1776. I am offering a small hand-drawn and hand-colored map of part of Germany near Denmark, the title reading "Landkarte von Eyderstede Everschop und Utholm." The peninsula covered by the map, largely flat marshland, was being diked by the year 1,000 a.d., a cooperative gesture between settlements surely uncommon for the time. The map shows green landscape, heraldic Eyderstede ships, inked names and buildings, map projection numbers, a mileage chart, and the illegible signature of T.C. ****, who drew it in 1776. The map, in its borders, measures 14.5cm x 19,7 cm, and has an old center crease. The reverse bears a few brown stains and possibly a narrow trace of tape. It is on cream laid paper and has never been matted or framed, though the margins are cut fairly close. This little map is amazingly vivid and full of charm.
Montclair, New Jersey: Caliban Press, 1991. Large quarto, being #48 of 100 copies, written, hand-set, printed on a Vandercook proofpress, bound and signed by Mark McMurray, with additional monotype composition by Harold Berliner & Out of Sorts. Approximately 70 pages, some numbered, others bound in as examples of the press's work and type faces, which include Garamond, Caslon, NIcolas Cochin, Scotch Roman, Palatino, Lutetia, Weiss and Piranesi as text faces, with others as cursives, display initials, sans serifs wood type and a page of odd sorts. Papers used include Curtis Rag, Mohaqwk Letterpress & Tyvek machine made, Nideggen mouldmade, Bhutan Resho, Iyo Glazed, Barcham Green & Fabriano Roma handmades. A strikingly beautiful book, bound in heavy wrappers. Fine.
New York: Robert McBride & Company, 1937. First Edition. Octavo, 276 pages, with 64 two-color reproductions of Benton's drawings. The book is bound in blue buckram, with a stain at the front edge of the spine and a rather worn though intact dustjacket that shows a panel of Benton 's Missouri mural done for that state's capitol. This copy beloged to Robert E. Nuese Jr., a bookseller in West Cornwall, Connecticut, who was a long-standing friend of Benton's and who owned a number of Benton's paintings. Nuese's bookplate, of which a scan is enclosed, was designed by Benton. This copy is inscribed on the half-title page "To Rbt. E. Nuese from Thomas H. Benton" and also bears a dime-sized squiggle of a drawing that I believe is by Nuese's wife Josephine. It is also signed by Benton's wife Rita, as well as by art historian Thomas Craven. Craven, a long-time friend of Thomas Hart Benton, had been Benton's roommate in Greenwich Village on their respective returns from France and wrote "Thomas Hart Benton: A Descriptive Catalog..." in 1939. Nuese had moved to West Cornwall from his job as an advertising copywriter in New York in 1930, and had founded Hayloft...
Hull and London: Brumby & Clarke, (1896-1898). F.W. Frohawk. First Edition. Six volumes, 12 3/4" x 10 3/8" (45 cm x 26 cm), 208, 192,175, 218, 178, 252pp. The books contain 24 chromolithographs of birds' eggs, each plate with a tissue guard, and 318 full-page black and white plates of birds and their nests by F.W. Frohawk. The first two volumes cover the order "passeres", written by Butler. Volume III includes "picariae", written by Butler, "striges and accipitres, written by Murray A. Mathew, and "steganopodes", written by Henry O. Forbes. Volume IV covers orders "herodiones and odontoglossae", by Forbes, "anseres", by John Cordeaux, and "colombae and terocletes" by W.B. Tegetmeier. Volume V includes "gallinae, fulicariae, and alectorides", by Tegetmeier, and "limicolae" by Henry H. Slater. Volume VI covers "gaviae" by Forbes, "pygopodes" by O.V. Aplin, and "tubinares" by H.A. MacPherson, and contains indexes for both biords and the 24 chromo plates of eggs. The books are quarter bound in pale green cloth with deep green cloth spines and corners, with both spine and front board titles in gilt. Top edges gilt; other edges untrimmed. There is a small scrape on the front board of volume VI, an inch-long repaired tear...
