44-45). Influenced by Lautrec, Renoir and Rodin, Chimot had taught himself painting
and directed his talent primarily to the illustration of books. Best known for his voluptuous erotic etchings, he became known
as “the painter of feminine sensuality” (Slatkine, Livres Illustrés 1900-1930). Altogether, Chimot illustrated more than 20 books
of classic literature. Text in French. Expert reinforcement to joints of book and slipcase. A lovely volume.
“Lost On A Sleepless Sea, Without Avail…”
8. CRANE, Walter. The Sirens Three. Boston, circa 1886. Quarto, original green cloth
gilt.
$475.
Early American edition of Crane’s first illustrated book of his own verse, with 41
intricately decorated pages, printed in sepia.
“In book decoration, Crane was by no means content to confine himself to reproducing
the work of others,” producing three books of his own illustrated verse, of which The Sirens
Three was the first (DNB). “He was always concerned that the text should be harmonized
and integrated completely with the illustration, which in turn must fill the whole frame of
the page” (Dalby, 23). Interior clean. Cloth with mild toning to spine and edges, light
soiling to front board, cover gilt bright. An extremely good copy.
9. CRAWHALL, Joseph. Olde Frendes Wyth Newe Faces. London, 1883. Large
quarto, original printed gray paper boards rebacked and hand-lettered in periodstyle, new endpapers.
$750.
First edition of this collection of English and Scottish folk tales and ballads,
illustrated and hand-colored in chapbook style by Joseph Crawhall.
Newcastle rope maker, mayor and champion of the arts Joseph Crawhall produced
chapbooks at his leisure, for his own enjoyment. For the most part, Crawhall “took
his inspiration from folk tales and ballads, emulated older wood cuts from
chapbooks, [and] adopted quaint spelling,… mischievously infusing his vignettes
with his own blithe humor” (Melanie Wood). “The result is a unique kind of
production, part archaism, part bibliomania and part wit” (Houfe, 104). Crawhall’s
woodcuts, “in spite of their humble ballad and chapbook derivation, ultimately go
back to the broad, free brush drawings of medieval manuscripts and unsophisticated
woodcut copies” (Hodnett, 148). Olde Frendes is a “quaint quarto with many hundreds of hand-colored cuts in his own peculiar
and inimitable style” (University of Wisconsin). Signed on the title page by the Duchess of Cleveland and with her bookplate.
Moderate soiling to original boards, near-fine.
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The Book Beautiful: Illustrated Books
Crawhall’s “Peculiar And Inimitable Style”
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With 24 Large Folio Wood-Engravings By Gustave Doré
11. (DORÉ, Gustave) POE, Edgar Allan. The Raven. New York, 1884. Slim
folio (14-1/2 by 18-1/2 inches), original brown- and gilt-stamped pictorial tan
cloth.
$4600.
Splendid first edition of Doré’s final illustrated book, his only commissioned
by an American publisher and illustrating an American work, with 24 fullpage folio wood-engravings and two vignettes by Doré, scarce in original
pictorial cloth.
“One can hardly deny that Doré is not merely one of the most popular but also
one of the greatest of all illustrators… Perhaps Taine summed up Doré’s appeal
most eloquently: ‘every imagination appeared languid in comparison with his.
For energy, force, superabundance, originality, sparkle, and gloomy grandeur,
I know only one equal to his—that of Tintoretto’” (Ray, 327-29). Doré died at
age 51 shortly after completing the illustrations for “The Raven.” “Could there
have been a more graphic expression of the poem’s theme of death than the fact
that Doré was dying inside while he was doing the illustrations?… Doré would
probably have been incapable of doing this work 30 years earlier, but in 1882 it was much more than Poe’s story, it was Doré’s
story” (Malan, 141). This edition was published simultaneously in England and America in December of 1883. The British
edition lists the date as 1883 on its title page and the present Harper & Brothers American edition lists 1884, but they came out
at the same time and, as the work was commissioned by Harper & Brothers, the American edition is preferred. This New York
edition also features an elaborate cover illustration by Dora Wheeler and a title page illustration by Elihu Vedder depicting Poe
and Doré, neither of which is included in the London edition. Malan, 297. Text and plates fresh, front free endpaper expertly
repaired; expert restoration to original cloth.
“Some Make You Feel Like You Are Floating Through Time And Space”
12. (DORÉ, Gustave) TENNYSON, Alfred. Enid. London, 1868. Large folio
(12-1/2 by 16-1/2 inches), original full red morocco.
$2500.
This wonderful production by publisher Edward Moxon, with nine steel-engraved
Doré illustrations, was one of a series of four stories, each to be first published
separately and then combined as Idylls of the King. They appeared in three
formats: regular folio with steel engravings (offered here); portfolio with
photogravures of Doré’s paintings; and a set of signed proofs. “Moxon was the
only publisher ever to commission steel engravings from Doré. His total cost for
these editions must have been staggering… The steel engravings give much more
of a speckled look to the scenes, different from the grainy look of Doré’s usual
wood engravings. It produces a dreamy, mystical, serene [feeling] that is quite
different for Doré… The first title came out in December of 1866 to rave reviews”
(Malan, 97). Malan, 303. Text and plates fine, with only an occasional small spot
of foxing. A splendid production, gorgeously bound.
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The Book Beautiful: Illustrated Books
First Doré-illustrated edition of Tennyson’s Enid, one of the four stories that
made up his poetic treatment of the Arthurian legend, Idylls of the King, with
nine rich, full-page steel engravings by Doré. Beautifully bound in full giltdecorated red morocco. The copy of Lincoln Kirstein, co-founder of the New York
City Ballet.
7
Scarce Portfolio Edition Of Dulac’s Children’s Alphabet Book
13. DULAC, Edmund. Lyrics Pathetic & Humorous from A to Z. London, 1908 [i.e. 1909]. Tall, slim quarto, original publisher’s
clamshell box, mounted cover illustration, 27 loose mounted
images; custom clamshell box.
$6200.
Preferred portfolio edition of this witty children’s alphabet
book, with title page and 26 large mounted color
illustrations by Edmund Dulac (including mounted end
papers from the book-form edition).
“The delightful collection Lyrics Pathetic and Humorous
from A to Z [was] a children’s alphabet in the form of
elaborate limericks created by Dulac two years earlier, with
24 color plates. These illustrations demonstrated to the
public for the first time Dulac’s genius for caricature, a genre
he would explore fully over the next 40 years” (Dalby, 82).
This special portfolio edition was issued in 1909 from the
estimated 1000 remainder sheets of the 1908 trade edition in
book form. Hughey 18a. Plates fine and lovely in a lightly
worn original clamshell portfolio. A very desirable copy.
Unique Copy, Sumptuously Extra-Illustrated With 25 Original
Cronin Pen-And-Ink Or Watercolor Illustrations In The Margins,
And With A Three-Page Letter Signed By The Artist Bound In
10. (CRONIN, David Edward). Bibliography Relating to the Works Hand
Illustrated by David Edward Cronin. Philadelphia, 1903. Quarto, contemporary
full crushed crimson morocco gilt, full green morocco doublures, watered silk
endpapers.
$3500.
David Edward Cronin (1839-1908) was an accomplished artist, formerly of
Harper’s Weekly, noted in the 19th century for extra-illustrating books by hand
for wealthy clients—an arduous and time-consuming labor of months or even
years, depending on the work and the quantity of illustrations. The original
drawings Cronin drew in the present work, a bibliography of those unique
books that he illustrated in this manner during his career, consist of drawings
with pen and ink, in blue wash and in watercolors. One of the pen-and-ink
drawings is a fine portrait of the recipient of this very copy, Mrs. S.J. Sorg of
Middletown, Ohio, drawn next to a mention of her name as the owner of one
of the works described in the bibliographic catalogue (Cronin’s letter is addressed to her as
well). Fine condition. A sumptuous volume, richly hand-illustrated and splendidly bound.
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The Book Beautiful: Illustrated Books
Limited first edition of this bibliography of the books hand-illustrated by the undisputed master of the field, David Edward Cronin, printed as a tribute on the occasion
of his retirement. This copy one of only 15 reserved for special hand illustration by
Cronin—from a total edition of only 48—finished with 25 lovely original illustrations by Cronin, drawn or painted
by hand in the margins. Also with
a three-page autograph letter
signed by Cronin addressed to the
subscriber describing each illustration and its placement within the volume,
window mounted and bound in at the front. Beautifully bound in full crushed
morocco-gilt by the Adams Bindery.
8
Inscribed By Rockwell Kent
14. (KENT, Rockwell) UNTERMEYER, Louis, editor. The Book of
Noble Thoughts. New York, 1946. Octavo, original half russet cloth gilt,
dust jacket.
$750.
First edition of this handsome private-press commonplace book, with
60 sepia line cut headpieces by Rockwell Kent, inscribed, “To my friend
William A. Shaw, Rockwell Kent, 1947.”
Rockwell Kent’s art reflects a somewhat “English” style (Hogarth, Blake,
Constable, the Pre-Raphaelites), and the British wood-engravers were
his artistic antecedents. “His energy, many-sided activities and
preoccupation with integrated book design made him one of the best
known American illustrators of his time” (Harthan, 247). This selection
of “golden thoughts” edited by Louis Untermeyer and published by the
American Artists Group as a way to bring to the public “the work of the
great artists of our own time and country,” displays Kent’s fascination
with the qualities of wood-engraving as a style for his pen-and-ink
drawings. Book fine, edge-wear and chip to spine panel of original dust
jacket. An extremely good inscribed copy.
“A Rare Adventure”
15. KENT, Rockwell. Rockwell Kent’s Greenland Journal.
New York, 1962. Octavo, original white cloth. WITH: Portfolio
of six loose lithographic plates, 6-1/4 by 9-1/2 inches each;
together in original slipcase.
$650.
“Kent’s artistic style, incorporating broadly massed forms and
stark tonal contrast, was well-suited to portraying the open,
often arctic landscapes he encountered during his extensive
travels… [He] took a number of extended trips to the Far North,
especially during the years 1909-30. His experiences in
Newfoundland (1914), Greenland (1929, 1931, 1934), and Alaska
(1918) inform a number of his works, and resulted in two
books—Wilderness (1920) and Salamina (1935), the latter
reprinted in expanded form as Greenland Journal” (University
of Delaware). When published, Greenland Journal helped fuel a
revival of interest in Kent and his career. Fine.
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The Book Beautiful: Illustrated Books
Signed limited first edition, one of 1000 copies, with numerous
illustrations and cartographic endpapers by Rockwell Kent,
accompanied as issued by a portfolio of six loose lithographic
plates, one of which (“On Earth Peace”) is signed by the artist.
9
“A Landmark Of Modern
Book Design… A Masterpiece”
16. (LÉGER, Fernand) CENDRARS,
Blaise. La Fin du Monde. Paris, 1919.
Slim folio, original illustrated brown
paper wrappers.
$7500.
Limited first edition of Léger’s second
book, one of 1200 copies on Lafuma
paper, with 22 wonderful line-blocks
heightened with watercolor in the pochoir method.
Cendrars’ French text was originally
composed in 1916 as a film script “and
shows a first-hand awareness of the
movies… Léger’s illustrations are
closely related to the story. His doublepage chapter headings and other illustrations are a landmark of modern
book design and build on the collage technique of Cubism, the literary calligrams of Apollinaire, and the cinematic inventions
of Abel Gance” (Logan Collection, 21-22). “It was the most beautiful and accessible French artist’s book of its era… A message of
modernity is evident on every page of this bibliophilic masterpiece” (Logan, 78). Castleman, 170-71. Interior quite clean, top
portion of half title excised (not affecting text). Light soiling to original wrappers. A very desirable copy of a beautiful and justly
revered production.
Signed By Matisse:
The First Illustrated Edition Of Ulysses
17. (MATISSE, Henri, illustrator). JOYCE, James. Ulysses. New York,
1935. Large quarto, original gilt-stamped pictorial brown cloth, slipcase;
custom clamshell box.
$9000.
One of the most arresting collaborations in 20th-century literature. “It was a great idea to bring them together; celebrities
of the same generation, of similar virtuosity” (Wheeler, 15).
The 26 beautiful full-page illustrations by Matisse accompany
the text of Joyce’s Ulysses, including six soft-ground etchings
with reproductions of the sketches on blue and yellow paper.
