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. More

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... More

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. More

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... More

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... More

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. More

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. More

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. More

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:. More

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. More