New York: Touchstone, 1966. First and only edition. A set of ten aquatint color etchings by French artist Brigitte Coudrain (1934-), this being number 34 of 100 copies printed by the Atelier George Leblanc in Paris for Touchstone. The etchings are printed on superb hand-made paper folded in leaves, with etched titles on the uppermost leaf, and the aquatints, each signed in the lower right margin, on the folded leaf following. All of the interleaved tissue guards are present. The sheets measure approximately 16" by 11" folded; the size of the etchings vary, but measure roughly 3" x 3". The etchings and the colophon are housed in a tape-tied, cloth-covered portfolio (17" x 12 1/4") with what seem to be two tiny nicks in the cloth and light rubbing on the spine-ends and corners. A publicity leaf for Coudrieu, as well as four other artists -- Jean Miro, Thomas Cornell, Alexander Calder and Nobumitsu Fukui -- are laid in. Fine.
London: 1823. First English edition, printed (by Charles Wood) for William Baynes and Son, and Ogle, Duncan, & Co., Paternoster Row; and H.S. Baynes and Co., Edinburgh. Octavo, (8 1/4" x 5"), four volumes, xxxi,(1),483; xi,(1),504; xi,(1),514; xi,(1),514 pages, with a frontispiece portrait of Timothy Dwight, and three folding maps, of southern New England, northern New England, and New York. The map of southern New England has a tear at a fold and another at the stub; the map of New York has a tear at one fold. Timothy Dwight (1752-1817) was president of Yale from 1795 until his death, and commenced his "Travels" by saying that "the business of this office is chiefly of a sedentary nature" and that he needed physical rather than mental exercise, hence his voyages. The books are in a modern binding of blue-grey paper on boards with black leather spine labels, with the reinserted armorial bookplates of John Remington Mills (a member of Parliament for Wycombe) in each volume. Light page browning to preliminary leaves else near fine throughout, and a beautiful copy of one of the most readable of narratives about this area. Howes D612, Sabin 21559.
Paris. A collection of five works by this French Symbolist poet (1892-1960), laid in a custom blue buckram clamshell case lined with patterned paste paper, red morocco spine, leather title patch reading "Oeuvres de Paul Fort", somewhat rubbed. The works, all quarto, in French, and in wrappers, were destined for members of the "Groupe des Amis de Paul Fort" and are as follows: LA POESIE DE PARIS, Paris: Aux Editions de la Marjolaine, 1930, #91/651 copies, 55pp., drawings by Paul Velsch, inscribed by Fort, signed and dated 21 May 1931. CONTES DE MA SOEUR L'OIE, Paris: Armand Jules Klein, 1930, unpaged, with a lithograph of Paul Fort, other illustrations by Gino Severini, 42 / 530 copies, initialled, with a cancel leaf identifying the owner of this copy, and with a long inscription and poem, signed and initialled by Fort, slightly foxed, rear wrapper slightly torn. L'AMOUR ENFANT DE BOHEME. Paris: Armand Jules Klein,1930, quarto, unpaged, 59/500 copies, initialled by Fort on the colophon, inscribed and signed by him on the endpaper, and with a maxim, handwritten and initialled, on a blank leaf; with a portrait of Paul Fort by Ignacio Zuloaga, and other illustrations by Gino Severini. L'AMOUR ENFANT DE...
Kansas City, Missouri: Rob Roy Kelly, 1964. Text by Rob Roy Kelly and editing by Georgia O'Connor. Part of the text was previously published in Design Quarterly 56, Walker Art Center, Minneapolis, Minnesota. Oversized: approx 58 cm x 44.5 cm. Consists of one (detached) leaf of orange paper (imprinted with large pointing hands and an arrow), seven leaves of buff paper, including a blank leaf, and three leaves of heavy white paper printed recto only with wood type alphabets, these sheets bearing the numbers 56, 29 and 46. The buff pages consist of an introduction, which refers to a limited signed edition of 45 copies that contained many more plates, plus six pages of alphabets and an illustration of 19th century printing presses. The only copy I was able to locate is at the University of Kentucky at Lexington, whose catalogue listing considers this "an overage of the introductory matter which accompanied the portfolio of this title". Their copy has plates numbered 38,30 and 33. With the exception of the detached orange leaf, about fine in a black plastic comb binding that is missing a link at the center. Oversized: extra postage and insurance will be required.