“One of the very few American livres de peintres issued before
World War II. According to George Macy [this work’s designer], who undertook this only American publication of
Matisse’s illustrations, he asked the artist how many etchings
the latter could provide for $5000. The artist chose to take six
subjects from Homer’s Odyssey. The preparatory drawings
reproduced with the soft-ground etchings (Matisse’s only use
of this medium) record the evolution of the figures from vigorous sketches to closely knit compositions” (Artist and the Book 197). Without original acetate. Slocum & Cahoun A22. Book
fine; inner hinges and slipcase seams expertly reinforced.
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The Book Beautiful: Illustrated Books
First illustrated edition of Joyce’s landmark Ulysses, one of
1500 copies signed by Matisse. One of the 20th-century’s
most desirable illustrated books, combining the work of
two great modern artists.
10
Catalogue Raisonné Of Claes Oldenburg, With Original Initialed Etching
18.
(OLDENBURG, Claes) BARO, Gene. Claes Oldenburg Drawings and
Prints. Lausanne, 1969. Quarto, original brown cloth gilt, slipcase; original
etching laid in.
$3000.
Limited first edition of Oldenburg’s work, one of 100 copies with an initialed
original etching.
Oldenburg is best known for his public art installations typically featuring very
large replicas of everyday objects. In this collection of his drawings and prints,
many are preliminary sketches for his sculptures. “With Claes Oldenburg the act
of drawing seems wholly natural, a reflex to his inner life and to the world about
him. Of course, he draws also quite deliberately, in preparation for his work in
sculpture; but his preoccupation with drawing—or, rather, the ways in which
drawing serves his preoccupations—goes well beyond this practical necessity…
They are the essential visual means by which he confronts and masters the
physical world.” Of a successful drawing Oldenburg observes, “it shows the
family relationship of forms, the unity of things in general.” The accompanying
original etching is initialed and numbered “70/100, CO 70.” From a total edition
of only 252 copies. Fine.
Rubaiyat, Signed By Willy Pogany
19. (POGANY, Willy). Rubaiyat of Omar Khayyam. London,
1930. Quarto, modern full crushed red morocco gilt, tan and grey
morocco onlays; custom slipcase.
$4500.
Khayyam’s “brief verses vary in
theme… from sophisticated satires on
the unreasonableness of human passion to the passionate lyrics on the
joys and sorrows of love and wine and
on the wisdom of grasping pleasure
while we can” (Hornstein, Percy &
Brown 377). Pogany’s illustrated edition was originally published in 1909.
Greer 121d. A beautiful volume in fine
condition.
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The Book Beautiful: Illustrated Books
Signed limited edition, one of only 750 copies printed for England,
signed by the artist, Willy Pogany. Splendidly illustrated, with an
original etching signed by Pogany (a variant of the color-plate
frontispiece), 12 full-page mounted color plates and numerous
black-and-white text illustrations,
including dozens of intricate etchings
mounted as headpieces. In a beautiful binding by Asprey with a magnificent image of a Peacock on the front
board in gilt and morocco onlays.
11
“His Talent For The Macabre And The Inventive,
The Fantastic And The Knockabout Comic”
20. (RACKHAM, Arthur) INGOLDSBY, Thomas. The Ingoldsby
Legends… London, 1907. Quarto, original full gilt-stamped vellum,
remnants of pale yellow silk ties.
$2500.
Signed limited large-paper edition, one of only 560 copies signed by
illustrator Arthur Rackham, with 24 mounted color illustrations, 12
full-page tinted illustrations and 66 black-and-white in-text illustrations.
“Rackham’s fanciful imagination gave his illustrations instant
recognition, and his dedication to illustration kept him in the public
eye for 30 years” (Hodnett, 233). “The ‘gift’ book was really something
for a child to receive. They were heavy and thick, with beautifully
blocked covers,… ornamental headbands and colored endpapers.
Inside there would be color plates, tipped-on to cartridge mounts and
protected with tissue. These books were precious objects, to be looked
at with awe and handled with care” (Lewis, 186). Rackham first tackled
The Ingoldsby Legends in 1898. “Their episodic nature and superficial,
rollicking humor were well suited to Rackham’s talents, presenting
him with endless opportunities to exercise his talent for the macabre
and the inventive, the fantastic and the knockabout comic” (Hamilton,
49). For this 1907 signed limited edition, Rackham produced several
additional illustrations and improved a number of existing ones.
Latimore & Haskell, 30. An about-fine copy.
“The Very Music Made Visible” (C.S. Lewis)
21. (RACKHAM, Arthur, illustrator) WAGNER, Richard. The
Ring of the Niblung: The Rhinegold & The Valkyrie. WITH:
Siegfried and the Twilight of the Gods… London, 1910. Together,
two volumes. Quarto, modern full pictorial black morocco gilt
reproducing the original front board vignettes.
$4200.
First deluxe limited edition, each volume one of only 1150 copies
and each signed by Rackham, boasting in all 64 mounted color
plates and 23 black-and-white drawings, handsomely bound.
“Germany was Rackham’s favorite holiday destination, and the
country which, apart from England, had the single most important
influence on his art” (Hamilton, 42). Appropriately, then, Rackham
provided the libretti of Wagner’s epic “Ring cycle”—arguably
German opera’s greatest achievement—with a dramatic series of
illustrations, his only work aimed exclusively at adults. At least one
child, however, saw and responded to Rackham’s art: the young
C.S. Lewis, who would later recall, “His pictures, which seemed to
me then to be the very music made visible, plunged me a few
fathoms deeper into my delight. I have seldom coveted anything as
I coveted that book” (Hamilton, 101). Latimore & Haskell, 37-38.
Bookplates. About-fine copies, handsomely bound.
Rackham’s Signed Limited Cinderella
22. (RACKHAM, Arthur) EVANS, Charles Seddon. Cinderella.
London, 1919. Tall quarto, contemporary full green morocco gilt, black,
green, brown, orange, and off-white pictorial morocco onlays, morocco
doublures; custom slipcase.
$4000.
Deluxe limited edition, one of only 525 copies printed on English
handmade paper signed by Rackham, illustrated with his remarkable
silhouette drawings, beautifully bound by Mildred T. Palmer in
elaborate full morocco-gilt with multi-colored morocco onlays
depicting story elements and characters including Cinderella.
With extra color mounted frontispiece of Cinderella within decorative
border (not found in trade editions), one single-page and three doublepage silhouette drawings with color, and 13 full-page and 36 in-text
silhouette drawings. Latimore & Haskell, 49. Bookplate. Minor
offsetting of illustrations to text, mild toning to spine. Near-fine.
“Peopling The Universe With
Elves And Leprechauns”
23. RACKHAM, Arthur. The Arthur Rackham Fairy Book.
London, 1933. Octavo, original full vellum gilt.
$4000.
Signed limited first edition, one of only 460 copies signed by
Rackham, with eight full-page color illustrations in and 60
in-text line cuts and silhouettes.
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The Book Beautiful: Illustrated Books
One of the last books Rackham illustrated before his death,
this book includes 23 favorite classics such as “Jack and the
Beanstalk,” “The Ugly Duckling,” “Cinderella” and “Hansel
and Grethel.” Walter Starkie, Rackham’s nephew, recalled his
first impression of the great illustrator: “When armed with palette
and paint brushes, he became for
me a wizard, who with one brush of
his magic wand could people my
universe with elves and leprechauns” (Carpenter, 440). Remnant
of original dust jacket (parchment
flap) laid in. Without extremely
scarce original cardboard slipcase.
Latimore & Haskell, 69. Bookplate.
Very nearly fine.
13
Fine Press Books
“Let Us Now Praise Famous Men, And Our Fathers That Begat Us”
24. (ASHENDENE) (BIBLE). The Wisdom of Jesus the Son of Sirach Commonly
Called Ecclesiasticus. Chelsea, 1932). Quarto, original full limp orange vellum gilt, silk
ties, marbled slipcase.
$3000.
The acclaimed Ashendene Press’ limited edition of the Apocryphal book of
Ecclesiasticus—the Press’ final original work and “a balanced harmony of distinguished
accomplishment”—one of 328 copies printed on paper (out of a total edition of 353
copies, the remainder printed on vellum), finely printed in red and black type and
heightened with hand-done colored initials, bound in the original vellum.
Composed in Hebrew in the second century C.E. (A.D.) but preserved in Greek
translation, the Wisdom of Ben Sira—also called Sirach or Ecclesiasticus (not to be
confused with the book of Ecclesiastes)—“directs humanity to the ways of wisdom,
virtue and moderation, and emphasizes the importance of well-ordered family life”
through maxims, psalms and eulogies of biblical heroes (Bowker, 136). The
Ashendene Press published this finely printed limited edition. Established in 1894,
the Ashendene Press “ranks with Kelmscott and Doves at the zenith of superb
bookmaking… All the elements of that magnificent tradition which has been in the building through 400 years and
more of personal endeavor are here blended into a balanced harmony of distinguished accomplishment” (Ransom, 95).
Bookplates. A fine copy of this splendid production.
Fine Facsimile Of The Esteemed 1795 Bodoni Dante
25. (BODONI) (DANTE) ALIGHIERI, Dante. La Divina Commedia di
Dante Allighieri. Milan, 1965. Three volumes. Folio (12-1/2 by 18 inches),
original half gray morocco, matching gray linen slipcases.
$1500.
“Dante’s theme, the greatest yet attempted in poetry, was to explain and
justify the Christian cosmos through the allegory of a pilgrimage… The
audacity of his theme, the success of its treatment, the beauty and majesty of
his verse, have ensured that his poem never lost its reputation. The picture
of divine justice is entirely unclouded by Dante’s own political prejudices,
and his language never falls short of what he describes” (PMM 8).
Giambattista Bodoni (1740-1813) was an Italian engraver, publisher, printer
and typographer of high repute; he designed the family of typefaces now
known as Bodoni. His Divine Comedy of 1795—reproduced here in full
facsimile—is widely considered a landmark in the history of printing. Text
in the original Italian. With original publisher’s prospectus preserved in
matching cloth portfolio. Bookplate. Fine.
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The Book Beautiful: Fine Press Books
Fine facsimile reproduction of the splendid 1795 Bodoni printing of
Dante’s masterpiece of world literature, the Divine Comedy, number 669
of 875 copies, finely bound in three folio volumes.
14
“Best Shows The Merits Of His Mind And
His Gifts Of Expression”
26. (CRESSETT) SWIFT, Jonathan. (WHISTLER, Rex, illustrator). Gulliver’s
Travels. London, 1930. Two volumes. Folio (10-1/2 by 14-1/2 inches),
publisher’s three-quarter green morocco; custom leather-edged
slipcase.
$7500.
Lovely Cresset Press illustrated edition of Gulliver’s Travels, one of
only 195 copies, with 12 charming full-page hand-colored plates, five
maps, head- and tailpiece illustrations by Rex Whistler, two folio
volumes in handsome publisher’s morocco by Wood.
First published in 1726, Swift’s masterpiece remains a “remarkable feat
in the creation of imaginary worlds as a vehicle for satire upon the
political and religious establishments of the day” (Clute & Grant, 914).
“Of all Swift’s writings it best shows the merits of his mind and his gifts
of expression” (Baugh et al., 865). Rex Whistler was an esteemed British
artist, illustrator and designer whose promising life and career were
cut short during the invasion of Normandy, where he was killed by a
mortar round at the age of 39. Ransom, Cresset 14. Spines gently
sunned. A delightful production in fine condition.
“The Book Beautiful Should Be Conceived Of As A Whole”
27. (DOVES) COBDEN-SANDERSON, Thomas J. The Ideal Book, or Book Beautiful: A Tract on Calligraphy Printing and
Illustration & on the Book Beautiful as a Whole. Hammersmith, 1900. Small, slim quarto, original full vellum gilt; pp. [10]. $850.
Limited Doves Press edition of Cobden-Sanderson’s philosophy of the “ideal book” in its entirety, one of only 310 copies, beautifully
printed by Cobden-Sanderson and Walker and bound in traditional Doves vellum.
Books printed by Cobden-Sanderson and Emery Walker at the Doves Press are characterized by a stark simplicity, “dependent for
their beauty almost entirely upon the clarity of the type, the excellence of the layout, and the perfection of the presswork” (Cave,
147). Even its printer’s device (the outline of two doves) was used as its watermark rather than printed. Doves books were typeset
by J.H. Mason, later head of the London School of Printing—every one “proof of Mason’s ability in composition” (Ransom, 56).
Ransom, Doves 2. A fine copy. Scarce.
28. (DOVES) CARLYLE, Thomas. Sartor Resartus: The Life & Opinions of Herr
Teufelsdroeckh. Hammersmith, 1907. Small quarto, original full vellum gilt, uncut. $850.
Limited Doves Press edition of Carlyle’s parody of German Idealism (and of Hegel in
particular), one of only 315 copies, beautifully printed by Cobden-Sanderson and Walker
and bound in traditional Doves vellum.
First serialized in Fraser’s Magazine (1833-34), Carlyle’s Sartor Resartus (“The Tailor ReTailored”) purported to be a commentary on the work of German philosopher “Diogenes
Teufelsdröckh,” author of Clothes: Their Origin and Influence, but in fact it is a parody of
German Idealism, and of Hegel in particular. Sartor was intended to be a new type of
work—at once factual and fictitious, sober and witty, forward-looking and historical—
challenging the reader to discover where if anywhere the “truth” might lie. By using the
allegorical “philosophy of clothes,” Carlyle suggests that meaning can be derived from the
cultural shifts that result from changes in fashions, power-structures, and faith-systems.
Books printed by Cobden-Sanderson and Emery Walker at the Doves Press are characterized by a stark simplicity, “dependent for
their beauty almost entirely upon the clarity of the type, the excellence of the layout, and the perfection of the presswork” (Cave,
147). They reflect Cobden-Sanderson’s passion for the “ideal book” in its entirety. Ransom, Doves 13. Fine.
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The Book Beautiful: Fine Press Books
Magnificent Doves Press Edition Of Carlyle’s Sartor Resartus
15
“One Of The Most Important Private Presses To
Grow Up Between The Wars”
29. (GOLDEN COCKEREL) SANDFORD, Christopher. Cockalorum. London,
1950. Tall octavo, original half brown morocco gilt, uncut.
$450.
Beautifully printed bibliography of the Golden Cockerel Press, one of a limited
edition of only 250 copies signed by the director Christopher Sandford, illustrated
with 77 white-line wood-engravings, many by John Buckland Wright.
“After Nonesuch, the most important of the private presses which grew up
between the wars was the Golden Cockerel Press” (Ransom, 191). In 1933, the
Press passed from the hands of wood-engraver Robert Gibbings (who greatly
advanced the Press’ reputation for “fine editions of books of established
worth”) to those of Chistopher Sandford, director of the Chiswick Press and
founder of the Boar’s Head Press. To save the Golden Cockerel from
bankruptcy, Sandford arranged to use the Chiswick plant for the production
of Golden Cockerel books. In this second extension of the Press’ formal
bibliography (begun in 1936), there is “a more extensive commentary than
before… the books being considered from the three aspects of literature,
illustration, and book-production.” Chambers & Sandford 184. Fine.
“His Work Turned Heads And Tore Down Barriers”
30. (HERTZOG, Carl) CISNEROS, Jose. The Spanish Heritage
of the Southwest. El Paso, 1952. Slim folio (9 by 12-1/2 inches), half
red cloth gilt, dust jacket, acetate.
$500.
One of the leading historical illustrators of the Southwest, José
Cisneros was an artist whose “work turned heads and tore down
barriers… By showing that he, a Hispanic, could paint as well as
anyone else, Cisneros was showing El Paso that minorities
belonged” (El Paso Times). “In 1948, Carl Hertzog began teaching
a course in book design and typography at what is today The
University of Texas at El Paso and also started building a college
print shop which grew into the Texas Western Press. The first title
from that press, The Spanish Heritage of the Southwest, occupies a
special niche in regional booklore… The Spanish Heritage of the
Southwest, which grew out of this interest in Spanish influence,
emphasizes the impact the Spaniards have had on Southwestern
life—language, architecture, religion, history and even ethnological origins” (Texas A & M
University Libraries). Dust jacket lightly soiled with light wear to spine ends. Loss to original
acetate. Book fine. A handsome production.
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The Book Beautiful: Fine Press Books
Signed limited first edition, one of 525 copies signed by noted
Texas book designer Carl Hertzog, featuring a frontispiece map
and a dozen full-page lithographs after drawings by celebrated
historical illustrator José Cisneros, in boards textured with prints
from adobe bricks.
16
The Kelmscott Keats
31.
(KELMSCOTT) KEATS, John. The Poems. Hammersmith,
1894). Octavo, 20th-century full russet morocco gilt; custom cloth
slipcase.
$5500.
The Kelmscott Press was founded in 1891 by William Morris, PreRaphaelite painter, designer, architect, and printer. “Morris sought to
revive what he saw as the purity of the first century of printing, and to
produce what he described as books which ‘would have a definite
claim to beauty… and be easy to read’” (Feather, 152). His “passionate
craftsmanship was the spark which ignited a 50-year renaissance of
bookmaking in England, on the Continent, and in the United States”
(Art of the Printed Book, 36). Gift inscription of Henry Arthur Jones, the late 19th-century English dramatist. His best
known plays included “The Silver King,” “The Tempter,” “The Case of Rebellious Susan,” “Michael and his Lost Angel,” “The
Liars,” and “The Divine Gift.” Jones met William Morris early in his career and was initially influenced by his socialist ideas;
the friendship between Jones and Morris kept Morris involved in the dramatic arts, however, and Morris was frequently
observed in Jones’ presence at theatrical events. “In the revival of the English drama Jones played an important part… As a
craftsman he was perhaps superior to both [Oscar Wilde and Bernard Shaw]… His work was keenly appreciated both in
America and in France” (DNB). Bookplate. A handsome association copy in fine condition, with a distinguished provenance.
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The Book Beautiful: Fine Press Books
Splendid limited Kelmscott Press edition, association copy, of Keats’
collected poems, one of only 300 copies printed, based on the text of
the editions edited by F.S. Ellis, with woodcut title page, facing page
with full woodcut page border, and woodcut initials, handsomely
bound in full morocco-gilt by Sangorski & Sutcliffe. The copy of
Henry Arthur Jones, renowned English dramatist and Kelmscott
Press founder William Morris’ friend.
17
“Your Brain Is Overwrought With These Deep
Thoughts. Come, I Will Sing To You”
32. (KELMSCOTT) (MORRIS, William) SHELLEY, Percy Bysshe.
The Poems. Hammersmith, 1894-95. Three volumes. Octavo, mid20th-century full russet morocco; custom slipcase.
$5500.
Splendid Kelmscott edition of Shelley’s poems, one of only 250
copies, with woodcut title pages, borders, and initial capitol letters
by William Morris, handsomely bound.
“Some of the loveliest lyrics in English, together with longer poems
unsurpassed in beauty and grandeur, came from the pen of this
visionary, half-unearthly man… The dominant impression of
[Shelley’s] work is that of pure and ineffable beauty” (Kunitz &
Haycraft, 559). Morris’ “passionate craftsmanship was the spark
which ignited a 50-year renaissance of bookmaking in England, on
the Continent, and in the United States” (Art of the Printed Book,
36). “Printed in Golden type in black and red (Volumes II and III
only), with six- and ten-line initials. Woodcut title page in Volume
I, facing page with full woodcut border… ‘Some of the half borders
for The Wood Beyond the World reappear before the longer poems’” (Walsdorf 27). Cockerell 29, 29a, 29b. Bookplates, including
those of American actor Monty Woolley, best known for his lead roles in the stage, film, and television versions of The Man Who
Came to Dinner. Fine.
The Last Book Printed At The Kelmscott Press
33. (KELMSCOTT) MORRIS, William. A Note by William Morris
on His Aims in Founding the Kelmscott Press. Hammersmith, 1898.
Slim octavo, original half tan cloth.
$1200.
This book was the last to be printed at the Kelmscott Press and, as such,
was intended to exemplify the superior quality and attention to detail that
characterized the press’ work. The subject of the book is the history of the
press and the motivations behind its founding, along with an annotated
bibliography of the works it produced. The book features a wood-engraved
frontispiece designed by Edward Burne-Jones and engraved by William
Morris that was originally intended for a projected edition of The Earthly
Paradise in the 1860s and was touched up by Robert Catterson-Smith. The
work is printed in red and black in Golden type, with five pages in Troy
and Chaucer. Decorative woodcut borders and initials provide additional
embellishment. This copy is one of only 525 copies printed on paper; an
additional 12 were printed on vellum, completing an entire first edition of
537 copies. With errata slip. Ransom, Private Presses, 331:53. Armorial
bookplate. Interior generally fine, faint dampstain to rear board, only light
toning and a bit of wear to extremities. An extremely good copy.
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The Book Beautiful: Fine Press Books
Limited first edition of the last book printed at the Kelmscott Press, one of
525 paper copies out of a total edition of 537, with wood-engraved
frontispiece by William Morris and decorative woodcut borders and
initials, in original paper boards.
18
Aesop, Designed By Bruce Rogers
34. (ROGERS, Bruce) AESOP. Aesop’s Fables, Samuel Croxall’s Translation…
Oxford, 1933. Tall octavo, original half vellum.
$500.
Signed limited edition, one of 1500 copies, of Croxall’s popular 1722 translation of
Aesop’s Fables, designed and signed by Bruce Rogers and printed at the Oxford
University Press by John Johnson.
Prior to the 18th century, very little was written expressly for the entertainment of
children. In 1690 John Locke was the first to suggest Aesop as a beginning book for
children. “First published in 1722, Samuel Croxall’s version… deserves its place as the
most popular of all the English Aesops” (Victor Scholderer). Some scholars have
focused on the changes individual authors make in their editions of Aesop, especially
regarding the morals, often shaped to advance their own political or religious biases.
“However, critics commend the fables for their simplicity, humor, pointedness, and
wisdom, and for the literary quality of particular productions” (Daniel G. Marowski).
This handsome edition was designed by Bruce Rogers, who gained early fame as a
type-designer (Metropolitan, Montaigne, Centaur) and later recognition as a typographer. “Even in the very few of his books
that might be called experimental rather than definitive, the touch of magic is always present” (Ransom, 145). Without original
slipcase. LEC 47. Fine.
“Into The Street The Piper Stept,
Smiling First A Little Smile”
35. (QUILTER, Harry and Mary) BROWNING, Robert. The
Pied Piper of Hamlin. London, 1898. Tall quarto (10-1/2 by 123/4 inches), original gilt-embossed green cloth. WITH: The Pied
Piper of Hamlin. Small quarto, (4-1/2 by 5-1/2 inches), original
full brown morocco. London, 1898. Two volumes in custom
clamshell box.
$800.
In the early 1940s,
while
living
in
Hatcham, Browning
and actor William
Charles Macready became good friends. At that time Browning “produced a series of
eight numbers of Bells and Pomegranates… The third of the Bells and Pomegranates
series included The Pied Piper of Hamelin, a poem written in May 1842, with the intention of amusing Macready’s little son William” (Douglas, Robert Browning, 32).
“It is said to have been an impromptu performance…. [and] has been translated into
French, Russian, Italian and German” (Sharp, Life of Browning, 35n). Browning’s
much-loved rendition of the medieval German folktale is beautifully rendered in
these two Quilter first editions—one a small quarto volume featuring the Quilters’
illustrated text with beautifully Art Nouveau ornamental borders on vellum, and the
second a similarly illustrated tall quarto volume in original gilt-embossed cloth.
With decorative borders by Harry Quilter; ornamental text by Mary Quilter. Gift
inscription. Bookplates. Small quarto in fine condition; extremely good tall quarto
with slight edge-wear, mild soiling to cloth. A lovely set.
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The Book Beautiful: Fine Press Books
Illustrated Quilter editions of Robert Browning’s beloved tale,
featuring the elegant small quarto volume on vellum in full
morocco, and the gilt-embossed large cloth edition, together
housed in a custom half morocco clamshell box.
19
“Where Was Mortal Ever So Sweetly Praised?”
36. (CLAY, John) SPENSER, Edmund. The Faerie Queene.
Cambridge, 1909. Two volumes. Thick folio, modern three-quarter
black morocco gilt.
$2500.
Finely printed limited edition of Spenser’s “opalescent and
kaleidoscopic” masterpiece in praise of Queen Elizabeth, one of
only 350 copies, set in Cambridge type and illustrated with vignette
title pages and Art Nouveau tailpieces, handsomely bound.
“Where was mortal ever so sweetly praised?” (Baugh et al., 499). A
landmark achievement in Elizabethan literature, Spenser’s Faerie
Queene reflects the remarkable intellectual progress of its age. The
poet devised a new rhyme scheme, the Spenserian stanza, into
which he cast his beautiful words. A number of its lines stand
among the best-known and most lyrical in English; the work as a
whole ranks as one of the finest long allegories ever penned. This
handsome edition, printed by John Clay of the Cambridge University
Press, was set in “Cambridge” type from the rare 1596 quarto
edition of Spenser (Book VII from the 1609 folio). Bookplates. Fine.