Northampton, Massachusetts: Smith College, 1929. Portfolio, approximately 20" x 12" (50 x 30 cm), containing 64 gelatin silver prints mounted on heavy board, preceded by a single folded leaf with the title page, a listing of the 64 plates, and a colophon that reads: "The plates were printed by Clarence Kennedy directly from the film negative, on Athena Paper, manufactured by the Eastman Kodak Company. The type was prepared at the Harvard University Press, Cambridge, Massachusetts. Of this volume fifty-seven copies have been printed, of which this is number 17." This collection of 64 photographs was issued as Studies in the History and Criticism of Sculpture Volume IV, which was part of an eventual seven-volume series of photographic portfolios by Kennedy. This scholar-photographer (1892-1972) was appointed director of Smith College's division of graduate studies in Europe in 1925. This followed by only a few years his studies as a Charles Eliot Norton Fellow of Harvard University at the American School of Classical Studies in Athens. According to the National Gallery, Kennedy mounted and assembled each edition himself, and issued each one in extremely limited numbers. The Siphnean Treasury in Delphi dates from approximately 530 BC; the phorographs are of its...
Helsinki, Finland: Kustannusosakeyhtio Kirja, 1923. Akseli Gallen-Kallela. First illustrated edition. Large quarto, 600 pp. This is the first illustrated edition of a book first translated into English (in 1929) .as "The Seven Brothers", and primarily renowned as a brilliant example of the work of Finnish artist and illustrator Akseli Gallen-Kallela (1865-1931). IT was first published in 1870.There are scores of illustrations in color and b/w, including patterned endpapers using a human head motif. The text is in Finnish. Recently recased in brown cloth and quarter tan morocco, with a compartmented spine and red leather title labels. Top edge gilt. About fine and absolutely striking.
Philadelphia: J. B. Lippincott, 1960. First edition, fourth impression, as stated on the copyright page. Octavo, 296 pages. The book is tight and sound and has the following faults and characteristics: The endpapers, half-title and edges show some foxing and browning. The book is bound in half brown paper with a mint-green cloth spine, with the spine titling in brown. The tips of the spine, where not protected by the dustjacket, are very lightly faded. The dustjacket shows considerable rubbing, a short tear and a line of waterstaining at the top of the rear panel, as well as small chips and wear at the spine ends. At the time of the fourth printing, the Pulitzer prize sticker on later impressions had not yet been applied. The original price of $3.95 is present, as is the "fourth printing" notation next to it. Finally, the reverse of the dustjacket shows considerable browning, particularly at the folds. See the additional photographs, which are of this book.
London: Adam and Charles Black, 1909. Lewis, J. Hardwicke; Lewis, May Hardwicke. First edition. Octavo, x, 360pp., plus a folding map, 4 pages of A.and C. Black ads, and 60 tissue-guarded and captioned full-color plates. Pencilled signature of May Walter Cooper dated1910 on the front free endpaper, slight thinning and browning to endpapers, else fine in blue cloth with a design printed in celadon green, titling in gilt, top edge gilt, one corner very slightly bent (see photograph). A splendid copy.
New York: McGraw-Hill, 1964. special limited edition. Octavo, 438 pages, with 36 pages of photographic illustrations, including 8 pages in color, plus a color photograph of General MacArthur as frontispiece. This is number 49 of 1,000 copies of this special edition, with a facsimile signature of MacArthur on a tipped-in limitation page preceding the frontispiece, and a true signature on the samed page by his wife, Jean MacArthur. The book is bound in brown cloth, with 5 stars blind-stamped on the front board, and is housed in a heavy tan slipcase titled in gilt. Fine in a near fine slipcase.
Hans Alexander Mueller. This is a collection of 20 signed woodcuts and wood engravings by Hans Alexander Mueller, in Mueller's own paste-paper on board portfolio with the label of the Staatliche Akademie fur Graphische Kunste und Buchgewerbe in Leipzig,1926. Mueller (1888-1962) was a student at the academy and then a teacher of wood engraving and director of the academy before he emigrated to the United States in the 1930s, where he was for many years a renowned book illustrator. All of the prints are signed; several also appear in his book "Woodcuts & Wood Engravings: How I Make Them", (1939), a copy of which is included. Many are color engravings. Titles include Allegro Furioso, Scherzo, Italian Landscape, John Adams, Theodore Roosevelt, Two Men on a Pier, and many others. The woodcuts and engravings are generally in excellent condition: some are rather amateurishly matted in heavy paper; others are laid in loose. One or two are sllightly foxed; several bear corner glue stains. They range in size from 2 1/2" x 2 7/8" to 11" x 14 3/4". Mueller lived until his death in a rural corner of New Milford, Connecticut, where this portfolio was given to a close friend and...