One Of Only 12 Copies On Vellum,
With 12 Illustrations By Norman Wilkinson
37. (FLORENCE) STEVENSON, Robert Louis. Virginibus
Puerisque and Other Papers. London, 1910. Quarto, original full
limp vellum gilt, original green silk ties; custom slipcase and
chemise.
$1200.
First published in 1881, Virginibus Puerisque was Robert Louis
Stevenson’s earliest volume of collected papers, most having been
published originally in the Cornhill Magazine and other British
periodicals between 1876 and 1879. “The long title essay, a gentle
discourse on behalf of the younger generation about the emotional
conflicts in accepting adulthood, marriage, and love, concludes
with a passionate plea against Victorian hypocrisy and for ‘truth
of intercourse’” (University of South Carolina), but with a “certain
old-world and sermonesque air” (John Kelman). Chatto &
Windus established the Florence Press to produce trade books
with the look and feel of private press books. Norman Wilkinson
worked as a magazine illustrator until 1914, when he entered the Royal Navy, after which
he specialized in marine painting. His fine 1909 watercolor paintings for Stevenson are
faithfully reproduced in color collotypes. From a total edition of only 250. Bookplate of
New York art collector Millicent W. Smyth. Fine.
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The Book Beautiful: Fine Press Books
Private-press limited edition of Stevenson’s essays, one of only 12
copies on vellum, with 12 full-page color collotypes by Norman
Wilkinson.
20
With Borders And Initials By C.S. Ricketts
38. (VALE) TENNYSON, Alfred. Poems. London, 1900. Octavo, early 20thcentury full green morocco gilt, navy and white morocco floral onlays; custom
cloth clamshell box.
$3500.
Limited Vale Press edition of Tennyson’s lyric poems, one of only 320 copies printed,
with title page border and dozens of initials by C.S. Ricketts and engraved by C.E.
Keates, beautifully bound in a full morocco-gilt Art Deco binding with a navy and
white morocco floral cover onlay by Riviere and Son.
“Three men, Morris, Walker, and Ricketts, are authoritatively bracketed as ‘the
masters of the revival of great printing’” (Ransom, 36). “If one must look for
‘lessons’ taught by the private presses of the 1890s, there can be little doubt that the
lesson of the Vale Press was that of the control of the whole production of the book
in a consistent design, which has had the greatest influence on modern book
production” (Cave, 150). In 1903, Ricketts was on the verge of closing the Vale
Press, having accomplished most of his goals, when a disastrous fire at the
Ballantyne Press (whose presses were used for Vale imprints and where he kept all
his blocks and printing materials) made the decision for him. What was left of his matrices, punches and type Ricketts cast into
the Thames. This beautiful edition of Tennyson, published in 1900, was among the last works published by Vale prior to the fire.
Bookplate. A beautiful copy in very nearly fine condition.
The Shakespeare Head Yeats,
The Copy Of Emery Walker,
Printer Of This Edition And
Founder Of The Doves Press
Fine Shakespeare Head Press edition of Yeats’ early
poems, plays and prose, illustrated with photogravure frontispiece portraits, printed by Emery
Walker, in four volumes. This is Walker’s own copy,
the co-founder of the famous Doves Press.
“There is no disputing [Yeats’] influence… He created a poetic language for the 20th century” (Hamilton, 596). This handsomely printed private press edition of Yeats’ works is
from the Shakespeare Head Press, founded by Elizabethan scholar Arthur Henry Bullen at Stratford-on-Avon in 1904. With
four photogravure frontispiece portraits of Yeats (printed by Emery Walker) after paintings by John Singer Sargent, Signor
Mancini, Charles Shannon and J.B. Yeats, the poet’s brother. Wade 75-82. Ransom, Shakespeare Head 11. Bookplate of Emery
Walker, co-founder of one of the great English private presses, the Doves Press, known for “the clarity of the type, the excellence of the layout, and the perfection of the presswork” (Cave, 147). A near-fine set, with only light soiling to original vellum
and a rough page-opening to one gathering in Volume VI.
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The Book Beautiful: Fine Press Books
39. (SHAKESPEARE HEAD) YEATS, William
Butler. Collected Works in Verse and Prose.
Stratford-on-Avon, 1908. Eight volumes. Octavo,
original half vellum gilt.
$3000.
21
Fine Bindings
Striking 15th-Century Italian Binding,
With Two Beautiful Hand-Painted Pictorial Panels
And 15 Colorful Armorial Escutcheons
40. Italian 15th-century painted binding (binding only). [Florence?,
circa 1450]. Folio, full blind-tooled brown calf, triple spine-straps, applied
hand-painted panels and armorial escutcheons, leather clasps and iron
catches, iron corner bosses; custom clamshell box.
$7800.
Outstanding 15th-century decorative miniatures possibly added at a
later date to a contemporary ledger binding, further decorated with 15
teardrop appliqués painted with Italian coats-of-arms.
This intriguing Italian binding is held by three stitched-on leather straps
in the manner of 15th-century ledger books. Its furniture consists of iron
catches and corner bosses. The striking covers are finished with blindstamped borders, two magnificent appliqué hand-painted panels, and 15
teardrop-shaped armorial escutcheons, all executed in egg tempera colors
over gilded grounds and red gesso primer. On the front panel is pictured
an armistice, undoubtedly commemorating one of the frequent wars
between city-states, perhaps the first of them, between Pisa (whose banner
is flown here) and Lucca. The two armies are aligned at either end of the panel; the leaders are shaking hands at the center. The
rear panel quite possibly depicts allegorically the story of St. John Gualbert, 11th-century Florentine nobleman, who, having
captured his brother’s assassin, pardoned him. These intricate panel paintings truly rival the illuminated manuscripts of the
period. Contemporary manuscript calculations on endpapers. Without one catch. Board edges and straps rubbed. Some flaking
to original tempera, exposing the gilt and gesso grounds.
Rémond’s Carmina Et Orationes, 1617,
In Distinguished Morocco-Gilt
Armorial Binding
Early 17th-century collection of formal addresses and
prayerful poetry, illustrated with woodcut initials and ornamental head- and tailpieces, in distinguished full crushed
morocco bearing elaborate armorial gilt decoration.
The poet François Rémond was a native of Dijon and a Jesuit
professor. This volume, which was first published at least as
early as 1606, includes Rémond’s speeches, devotional verses—several of which commemorate biblical characters,
saints and liturgical occasions—and epigrams addressed to members of the administration of the Collège Royale at La Flèche.
The handsome morocco binding bears at the center of both boards a gilt-tooled coat of arms encircled by the inscription “G. Du
Nozet Arc Sel Vic Leg Avenione”—apparently the crest of Guillaume Du Nozet, Bishop of Seleucia, legate at Avignon and
member, from 1613 to 1626, of the Sacra Rota Romana, the supreme ecclesiastical court of appeals (Columbia University). A
floral border within two double fillets surrounds the heraldry, which is set on a background of small, repeating fleurs-de-lys.
Text in Latin. Contemporary owner inscriptions and old library inkstamp to title page. Tiny label to front pastedown, old pencil
annotations to rear pastedown. Mild rubbing to morocco, tiny holes from absent catches and clasps. Minor restoration to spine
ends. Near-fine.
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The Book Beautiful: Fine Bindings
41. REMONDI, Francisci. Carmina et Orationes [Songs
and Speeches]. Vienna, 1617. 16mo, contemporary full
brown crushed morocco, elaborately gilt-tooled spine and
covers.
$3600.
22
book of common pr ayer
“A Source Of Spiritual Information… Second Only To The Bible”
42. BOOK OF COMMON PRAYER. The Book of Common Prayer And Administration of the Sacraments… London, 1662.
Quarto, contemporary full red embroidered velvet over wooden boards; custom chemise and clamshell box.
$7200.
The beautiful and dignified language of the Book of Common Prayer, first issued in 1549, has considerably influenced ecclesiastical
practice and has been “a source of spiritual inspiration… for most Englishmen second only to the Bible” (PMM 75). Upon the
restoration of King Charles II, Parliament made arrangements for a revised prayer book, which saw publication in early August
1662. Most notably, this new edition added an Office for the Baptism of Adults as well as Forms of Prayer to be Used at Sea;
adopted the language of the King James Bible (1611) for the Sentences, Epistles and Gospels; and restored the so-called “black
rubric” explaining that the veneration given to the Host in Holy Communion was not to be interpreted as an affirmation of the
bodily or “corporal presence” of Christ in the Eucharist (the rubric instead affirms Christ’s “real and substantial presence”). The
1662 edition of the Book of Common Prayer still serves as the common basis of the Anglican Communion’s liturgical life. No
major attempt at revision would emerge until 1928. “Although for centuries leather was the most common material for covering
a book… beginning in the 14th century royal and noble collectors often used silk brocade to cover their valuable manuscripts.
By the 15th century these cloth covers were embroidered with fanciful designs or the owner’s insignia… While cloth and
embroidered bindings fell from favor on the continent in the 16th century, they remained popular in England until the
Restoration” (Bridwell Library). With ornamental woodcut initials, head- and tailpieces. Text in Gothic type. Griffiths 1662:1
(state 3). Contemporary owner inscriptions to title page, one of which is largely effaced. Scattered light foxing and marginal
dampstaining. Minor loss to top margins of last four leaves. Title page mounted. Marginal restoration to leaf [Q6]. Mild wear to
velvet, some age-wear to embroidery. A lovely copy.
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The Book Beautiful: Fine Bindings
The authoritative and influential 1662 revision of the Book of Common Prayer—arguably the most important edition of the
prayer book, the foundation of the Anglican Communion’s shared liturgical life since the Restoration—in an ornately
embroidered velvet binding.
23
Beautiful 18th-Century Dutch Stained Vellum Binding
Handsome Dutch stained vellum paneled binding, with gilt centerpieces depicting Moses with the tablets and Abraham
sacrificing Isaac, on Simeon Duran’s four-part Tashbez (1738-39).
In the 17th century, under the auspices of the Guild of Saint Luke, Dutch bookbinders perfected the techniques of
mottling, sprinkling and staining vellum. This wonderful vellum binding is designed with rose-colored cover-panels
containing gilt-stamped corner and centerpieces, surrounded by wide rose and green mottled borders. The intricate
centerpiece stamps depict Moses with the Ten Commandments on one cover and the Sacrifice of Isaac on the other.
This splendid Dutch binding holds the four parts of Simeon Duran’s Tashbez (abbreviation of Teshuvot Shimon ben
Zemah), the first three parts being rabbinic exchanges of letters on halakhic matters, and the fourth part, called Hut
ha-Meshullash, being the letters of three rabbis of North Africa, including Simeon’s descendant Solomon. Texts in
Hebrew. Bookplate. Internally quite clean and bright, with minor edge-wear to first and last few leaves, inner hinges
expertly reinforced. Covers of contemporary stained vellum binding near-fine, gilt centerpieces slightly rubbed, spine
darkened. A wonderful example of 18th-century Dutch craftsmanship.
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The Book Beautiful: Fine Bindings
43. DURAN, Simeon ben Zemah, et al. Sefer ha-Tashbets. Amsterdam, 1738-39. Four volumes in one. Small, thick
folio, contemporary full Dutch vellum, paneled and mottled with rose and green.
$5200.
24
Superbly Bound For The Duke Of Medina De Las Torres, Spanish Viceroy Of Naples
44. (GUZMAN, Ramiro Felipe Núñez de) PSEUDO-HEGESIPPUS. De Rebus a Iudaeorum Principibus in
Obsidione Fortiter Gestis… Libri V. Cologne, 1530. Small folio (measures 8 by 12 inches), contemporary full
crimson goatskin, elaborately gilt-decorated spine and covers, front and rear covers with large gilt-blocked armorial centerpieces; custom cloth clamshell box.
$9800.
Outstanding example of a 17th-century Spanish armorial and emblematic binding, bound for Ramiro Felipe
Núñez de Guzmán, Duke of Medina de las Torres, Spanish Viceroy of Naples from 1637-44, on an anonymous
fourth-century Latin history based the Jewish War of Flavius Josephus with a lovely woodcut title page featuring Dionysius and Cleopatra.