New York: George Wittenborn,Inc, 1960. Large square octavo, 9.5 x 9.5", unpaged, (19 French-folded leaves). There is an introduction by Gibson A. Danes, then Dean of the school of Art and Architecture at Yale, a page of comments by Paul Rand, and color illustrations for a dozen trademarks designed by Rand, including Borzoi Books, Westinghouse, IBM and Esquire Magazine. The cover design and typography are by Paul Rand; the general design and printing are by Hiram Ash, then at the School of Art and Architecture at Yale University. This copy is from Hiram Ash's own library. The book was printed in an edition of 450 copies -- a limitation not mentioned in the book but noted in a Wittenborn advertisement in "Typographica" for June, 1961. Slight age-toning to page edges else fine in heavy white wrappers printed in yellow, orange and black, and in the original glassine. Other than age-tonng, faultless.
Paris: A. Quantin, Imprimeur-Editeur, 1881. First edition. Folio, (32.5 x 22.5 cm), xi, 1),402pp. , with a preface by Albert Sensier, a note on Sensier by art critic Paul Mantz, 12 tissue-guarded photoengravings on laid paper by Dujardin, including portraits of Sensier and Millet and reproductions of some of Millet's most famous works, plus 48 b/w illustratations in the text, of which 19 are full-page. The text, of course, is in French. This copy, never cased, is in the original grey paper wrappers printed in red and black, (a copy of the title page), with a 3-cm tear at the top of the rear panel, several short tears at the edges, and vertical paper cracks on the spine. The wrappers are somewhat shelf-soiled and edge-darkened. The top edge is trimmed, the fore and bottom edges are not. Internally there are marginal traces of browning to the first and last leaves, but the remainder of the book, inclusive of the plates, is exceptionally clean. A fine copy.
Paris: Chez Duchesne, 1755. Hardcover. 16mo. Two volumes: cxxiv, 283, errata; 407, (5)pp. Volume I contains " Description de la Germanie et des Moeurs des ses Habitans", in French, and "De Situ Moribus et Populis Germaniae", in Latin. Volume II contains "Vie de Julius Agricola", in French, followed by "Julii Agricolae Vita Scriptore Tacito", in Latin. Bound in contemporary speckled calf with a paneled spine,and with oval leather inserts in both front and rear boards (possibly replacing long-gone portrait cameos). These were done by bookbinder Joanna Bliss of Connecticut in 1981, who restored the bindings. All edges are stained red and there are ribbon markers in each volume. Endpapers are marbled paper of the period. Faint waterstain to the bottom margin up to page 6 of volume 2, and minor spine wear, else very good. Two volumes:.
New York: The Alcestis Press, 1936. first edition. Octavo, 57 pages, this being number 25 of 165 copies, signed by Tate on the colophon. In addition, this copy is inscribed to poet/writer Mark (Van Doren) on the blank leaf preceding the title page: "To Mark (with the usual misgivings) from Allen July 1, 1936". Allen Tate and Mark Van Doren corresponded for many years; collections of their letters are at Vanderbilt and Columbia. Narrow inner margin stain from the glue used in binding, oherwise a verygood copy in green wrappers, spine and some page edges somewhat darkened. The broken remains of the original slipcase are included. This was Tate's second book.
Paris: Tériade, 1938-1939. Folio, 128, 132, 140 numbered pages, the English-language edition, with covers by Georges Braque, Pierre Bonnard and Georges Rouault. The list of contributors, both artists and writers, still astonishes by its eclectic richness: -- André Malraux, James Joyce, Ernest Hemingway, André Gide, Matisse, Chagall, MIro, Jean-Paul Sartre, Brassai, Kandinsky, many oihers. Text paper slightly toned at the edges, else internally fine and without markings of any kind. This set of three is bound in terra-cotta cloth with the single word "VERVE" at the bottom of the front cover in silver, a design repeated at the top of the spine. Light wear to the terra cotta cloth; mild rubbing and shelf wear to the base of the spine and bottom corners. A beautiful copy. The book is oversized and heavy and will require additional postage and insurance, at cost.