The front cover features the arms of Don Ramiro Felipe Núñez de Guzmán, Duke of Medina de las Torres,
impaled with those of his second wife Anna Caraffa, Duchess of Sabbioneta, surrounded by an acrologic inscription. Oldham, Shrewsbury School Library Bindings, page 120 gives a full description of the arms, the letters
in the inscription standing for: ‘Comitatui grandatum ducatum ducatum marchionatum marchionatum arcis
hispalensis perpetuam praefecturam magnam Indiarum chancellariatum primam Guzmanorum lineam addidit’ (C and G being transposed towards the end). The centerpiece on the rear cover features the emblematic
‘impresa’ or device of three plants growing between reeds or grass with a starry sky and legend ‘Revolvta
Foecundant’ within a shield and the same acrologic inscription.
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The Book Beautiful: Fine Bindings
The Duke of Medina de las Torres (1600-1668), became a favorite minister of King Felipe IV, serving as Viceroy
of wealthy Naples from 1637-1644. This book was bound after 1645 when he succeeded to the titles and estates
(and began using the acrologic inscription) of his first wife’s father, Gaspar de Guzmán, Conde-Duque de
Olivares. The letters ‘FEI’ stand for: ‘Fortuna
etiam invidente.’ First published in Paris in
1510. The first four parts, or books, correspond
loosely to the first four of Josephus’ War, but
the fifth (and final) book combines the fifth,
sixth and seventh books of War, while inserting some passages from Josephus’ Antiquities,
as well as some Latin authors. Text in Latin.
Adams H-148. Early ownership signature on
the title page of Sir William Godolphin, Envoy
Extraordinary 1669-71 and Ambassador at
Madrid 1671-78. Godolphin purchased
Guzman’s fine library en bloc. Having been
implicated in the Popish plot, he chose to remain in Spain openly professing the Catholic
faith, but many books in the library eventually
found their way back to England. Quaritch
collation note on rear pastedown. Purchased
from H.D. Lyon, 1993, by John David
Drummond, 17th Earl of Perth (1907-2002),
English statesman and banker, who built an
outstanding collection of Scottish and English
history and literature, fine bindings, and major
color plate books of natural history and travel.
Worm traces and chip marks on covers, upper
joints slightly rubbed and tender but sound. A
beautiful copy, most desirable with such distinguished provenance.
25
Lovely French Almanac In Splendid Contemporary Hand-Painted Papier-Mache Binding
45. (FRENCH ALMANAC). Étrennes Mignones Curieuses et
Utiles, Avec Plusieurs Augmentations & Corrections. Pour l’Année
1757. Paris, 1757. 32mo (2-1/4 by 3-3/4 inches), contemporary papiermâché gauffered and hand-painted; custom felt-lined cloth clamshell
box.
$5200.
Delightful 1757 small-format French almanac in lovely contemporary
hand-painted papier-mâché binding, complete with small silverbacked mirror originally affixed to front pastedown, with folding
engraved maps of France and Paris.
The contemporary papier-mâché binding depicts on the front cover a
bucolic scene with the legend: “Un jeune amant/ craint d’avoir pour/
rival un opulent bar/ bon et moi pour mes/ pois les pigeons.” The rear
cover continues the scene with trees, flowers and birds and the legend:
“Rivière et Co-/ lombier cause tou-/ jours du dommage/ en plusieurs/
quartiers.” A small silver-backed mirror that had been affixed to the
inside front cover is still present, with a few oxidations. Text in French.
From the splendid collection of fine French bindings assembled by
Michel Wittock. Remarkably well-preserved, complete with original
mirror and two folding maps, in excellent condition.
Lovely French Almanac In Splendid Contemporary Hand-Painted Enamel Binding
46. (FRENCH ALMANAC). Almanach de Poche. Pour l’Année 1773. Vienna, 1773. 32mo (1-1/4 by 3-1/2 inches),
contemporary half calf, gilt-decorated spine, hand-painted white enamel covers, silvered mirror affixed to front pastedown;
custom patterned silk clamshell box.
$5000.
Delightful 1773 small-format French almanac in lovely contemporary hand-painted enamel binding, complete with small
silver-backed mirror affixed to front pastedown.
The contemporary enamel binding depicts a young couple seated in a bucolic scene on the front cover, with the image reversed
on the rear cover. A small silver-backed mirror affixed to the inside front cover is still present. Text in French. Small ink stamp
to title page. Remarkably well-preserved, complete with original mirror, in excellent condition.
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The Book Beautiful: Fine Bindings
(Enlarged to show detail.)
26
Lovely French Almanac In Splendid
Contemporary Morocco-Gilt
47. (FRENCH ALMANAC). Calendrier de la Cour, Tiré des Éphémérides, pour
l’Année mil sept cent quatre-vingt-diz… Paris, 1790. 32mo (2-1/4 by 4-1/4 inches),
contemporary full red morocco, elaborately gilt-tooled spine and covers. $1600.
Delightful 1790 small-format French almanac, published amidst the eruption of
the French Revolution, in lovely contemporary morocco-gilt binding in superb
condition.
The 1789 French Revolution effectively brought the reign of Louis XVI to an end,
culminating in his execution by guillotine on January 21, 1792 and nine months
later that of Queen Marie-Antoinette. “A new revolutionary government took
over, and the Terror began. France, that most refined, that most sophisticated of
countries, had become unrecognizable” (New York Times). This almanac records
the births, marriages and deaths of French royalty, the members and offices of the
Assemblée Nationale, and includes other fascinating information concerning the
reign of Louis XV and the revolutionary birth of a French Republic. Text in French.
A lovely volume in exceptionally fine condition.
“In The Presentation Of Miniature Books Albert Schloss In
London Reached A High Degree Of Sophistication”
48. (MINIATURE BOOK) (ALMANAC). Schloss’s English Bijou Almanac
for 1840. London, 1840. 64mo (1/2 inch by 3/4 inch), original gilt-decorated
stiff paper wrappers, original matching slipcase, housed in original velvet-lined
black morocco-gilt bijou box with original accompanying miniature
magnifying glass; custom patterned silk clamshell box.
$1800.
“In the presentation of miniature books
Albert Schloss in London reached a high
degree of sophistication. The English Bijou
Almanacks… were issued in delicately colored and gilt-stamped flexible boards, in elegant and splendidly decorated morocco or vellum
bindings, always protected by matching slipcases. To keep these highly vulnerable treasures
safe, Schloss produced elegant fitted cases” (Bondy). About-fine.
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The Book Beautiful: Fine Bindings
Charming and exceptionally tiny miniature
‘bijou’ almanac with six wood-engraved
portraits, in original box and with original
accompanying miniature magnifying glass.
A lovely copy, exceptionally well-preserved.
27
Item 49
B e au tiful Women
In Exquisite Cosway-Style Binding—The Doheny Copy
49. (COSWAY-STYLE) ERSKINE, Beatrice (Mrs. Steuart). Beautiful Women in History & Art. London, 1905. Tall, thick quarto,
mid-20th-century full red morocco, elaborately gilt-decorated and inlaid spine, red and green morocco doublure inset with
Cosway-style watercolor miniature surrounded by eight small pearls, watered-silk endpapers; custom clamshell box. $32,000.
Spectacular edition of “these portraits of beautiful women, seen against a background of history,” with 38 rich photogravures of
contemporaneous paintings, including portraits of Madame de Pompadour, Marie Antoinette, Lady Hamilton and Joan of Arc.
Luxuriously bound by Sangorski & Sutcliffe in the Cosway style, with beautiful inlaid centerpieces and splendid watercolor
painting of Joan of Arc set into the doublure. From the famous Doheny library, sold in 1987.
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The Book Beautiful: Fine Bindings
Cosway bindings (named in 1909 for renowned 19th-century English miniaturist Richard Cosway) were the brainchild of
John Harrison Stonehouse, managing director of London booksellers Henry Sotheran & Company, who in 1902 struck on the
idea of embedding miniature paintings in the covers of richly-tooled bindings. He engaged the famous Rivière bindery to
execute his idea in accordance with his own designs. Rivière brought into its employ Miss C.B. Currie with instructions to
faithfully imitate Richard Cosway’s detailed watercolor style of miniature painting. These delicate and beautiful miniatures
were set into the covers (or sometimes doublures) of fine bindings and protected with thin panes of glass. Cosway bindings
executed by other than the original collaborators (Stonehouse, Sotheran, Rivière, and Currie) are designated as “Coswaystyle” bindings—still splendid productions—by such esteemed binderies as Sangorski & Sutcliffe (as here), Morrell, Bayntun,
and Bumpus. The work inside this lavish binding is Beatrice Erskine’s Beautiful Women in History & Art. In her preface she
admits that “the selection is perhaps arbitrary, and the omissions are often much to be regretted, but it must be remembered
that the field is a wide one.” This is the Doheny copy, with two of the family’s bookplates. Carrie Estelle Doheny was among
the earliest female book collectors in the United States, having purchased her first rare book in 1931. Under the tutelage of
Frank Hogan and A.S.W. Rosenbach she continued to buy books and manuscripts until her death in 1958. Her great collection,
consisting of incunabula (including a Gutenberg Bible), Medieval and Renaissance manuscripts, Western Americana, early
printing, literature, and fine bindings, was for many years housed at the Vincentian Seminary of St. John’s in Camarillo,
California. She also gave parts of her collection to the Vincentian Seminary of St. Mary’s of the Barrens in Perryville,
Missouri. A fine copy, in a spectacular “exhibition” binding.
29
“A Sly Hit, A Happy Pun, A Humorous Combination”
50. (COSWAY-STYLE) [LAMB, Charles]. Elia. London, 1823. Octavo, early 20thcentury full red morocco, elaborately gilt-decorated spine and cover borders with
inlaid green floral motifs and decorative centerpieces, morocco doublures with inset
watercolor portrait of Lamb, watered silk endpapers, all edges gilt and gauffered;
custom clamshell box.
$5800.
First edition of this first collection in book form of Lamb’s Elia essays, beautifully bound
by Sangorski & Sutcliffe in an exquisite full red morocco Cosway-style binding, inset on
the front doublure with a wonderful watercolor portrait of Lamb.
“The prose essays under the signature of Elia form the most delightful section amongst
Lamb’s works… They are carefully elaborated; yet never were works written in a higher
defiance to the conventional pomp of style. A sly hit, a happy pun, a humorous
combination, lets the light into the intricacies of the subject… [Lamb] gives an
importance to everything, and sheds a grace over all” (Allibone). This copy is bound by
Sangorski & Sutcliffe in an exquisite Cosway-style binding (see previous description).
Roff, 149-60. A beautiful production, in fine condition.
Richly Illustrated History Of Fanfare Binding
52. (BOOKBINDING) HOBSON, Geoffrey D. Les Reliures a la Fanfare. London,
1935. Folio, original full green morocco gilt, elaborately gilt-decorated covers in
the fanfare style, extra suite of plates in separate printed envelope, original
slipcase.
$2750.
Signed limited first edition of this illustrated study of the history and technique
of fanfare binding, one of only 30 copies beautifully produced by the Chiswick
Press on Batchelor paper and with an extra suite of the plates (from a total
edition of only 215), signed by Hobson. Richly illustrated with 37 photogravures,
eight in color, three folding, and numerous in-text facsimiles, beautifully bound
in the fanfare style by Leighton-Straker.
Biographical Memoir Of 17th-Century English Bookbinder Samuel Mearne
54. (BOOKBINDING) DAVENPORT, Cyril. Samuel Mearne, Binder to King Charles II.
Chicago, 1906. Folio (10 by 12-1/2 inches), original half red cloth.
$550.
Limited first edition, one of only 252 copies, of this illustrated treatise on Samuel Mearne, “the
best-known figure in Restoration binding,” with 24 color plates of his bindings, some designed
in his famous “cottage style.”
“The restoration of Charles II to the throne in 1660 initiated the ‘golden age’ of English
bookbinding, when England’s binders were no longer content to follow continental models,
but strove to develop their own decorative aesthetic. The best-known figure in Restoration
binding was Samuel Mearne” (Bridwell Library). Mearne is credited with creating the
distinctively English “cottage style,” the popularity of which grew to such an extent as to
“endure with minor variations until the first quarter of the 19th century, thus lasting for a
longer period than any other style of book decoration” (Roberts & Etherington). Bookplate of
distinguished bibliophile and member of the Grolier Club, Abel E. Berland. About-fine.
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The Book Beautiful: Fine Bindings
Geoffrey Hobson was a great authority on the history and craft of bookbinding.
This is his definitive work on the style of binding known as ‘a la fanfare,’ an
intricately tooled style that predominated in France in the 16th and 17th centuries.
Text in French. With Addenda et corrigenda laid in. Light wear to envelope
containing extra suite of plates and slipcase; plates and book fine. A splendid
volume. Very scarce, especially with the extra suite of plates.
30
h . gr a n ville fell /guild of women binder s
Rare And Beautiful Limited Edition Of The Song Of Songs, One Of Only 100 Copies Printed
On Japanese Paper For The Guild Of Women Binders, With 12 Folio Plates And Numerous
Decorations By H. Granville Fell, In Spectacular Art Nouveau Extra-Gilt Full Morocco Binding
Limited first edition, one of only 100 copies on Japanese Paper specially printed for the
Guild of Women Binders and bound in an exquisite extra-gilt full morocco Art Nouveau
binding with morocco-gilt border inlays. With 12 folio plates by H. Granville Fell.
This beautiful limited edition of the most beautiful love poem ever written was intended
to be a complete Art Nouveau production. It features elegant typography as well as 12
woodcut folio plates and decorations by artist H. Granville Fell. The splendid Art Nouveau
binding was produced by the Guild of Women Binders, “an association of women
bookbinders formed in [the late 19th century]… The women had previously worked in
small groups in various parts of Britain, many binding in their own homes ‘aided by no
mechanical devices whatever,’ and they continued to work individually after the formation
of the Guild” (Glaister, 208). Armorial bookplate of Matthew Chaloner Durfee Borden.
Borden was a textile entrepreneur from Fall River, Massachusetts who, in 1880,
reorganized the failed American Print Works into the American Printing Company. APC eventually became the largest clothprinting company in the world, earning Borden the nickname “the Calico King.” Borden was also an enthusiastic book collector.
Additional bookplate. Evidence of bookplate removal. A beautiful copy in fine condition. Rare.
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The Book Beautiful: Fine Bindings
51.
FELL, H. Granville. The Song of Songs Which Is Solomon’s. London, 1897. Folio
(9 by 11-1/2 inches), original full inlaid brown morocco gilt; custom full morocco
slipcase.
$12,500.
31
Fifty Masterpieces Of French Art Deco Bookbinding
55. (BOOKBINDING) ADLER, Rose. Reliures, présenté par Rose
Adler. Paris, circa 1928. Folio, contemporary three-quarter red levant
morocco gilt, matching leather-edged slipcase.
$950.
First edition of this collection of photogravures of 50 masterpieces of
French Art Deco bookbinding, selected by master bookbinder Rose
Adler, and featuring works by such renowned artists as Pierre
Legrain, Robert Bonfils and Paul Bonet, in addition to Adler herself.
Handsomely bound by Vida
Benedict.
A breathtaking collection of
the new wave of bookbinding
that was pioneered in postwar France by master bookbinders Legrain, Adler, Bonfils, Bonet, René Kieffer, Geneviève
de Léotard and others. “Legrain’s influence on 1920s binders cannot be overemphasized.
Many of the newest generation of binders became immediate disciples, in particular, Rose
Adler, who had met Legrain while she was a student… Adler developed a dynamic
personal modern style that was admired both by critics and collectors. The most
spectacular of her bindings, many executed for Doucet, are always technically perfect and
comparable in artistic excellence to examples by Legrain” (Art Nouveau and Art Deco
Bookbinding). Text in French. Slipcase reinforced along corners. Fine.
French Armorial Bindings From The Library Of J.P. Morgan
53. (BOOKBINDING) [MORGAN, J.P.]. Armorial Bindings from the Libraries of the Kings and Emperors of France From
Francis I to Napoleon III. London, 1902. Folio (11 by 15 inches), original half diced brown calf rebacked.
$950.
First edition, with 33 fine folio chromolithographic plates of royal bindings.
This work was produced by the bookseller John Pearson for John Pierpont Morgan, who had purchased the entire collection that
same year. Plates fine, wear to original calf and boards.
56. (BOOKBINDING) UZANNE, Octave. La Reliure Moderne, Artistique et
Fantaisiste. Paris, 1887. Quarto, early 20th-century three-quarter brown crushed
morocco, elaborately gilt-decorated spine; original pictorial paper wrappers and spine
bound in.
$850.
First and only edition of this illustrated survey of late 19th-century French binding styles,
one of only 1500 copies printed, with engraved frontispiece and 72 full-page photographic
illustrations of fine bindings. Handsomely bound by Stikeman.
Richly illustrated with examples of the works of such 19-century masters as ChambolleDuru, Bernard David, Gruel-Engelmann (one of the oldest binderies in Paris), Emile
Carayon, Marius-Michel, Amand, Petit, Champs, and others, with a special emphasis on
bindings of ‘haute fantaisie’ that display some of the design tendencies that would
eventually become known as Art Nouveau. Text in French. Fine.
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The Book Beautiful: Fine Bindings
With 72 Plates Of Fine Bindings By French Masters
32
Book Arts
Large Folio 17th-Century Carthusian Psalter
57.
(PSALTER) Psalterium Carthusiense. Sevilla, 1629.
Folio (12 by 17 inches), 17th-century full Spanish leather with
brass bosses, remnants of clasps and catches.
$4200.
Large and impressive 17th-century Carthusian lectern Psalter,
in contemporary Spanish binding.
This wonderful binding holds a 17th-century Latin lectern
Psalter (Book of Psalms), printed in red and black, with large
typographical initial letters and intermittent staves with
characteristic square notations, printed by and for use in
Carthusian monasteries. The Carthusian Order is a Catholic
religious order of enclosed monastics founded by Saint Bruno of
Cologne in 1084. The name is derived from the Chartreuse
Mountains; Saint Bruno built his first hermitage in the valley of
these mountains in the French Alps. Interior generally clean.
Some wear to binding. An impressive large folio volume in very
good condition.
Large 1677 Italian Folio Stenciled And Colored Antiphonal
58. (ANTIPHONAL) Stencilled Antiphonal. Italy (?): 1677.
Folio (14 by 21 inches), contemporary full diced calf over wooden
boards restored, brass bosses and cornerpieces, remnants of
leather clasps.
$8500.
Ambrose, fourth-century bishop of Milan, introduced antiphonal
music—the singing and chanting of biblical psalms and canticles,
prayers, responses and other texts, often varying by season and
festival—into western Christian liturgy; the practice may date as far
back as the late first century. While this impressive antiphonal
presents the appearance of an illuminated manuscript, its texts, fourline staves and decorative elements have actually been finely stenciled on the vellum leaves, with only occasional instances of
overlap betraying the method used. The texts include numerous large initials with hand-coloring and stenciled ornamental borders
(these added later); an especially magnificent initial “K” done in green and blue on a gold ground, with elaborate floral border,
appears on the first page, also added later. The volume boasts an impressive contemporary binding. “Books with wooden boards
were heavy and were given bosses and skids to protect the covering material from damage when the books were placed flat on
wooden desks or shelves” (Fine and Historic Bookbindings, 161). The penultimate page bears the inscription, “Vident in penultima
pagina ano 1677. Fr. Gregorius Rom. Scriptsithie.” Occasional pencil and ink marginalia and markings. Expected embrowning
and soiling to some leaves. Occasional rubbing to decorative initials. Closed tears to corners of leaves 26, 28. Expert restoration to
contemporary calf binding; a few instances of pinprick wormholes to joints. An impressive volume.
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The Book Beautiful: Book Arts
A beautiful church antiphonal (notation dating it to 1677 in the
colophon and likely hailing from Italy), containing 101 vellum
leaves with finely stenciled text in black and musical staves scored
in red, with numerous hand-colored initials, several quite large and
enhanced in the mid-19th century with colorful ornamental stenciling, bound in contemporary calf with brass fittings. A magnificent
volume bespeaking the beauty of both the medieval liturgy and the
book arts.
33
visitation of eliz abeth with m ary
Illuminated Leaf From A 15th-Century French Book Of Hours,
With A Miniature Depicting The Visitation Of Elizabeth With Mary
59. (ILLUMINATED LEAF) Illuminated leaf from a French Book of Hours. Northern France, circa 1480. Single
vellum leaf (4 by 6-1/2 inches), illuminated, beautifully matted and window-framed, entire piece measures 10-1/2 by
13-1/2 inches.
$14,000.
Beautiful illuminated leaf from a Parisian Book of Hours from the latter half of the 15th century, featuring an
exquisitely detailed miniature of “The Visitation” of Elizabeth with Mary above a lovely four-line initial, all of which
is surrounded by an ornately floriated border with two grotesques.
Originally derived from the Psalter, the medieval Book of Hours contains “offices”—sets of psalms, lessons, antiphons
and prayers—to be recited during each of the eight canonical hours of the day. Its main section, the Hours of the
Virgin, was said in honor of the Virgin Mary; other offices include the Hours of the Cross and the Hours of the Holy
Spirit. Such personalized prayerbooks were greatly
coveted as luxury items during the Middle Ages,
when it was fashionable for women of high social
standing to own one; this accounts in part for the
unique variations of text and illustration.
The Book Beautiful: Book Arts
This leaf comes from a Book of Hours from Northern
France. The recto bears five lines of text written in a
very pleasing Gothic script and a large, four-line
initial letter “D” in blue and white with enclosed
flowered stems on a burnished gold ground. The
initial itself is on a red and gold ground. There is also
a one-line initial in gold on a red ground and oneline filler executed similarly. The text reads: “Deus in
adiutorium meum intende. Domine adjuvandum
me festina,” (“O God, come to my assistance. O
Lord, make haste to help me.”) is from the first verse
of Psalm 69. The words form the introductory prayer
to every Hour and are accompanied by the Sign of
the Cross. The detailed, arch-topped miniature
depicts the “The Visitation” of Elizabeth with Mary:
The haloed figures are both dressed in elaborate blue
and gilt gowns, with various individual details and
embellishments. The background is a town setting,
featuring a large medieval building and assorted
foliage. An elaborately floriated border features two
grotesques—one half human and half beast, the
other entirely animal. Text in Latin. Only slightest
smudge to one-line initial. A beautiful miniature in
fine condition.
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34
french book of hour s
60. (ILLUMINATED LEAF) Illuminated leaf from a Book of Hours. France, circa 1450-75. One vellum leaf, measuring
4-1/2 by 6-1/2 inches, matted and framed; entire piece measures 14 by 16 inches.
$12,500.
Lovely illuminated leaf from a mid-15th century French Book of Hours, boasting an exceptional miniature depicting King
David, handsomely matted and framed.
This lovely, illuminated vellum leaf from a mid-15th century French Book of Hours (a medieval book of prayer containing
“offices,” or sets of psalms, lessons, antiphons and prayers for recitation during each of the eight liturgical hours of the day)
features, on its recto, a lovely miniature (measuring 2 by 3-1/4 inches). Done in red, blue, green and gold, it depicts King
David, repenting of his affair with Bathsheba, kneeling at an altar on which sit the tablets of the Law, praying to God, who
is signified by the rays of light shining on him from above. David’s golden harp appears behind him. The three lines of
text, with a three-line initial “D” elaborately illuminated in blue with white tracery on a gold ground with an interior floral
motif in orange, red and blue, are the opening verse of Psalm 6 in the Latin Vulgate (the first of the seven penitential
psalms): “Domine, ne in furore tuo arguas me, neque in ira tua corripias me” (O Lord, do not rebuke me in your fury, nor
chastise me in your anger). A splendid piece in fine condition.
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The Book Beautiful: Book Arts
Illuminated Leaf From A Medieval French Book Of Hours, Depicting King David In Prayer
35
illuminated le af
61.
(ILLUMINATED LEAF) Illuminated Leaf from a Book of Hours. Paris, 1509. Single vellum leaf (5-1/2 by 8-1/2
inches), illuminated, handsomely window matted and framed, entire piece measures 12-1/2 by 15-1/2 inches.
$6200.
Exquisite illuminated leaf from a French Book of Hours, printed in Paris in 1509, an exceptional full-page hand-colored
image depicting the moment when the Virgin Mary, depicted in a vivid blue and gold-inked robe, presents the Christ Child
in the the Temple, with two lines of Latin text in Gothic script beneath the image, window matted with 30 lines of Latin
text and traditional detailed miniature borders on the verso, fine and most rare, handsomely framed.
This beautiful illuminated leaf, an outstanding example of early printing, is from a Book of Hours printed by Gillet
Hardouyn in Paris in 1509. The full-page hand-colored miniature, capturing the moment when the Christ Child is
presented in the Temple, is an exquisite medieval representation of the Virgin Mary and baby Jesus with the caption in two
lines of Latin in gothic script (translation into English): “Beckoning to send to your slave Lord understanding of the peace
of your word.” Especially notable is the use of rich, jewel-like colors and the soft folds in the Madonna’s drapery. The verso
contains 30-lines of Latin text printed single column in a Gothic script on vellum. A highly desirable leaf in fine condition.
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The Book Beautiful: Book Arts
Rare Hand-Colored Image Of The Virgin Mary And Child Jesus
36
r are chine se fore - edge pain ting
“The Flight Into Egypt, Enquiring The Way,” On Important Circa-1800 Block-Printed Work
62. (FORE-EDGE PAINTING) HUNG-NIEN, Lu. Fore-Edge Painting. Peking, circa 1939. ON: SHIH YU. Chi
Chiu Chang [Essays on Chinese Calligraphy]. WITH: I Chou Shu [History of the Chou Dynasty]. No place: circa
1800. Tall octavo, later side-sewn dark blue wrappers; custom ornamental clamshell box, custom half leather clamshell
storage box.
$6500.
Wonderful rare Christian fore-edge painting, executed by Chinese artists around 1939 under the direction of Catholic
missionary and college president, William B. Pettus, after a painting by very promising student Lu Hung-Nien.
The Chi-chiu is the oldest surviving text on “swift-done script,” attributed to the first-century (B.C.) calligrapher Shih
Yu—this late 18th-century edition printed in blocks cut in the format of vertical bamboo slips. It had become the most
widely used Han elementary text and the single-most important primer through the early T’ang Dynasty. Bound with it is
a block-book edition of the I Chou Shu, a history of the Chou Dynasty compiled from “lost records” uncovered from the
third century B.C. The magnificent fore-edge painting on this volume, entitled “Flight into Egypt, Enquiring the Way,” is
rendered in the Ming style of the 14th and 15th centuries, executed by 20th-century Chinese artists connected with the
Catholic University in Peking in the 1930s. It was copied from a painting by Lu Hung-Nien, a student at the time. With a
minuteness of detail and ornamental use of color, especially a rich blue-green that designates the principal figures, Mary
and Joseph, this painting was produced under the direction of the President of the University’s College of of Chinese
Studies, Dr. William Bacon Pettus, who brought the concept of foreedge painting to China. Entitled “The Holy Refugees,” Hung-Nien’s
original work was reproduced in the December 22, 1941 issue of Life
magazine and is currently in the possession of the Pettus family. For
the artist, this painting held special significance, “because he has seen
thousands of his own people take to the road like the Holy Family,
with a few bundles and a donkey, escaping from tyranny in their own
land” (Life). Hung-Nien’s later painting of “Our Lady of China and
Baby Jesus” was the basis for the central mosaic in the National Shrine
of the United States in Washington, D.C. Fore-edge painting clean and
bright, a few small holes and tears (not affecting fore-edge), minor
expert repairs to extraordinary custom clamshell case.
The Book Beautiful: Book Arts
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37
Elegant Extracts, Handsomely Bound By
Edwards Of Halifax With 18 Lovely Fore-Edge Paintings,
The Estelle Doheny-Dorothy Jayne Pedrini Shea Set
63. (FORE-EDGE PAINTING) (EDWARDS OF HALIFAX) [KNOX, Vicesimus].
Elegant Extracts: from the Most Eminent Prose Writers; Elegant Epistles: from
the Most Eminent Epistolary Writers; Elegant Extracts: from the Most Eminent
British Poets. London, circa 1810. Eighteen volumes. 16mo, contemporary full
straight-grain beige morocco gilt, custom morocco-covered wooden cabinet
(measuring 7 by 18 inches).
$17,000.
Weber attributes the 18 fore-edge paintings (and therefore the bindings) to Thomas
Edwards of Halifax, who “perfected the technique of fore-edge painting” (Weber,
John T. Beer, xiv). Gift inscriptions. Bookplate of noted book collector Estelle Doheny.
Starting in 1926, Doheny “was drawn to examples of the delicate art of fore-edge
painting… This collection grew to be one of the most important in the world.”
Doheny eventually expanded her collecting foci: “With innate good taste, Doheny
formed one of the most impressive rare book and manuscript libraries in the United
States” (Dickinson, 95). Also with bookplates of California collector and philanthropist
Dorothy Jayne Pedrini Shea. Light foxing to additional engraved title pages.
Occasional light rubbing to joints, a few inner hinges split or cracked; a few covers
lightly soiled, gilt generally bright. A fine set, elegantly bound and handsomely
presented, with distinguished provenance.
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The Book Beautiful: Book Arts
Early 19th century editions, elegantly bound by Edwards of Halifax, with 18
charming fore-edge paintings. From the important fore-edge painting collection of
celebrated bibliophile Estelle Doheny, with her morocco-gilt bookplates; also with
the bookplates of collector Dorothy Jayne Pedrini Shea. Housed in a handsome
morocco-covered wooden cabinet with glass door.
38
With Wonderful Original Handpainted Dust Jacket
And Gift Inscription By Bloomsbury Artist Duncan Grant
64. (GRANT, Duncan) WADDELL, Helen, translator. Mediaeval Latin Lyrics. Harmondsworth, 1952. Small
octavo, original stiff paper wrappers; custom dust jacket hand-painted by Duncan Grant; custom chemise and
clamshell box.
$6800.
Post-impressionist artist Grant, who grew up with many of the Bloomsbury Group, studied at the Westminster School
of Art and the Slade School. Vanessa Bell’s son Quentin noted, “Grant is assured of his place in British art history as
an innovator of very great talent, as an accomplished decorator, and as a painter of large though unequal achievement.
It is probable that he will be valued for his landscapes and his still lifes, for a few of his portraits, and for the [H.M.S.]
Queen Mary decorations… His enthusiastic generosity as a
critic of other artists’ work derived from a firm conviction
that, of all human activities, painting is the best” (DNB). The
recipient of this volume was Angus Davidson, author and an
assistant at Virginia and Leonard Woolf’s Hogarth Press.
Book fine; light wear to extremities of painted dust jacket, with
shallow chipping to spine ends. A beautiful and unique work
by Grant, most desirable.
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The Book Beautiful: Book Arts
Custom-covered volume of Latin lyrics, with a splendid original hand-painted dust jacket in ink and watercolors by
Bloomsbury Group artist Duncan Grant, depicting a monk and a nun dancing on one cover and a chalice surrounded
by grapes on the other, with his gift inscription: “Angus with love from Duncan, Christmas 1954.”
39
“A Wizard, With Scissors And Paste, I Would Mention,
To Please All You Children, Worked Out An Invention…”
65.
(POP-UP BOOKS) GIRAUD, S. Louis, ed. Daily Express
Children’s Annual. WITH: Daily Express Children’s Annual No. 3.
London, 1929, 1933. Octavo, original pictorial paper boards. $1400.
First editions of the first and third of S. Louis Giraud’s ingenious
movable books, illustrated with color frontispieces and title pages,
numerous black-and-white illustrations and 14 color pop-ups.
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The Book Beautiful: Book Arts
In 1929, “British book publisher S. Louis Giraud conceived, designed
and produced books with movable illustrations… While the term had
yet to be used, these were authentic pop-up books. Each title contained
at least five double-page spreads that erected automatically when the
book was opened, with illustrations that could be viewed from all four
sides. Unlike the German precursors, Giraud’s books were moderately
priced… Between 1929 and 1949, Giraud produced a series of 16 annuals, first for the Daily Express and later as an independent publisher…
Giraud’s books reached a wide audience and were very popular”
(Montanaro, xviii-xix). The 14 “self-erecting models” in these two
books—seven in each—illustrate an assortment of stories, poems and
conundrums, including “Punch and Judy,” “Bath Time,” “The Flower
Fairy” and “In Santa Claus Land.” Montanaro, 64-65. Annual No. 3 ex-library, with small institutional blindstamp to the upper
corner of pages 35-36, no other library markings. All pop-ups bright and clean; although portions of some are occasionally
partly detached or loose, only one exhibits a tear (the diorama of Santa Claus on the front endpapers of Annual No. 3), and
several remain completely intact and functional. Small split to spine foot of Annual No. 1. Light rubbing to boards. An extremely good and attractive pair.
40
“Sentence First—Verdict Afterwards”
66. (POP-UP BOOKS) KUBAŠTA, Vojtěch. Alice in Wonderland.
London, circa 1960. Slim folio, original half yellow cloth; pp. [16]. $750.
First edition of this masterpiece of paper engineering, with delightful
large double-page pop-ups on the endpapers by acclaimed artist Kubašta,
featuring Alice’s underground itinerary and the Queen’s deck of cards,
and with lively color headpieces on every page.
“Vojtěch Kubašta’s children’s books were unlike anything the world had
seen when they first appeared in the late 1950s… His talent as a graphic
artist was to combine a robust graphic style of great charm and humor with
a puppet-master’s flair for story-telling in three dimensions” (John Michael
Dawson). “The books were entirely of his own invention, and when he
designed them, he was completely in control. He planned them, worked out
the ways the pages would be cut and folded, did the artwork, and produced
the finished dummy with everything ready to be published” (Roman
Kubašta). His pop-up books were produced by the state-owned Artia
publishing house and have appeared in 37 different languages. Over 35
million copies have been sold. “Kubašta’s faux-naif style with a Bohemian
flavor is somewhat exotic to an American eye” (Ellen G.K. Rubin), and
“today, original editions of his illustrations and books are sought after by
collectors from around the world” (James A. Findlay). Not seen by
Montanaro. A fine copy, with only a slight bow to front board.
Wonderful Large Pop-Up Red Riding
Hood By Czech Artist Kubašta
67. (POP-UP BOOKS) KUBAŠTA, Vojtěch.
Rotkäppchen [Red Riding Hood]. Hamburg,
1959. Slim quarto, original half red cloth, pictorial
paper boards; pp. [16].
$600.
“Today, original editions of his illustrations and
books are sought after by collectors from around
the world” (James A. Findlay). Text in German.
Not listed in Findlay & Rubin. Not seen by
Montanaro (see p. 259, 1961 English edition). A
fine copy, with all pop-ups intact.
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The Book Beautiful: Book Arts
First edition in German, with eight delightful
large three-dimensional pop-ups by acclaimed
artist Kubašta, each featuring an episode in
Little Red Riding Hood’s saga.
41
“There Once Was A Miller…”
68.
(POP-UP BOOKS) (KUBAŠTA, Vojtěch)
PERRAULT, Charles. Der Gestiefelte Kater
[Puss in Boots]. Hamburg, 1959. Slim quarto,
original half orange cloth, pictorial paper boards;
pp. [16].
$600.
First edition in German, with eight delightful
large three-dimensional pop-ups by acclaimed
artist Kubašta, each featuring a key episode in
Perrault’s ever-popular Puss in Boots.
Charles Perrault’s Puss in Boots appeared in a
handwritten and illustrated manuscript two
years before its 1697 debut in his collection of
eight fairy tales called Histoires ou Contes du
Temps Passé. The title character has been described as “the epitome of the educated bourgeois
secretary who serves his master with complete
devotion and diligence” (Zipes, 25). “Today,
original editions of [Kubašta’s] illustrations and
books are sought after by collectors from around
the world” (James A. Findlay). Text in German. See Findlay & Rubin 127 (1985 Arabic edition); Montanaro, 255 (196? English
edition). Owner name and address handwritten on cloth backstrip. A near fine copy (all pop-ups intact), with only light rubbing
to corners, short crease to rear cover, two small tears to original cellophane in coach.
Wonderful Large Pop-Up Gulliver
69.
(POP-UP BOOKS) (KUBAŠTA, Vojtěch) SWIFT,
Jonathan. Gulliver Mezi Obry [Gulliver Among the Giants].
Bratislava, 1956. Slim folio, original pictorial paper-covered
boards; pp. [18].
$700.
“Gulliver’s Travels has given Jonathan Swift an immortality
beyond temporary fame… For every edition designed for the
reader with an eye to the historical background, 20 have appeared, abridged or adapted, for readers who care nothing
for the satire and enjoy it as a first-class story” (PMM 185).
Text in Czech. See Findlay & Rubin 51 (Gulliver v Liliputu);
Montanaro, 115 (English edition). Occasional marks of
handling. An extremely good copy, with cover cellophane
and pop-ups intact.
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The Book Beautiful: Book Arts
First edition, with delightful large double-page pop-ups on
the endpapers by acclaimed artist Kubašta, featuring
Gulliver’s arrival in Brobdingnag and rescue at sea, and
with two full-page color illustrations and lively headpieces
on every page.
42
Books About Books and
Book Collecting
With An Original Leaf From The Nuremberg Chronicle, 1493
70. (NUREMBERG CHRONICLE) BULLEN, Henry Lewis. The Nuremberg
Chronicle… San Francisco, 1930. Tall, slim folio (13 by 19 inches), containing a
single folio leaf of the 1493 Chronicle (12 by 18 inches).
$1500.
Limited first edition, one of only 300 copies, of Bullen’s fascinating
account of the contents and production of the extraordinary
“Nuremberg Chronicle,” the first extended study of this great illustrated
incunable. With original leaf CCIX from the first Latin edition of 1493
tipped in, as issued. This leaf features woodcuts of Holy Roman
Emperor Frederick of Sicily, an eclipse of the sun, and two architectural
views of the monasteries of the Ordo Praedicatorum (Dominicans)
and the Ordo Minorum (Franciscans).
Hartmann Schedel compiled his elaborate history of the world from “the
first day of creation” to his own time in an effort to correct what he felt
was a slight to German history by earlier chroniclers. Published in 1493,
this outstanding German incunable is still one of the finest of illustrated
books. The accompanying original leaf from the first Latin edition bears
the running title “Sexta etas mundi,” last of the six eras into which
Schedel divided the history following the Creation. It opens “Fridericus
eius nominis secudus impator, anno dñi 1212,” with a full-length
woodcut portrait of Frederick of Sicily, continues with an observance of
the solar eclipse of 1238, and closes on the verso with descriptions of the Dominicans and Franciscans, together with woodcuts of
their monasteries. Text and original leaf fine. Copies are almost never found with the original leather spine intact, as it tended to
deteriorate (as here)—even the two copies at the Book Club of California are virtually spineless. An extremely good copy.
“Of Rare Occurrence And High Value”
First edition of the first true biography of England’s first printer William Caxton, one
of only 150 copies, from the library of influential American bibliophile Edwin B.
Holden, co-founder of the prestigious Club Bindery. Bound in three-quarter red
morocco by the Club Bindery.
This scarce volume is the first extensive biography of William Caxton, “England’s first
printer,” who established “the first press in England… His Myrrour of the worlde (1481)
was the first illustrated book printed in England… [and] his first major contribution to
English literary history was to print, about 1478, an edition of Chaucer’s Canterbury
Tales… In 1485 Caxton published his second great contribution to English literary
history, Le Morte D’Arthur” (Glaister, 88-9). Caxton not only changed history with his
printing press, he also “took upon himself the immense responsibility and labour of
introducing that art into England… The books he chose to print were the best works English literature had produced” (Crotch,
vii). “Only 150 copies of this work have been printed, it is of rare occurrence and of high value” (Bigmore & Wyman I:436-37).
Engraved frontispiece portrait after Bagford. Bookplate of Edwin B. Holden, influential co-founder of the Club Bindery, whose
exquisite craftsmanship rivaled that of the Europeans and “exerted a considerable influence on fine binding in America” (Roberts
& Etherington). Faint notation on front pastedown, 18th-century owner signature on verso of title page. Text fresh with lightest
scattered foxing, joints and corners with expert restoration. An exceptional near-fine copy.
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The Book Beautiful: Books About Books
71. (CAXTON, William) LEWIS, John. The Life of Mayster Wyllyam Caxton…
The First Printer in England. London, 1737. Octavo, late 19th-century three-quarter
red morocco.
$3800.
43
“The Great Storehouse For
The History Of English Printing”
72. DIBDIN, Thomas Frognall; AMES, Joseph;
HERBERT, William. Typographical Antiquities;
or, the History of Printing in England. London,
1810-19. Four volumes. Thick folio, mid-19thcentury three-quarter calf rebacked with original
elaborately gilt- and blind-decorated spines laid
down.
$2800.
First Dibdin edition, one of only 65 large-paper copies of this monumental illustrated history of English
printing, with 14 engraved portraits and numerous
full-page and in-text engraved and woodcut illustrations of printer’s devices, sample pages, type
specimens, watermarks, and early woodcuts. The
copy of noted collector Baron Northwick, with his
engraved armorial bookplates.
The first volume of “the great storehouse for the
history of English printing” (Bigmore & Wyman I, 7) is devoted almost entirely to William Caxton, along with a discussion of
early engraving; Volume II to the productions of Wynkyn de Worde and Richard Pynson; Volumes III-IV deal chronologically
with printers from William Faques to Thomas Hacket. More than 2900 books are described, at times discussing in engaging detail
the book’s printing, its contents, relative rarity, extant copies in Dibdin’s time, and so on. From the library of noted art collector
John Rushout, second Baron Northwick, with his engraved armorial bookplates in each volume. Faint foxing to a few plates only.
Expected age-wear to attractive bindings. A very scarce large-paper set of this esteemed history of English printing, with
distinguished provenance.
Paul Rand’s Own Copy Of His A Designer’s Art, Signed
First edition of Rand’s magnum opus on commercial design, including an
updated version of his 1947 Thoughts on Design, with “a wide selection of his
brilliant graphic work from the 30s to the present”—Rand’s own copy, signed
by him. This is the Japanese issue with a separate guide in Japanese.
Considered one of the world’s foremost innovators in the field of graphics and
advertising, Rand exerted a tremendous influence on corporate identity and
branding, having designed such famous logos as ABC, IBM, Westinghouse
and UPS. “Mr. Rand’s work is distinguished for its ready wit and richness of
reference” (New York Times). “He is an idealist and a realist using the language
of the poet and the businessman. He thinks in terms of need and function. He
is able to analyze his problems, but his fantasy is boundless” (Laszlo MoholyNagy). Influenced by Le Corbusier and Klee, Rand brought elements of the
Bauhaus, De Stijl and Russian Constructivism into the realm of commercial
art. In A Designer’s Art, Rand observes that “from Impressionism to Pop Art, the commonplace and even the comic strip have
become ingredients for the artist’s caldron. What Cezanne did with apples, Picasso with guitars, Léger with machines, Schwitters
with rubbish, and Duchamp with urinals makes it clear that revelation does not depend upon grandiose concepts. The problem of
the artist is to defamiliarize the ordinary… Ideas do not need to be esoteric to be original or exciting.” This is the Japanese issue of
A Designer’s Art, being the English edition in a Japanese slipcase, accompanied by a page-by-page guide to the English edition in
Japanese. Book and Guide in fine condition, slipcase slightly worn.
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The Book Beautiful: Books About Books
73. RAND, Paul. A Designer’s Art. WITH: [Guide to A Designer’s Art]
in Japanese. New Haven, 1985; Tokyo, 1986. Two volumes. Slim quarto,
original yellow paper wrappers, dust jacket.
$2200.
44
McLuhan’s Counterblast 1954
74. MCLUHAN, Marshall. Counterblast 1954. Toronto, 1954. Slim quarto,
original staple-bound pale blue stiff paper covers; pp. [18].
$850.
First edition of this “biting never-before published manifesto McLuhan
distributed as a hand-made ‘zine’ in 1954.”
Marshall McLuhan took inspiration from Wyndham Lewis’s Vorticist magazine
Blast and produced Counterblast, intended to shake the city of Toronto out of its
smugness, complacency, and spiritual torpor—in the same way that Lewis
rattled London. In the expanded 1969 edition of Counterblast, McLuhan
observed that “today we live invested with an electric information environment
that is quite as imperceptible to us as water is to a fish.” He was convinced that
the new electronic media shape not only the information they convey but also
our very consciousness and that, in order to actually perceive this, a counter
environment is needed. This is the original 1954 edition of McLuhan’s
Counterblast, run off on an office machine. A new expanded edition appeared in
1969. A fine copy, with only a shallow band of sunning to front cover.
Everything The Book Collector Needs To Know:
Richly Illustrated Ten-Volume Set
Limited edition of this thorough introduction to book
collecting, one of only 50 sets printed on Japon, richly
illustrated with hundreds of wood engravings and
reproductions. Very handsomely bound.
Originally issued in 1877 as a one-volume guide for book
collectors, by the time of this fifth—and best—edition
Rouveyre’s work had expanded to ten richly illustrated
volumes covering every topic of interest to a collector.
Includes a history of book collecting, a guide to forming a
collection, a survey of book formats, and detailed discussions of rarity, price, bindings, illustrations, provenance,
manuscripts and illumination, caring for a collection, and
cataloguing. Volume IV includes nine tipped-in samples
of marbled papers, nine tipped-in samples of patterned papers, and nine tipped-in samples of paper in imitation of the types and
styles of leathers used in the binding of books. Volume X includes a detailed glossary. Text in French. Only 100 sets of this fifth
edition were printed, 50 on Japon and 50 on Chine. Previous editions contained fewer volumes and were not nearly as thoroughly illustrated. Bookplate. Front hinge of volume one expertly reinforced. Beautifully bound.
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The Book Beautiful: Books About Books
75. (BOOK COLLECTING) ROUVEYRE, Edouard.
Connaissances Nécessaires à un Bibliophile. Paris, 1899.
Ten volumes. Octavo, contemporary three-quarter
burgundy straight-grain morocco, elaborately giltdecorated spines with tan morocco onlays, original
printed paper wrappers bound in.
$2200.
45
The Art Of Copper Engraving, With Ten Explanatory Plates
76. BALDINUCCI, Filippo, et al. Sculptura-Historico-Technica: or, the History and
Art of Ingraving. London, 1747. 12mo, modern brown cloth.
$900.
Enlarged second edition of this practical treatise on engraving, with an extensive
catalogue of engravers’ marks, ten full-page copperplates of techniques and large folding
chart of master artists.
Extracted from the writings of Baldinucci, Florent le Comte, Faithorne, Orlandi’s
Abecedario Pittorico, and other authors, the Sculptura-Historico-Technica is the enlarged,
second edition of the Repertorium sculptile typicum (1730)—being a translation of
Pellegrino Antonio Orlandi’s Abecedario (1704). “The editor… has in this [1747] edition
not only considerably enlarged the number of marks… but given a short abridgment of
the history of the art, with an idea of a fine collection of prints… and directions for
ingravers.” With a two-page addendum of marks at the rear (paginated 111-112). Plates
fine. Title page embrowned, early paper repairs to chart, page 163 scraped at inner margin
(with minor loss of text). An extremely good copy. Scarce.
Paper-Maker’s Walnut Sample Case, With Slots And Drawers Filled With Swatches And Envelopes
77.
BRADNER SMITH & CO. Wooden case of paper samples offered by Bradner Smith & Co., Chicago paper-makers
since 1852. Chicago, circa 1920. Original walnut cabinet (25 by 12-1/2 by 6-1/2 inches) hand-lettered in gilt, containing hundreds
of samples of paper stock and envelopes.
$2800.
Paper-maker’s walnut sample case, enclosing 40 swatch books of various standard printing stocks, six packets of sample
envelopes and three drawers of 3 by 5-1/2 inch samples of cover stock.
www.BaumanRareBooks.com | 1-800-99-bauman
The Book Beautiful: Books About Books
The slots, pigeon-holes and drawers of this intriguing sample case contain swatch books of standard paper stocks in various
weights, textures and colors, such as “Camel’s Hair Covers,” “Calendered Book Paper,” and “Antique Laid and Egg Shell Book
Paper,” as well as sample envelopes of laid, wove, bond, kraft and cold pressed papers. The drawers are filled with hundreds
of swatches of cover stock—“Bankers’ Board,” “Damascus Bristol” and “Blotting Paper.” Established in 1852, “Bradner Smith
& Company started in a one room storefront at 12 LaSalle Street in the heart of Chicago. In those early days, large orders were
delivered by horse-drawn drays and smaller orders with personal service from the company’s delivery boys. By 1856, deliveries were made to most surrounding states, including Wisconsin, Michigan, Indiana, Iowa, Missouri, Ohio, Minnesota,
Nebraska, and the Dakotas. Salesmen
traveling from city to city by train,
developed strong relationships with
their clients in each market” (Bradner
Smith). As one of the few remaining
independent, family-owned enterprises in its field, the company continues today as a leading wholesale
distributor of high performance
printing and office papers. Occasional
evidence of slight worming to samples. A wonderful object.
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