Paris. A collection of five works by the French Symbolist poet (1892-1960), laid in a custom blue buckram clamshell case lined with patterned paste paper and a somewhat edgeworn pebbled morocco spine, and with a leather title patch reading "Oeuvres de Paul Fort", somewhat rubbed. The works, each measuring 29cm x 19cm, are in French and in wrappers, and were destined for members of the "Groupe des Amis de Paul Fort". They 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. This copy is somewhat foxed on the earliest pages, and the rear wrapper is 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...
New York: Nyehaus Foundation, 2005. The work shown in this exhibition catalogue is by the Romanian-American artist Serge Spitzer, 1951-2012, who worked in New York. The parts to the catalogue are enclosed in a legal-size heavy cardboard folder, 14 3/4" x 10 1/2", with a brilliant yellow pleated cloth spine, and what look to be a random series of number labels on the edge of the rear panel. Once opened, there is a 16-page essay by Trevor Smith, "At Play With the Rules of the Game: Serge Spitzer at Nyehaus", two large b/w photographic illustrations of two of Spitzer 's installations, including ReCycle and Quiver, the artists's biography and a bibliography. Following that, an open-ended envelope holds a collection of eight sheets of paper, some trimmed, some nearly blank, some with blue or red graph lines, and two with thin non-linear tracks across the page in red ink. Next, laid in, is a folded gallery poster for this show, which, unfolded, measures 33 " x 27" -- and is absolutely striking. The last item is an open-top pocket containing photographs in color of more works, including Law Blanks, Deadload-Deadlock, Upload, and Leather Ball. As new.
New York: The Century Co. 1924. Third printing of the first edition. Octavo, 8 1/8" x 5 1/2".20.5 x14 cm, xviii, 408 pages. No additional printings are noted, but the dustjacket bears a notation that this is the "3rd printing". There are over 60 black and white illustrations, including a map and many porttraits and candid photographs of T.E. Lawrence in Arabian dress. Occasional light browning, and a few tiny brown spots on the rear endpaper, but largely a very good copy in orange cloth stamped in black and blue, and with the "double D" logo of the Decorative Designers, who were responsible fpor the cover design. Spine ends are very slightly shelf-rubbed. The dustjacket, of the same design as the cloth cover, but printed in muted colors, is chipped on the spine and along edges.
Branford, Connecticut: The Penny-Whistle Press, 1983. first edition. Octavo, (9 3/8" x 6", 23.5cm x 15.5cm), 36 pages. This is an edition of 100 copies, designed and printed by John O.C. McCrillis, a typographer for the Yale University Press as well as the owner and printer of Penny-Whistle, on Mohawk Superfine Text, with linocuts from 19th century illustrations. The two stories are from Irving's "Sketch Book" and were produced to commemorate the 200th anniversary of Irving's birth. The book is sewn into Mohawk ivory cover stock, with a cover illustration printed in deep pink. This copy bears the signature of Joseph Francis Weiler, typographer, on the front endpaper. Fine.
Denby Dale, Huddersfield (UK): Fleece Press, 1998. Oblong 12mo, 5 1/4" x 7", 13.2cm x 17.6cm, 12 pages, with descriptions by Simon Lawrence of upcoming volumes (and other observations), a title page wood engraving plus one other by Derrick Harris, a tipped-on square of blue patterned binding paper by Edwina Ellis, and a delightful quote, as follows: "Please do not send money until requested, as it lessens the printer's motivation to see the job finished." The prospectus was printed in an edition of 760 copies, and is bound in pale tan wrappers titled in red. Fine.
London: Victor Gollancz, 1929. First edition. 6" x 9 3/4"; 24.5cm x 15.5cm. 102 pages. This is an edition of 750 copies of this five-part poem, of which 250 are for sale in America. All of them are signed by both the French-Jewish poet Edmond Fleg (1874-1963) and his translator, Humbert Wolfe. Top edge gilt, other edges untrimmed. There is a bookplate on the front pastedown endpaper, otherwise this is a fine copy bound in black cloth titled in gilt.
Clara Tice. This is an original hand-colored etching by Clara Tice, the American artist and illustrator. The plate block measures 3 1/2" by 4 7/8"and is printed on a sheet of ivory Aiglon watermarked paper. It is signed "Clara Tice" in pencil below the [plate lower right, and without a limitation. Clara Tice, 1888-1973, was a New York avant-garde artist and illustrator of considerable fame and acclaim in the1920s, when she produced many etchings of nudes and illustrations for a dozen or more books, including an ABC of Dogs and a four-volume edition of "The Palaces of Pleasure". This etching could have been "P for Poodle", but is here offered singly. The print has never been matted, and is thus free of any traces of tape or glue, and is small enough to be shipped flat.
New York: Alfred A. Knopf, 1964. Joseph Schindelman. First edition. Octavo, 161 pages, with profuse black and white drawings by Joseph Schindelman. This is the true first edition (the English edition was not published until 1967), and is the first issue, with six lines of printing information on the last page, a price of $3.95 on the dustjacket, mustard endpapers, and no ISBN on the rear dustjacket panel. As called for in the first issue, the Oompa-Loompas are black, not orange or white. This copy is internally fine, without names, inscriptions or marks of any kind. It is bound in burgundy cloth with a title medallion stamped in blind on the front panel and a spine title in gilt. The top edge is stained pale plum. There is possibly a hint of fingerprints on the rear panel near the outside margin. Two dustjackets are included, the original and a facsimile. The original dustjacket is complete and without tears or nicks, though there is a crease at the top of one flap and light wear to spine ends. However, the jacket shows considerable soil and foxing on both front and back. The facsimile dustjacket is new and perfect. An extremely good copy.
New York: Norton, 1990. Third printing of the paperback edition, octavo, 79pp., slight creasing to edges, a few pale spots of foxing to the last pages, else very good in heavy wrappers. This copy is inscribed by Sarton on the half-title to poet and biographer Honor Moore: "To honor Honor, with love from M", and signed May Sarton, York, July '90. Laid in is a 20-line typed letter signed, dated July 6, '90, writing from York (Maine), to Honor (Moore), writing of her mother and critiquing Moore's new play. Sarton also writes of her illness and heart problems. The letter is signed "Love from MS", and is on a single sheet of 8 1/2 x 11" lavender paper, slightly spotted, with numerous hand-written corrections to her shaky typewriting.
Charlottesville, VA: University Press of Virginia, 1978. First edition. Hardcover. Large octavo, unpaged  pages.The book is a collection of quatrains and is also an alphabet book.The text is printed in black ink, with large color initials as headings in red, blue, green, brown and ochre. The book was beautifully printed at the Stinehour Press in Lunenberg, Vermont, and is number 884 in the bibliography of the press. The design is by Freeman Keith, who was one of Stinehour's book producers. The elegant, winged A and Z letters that form the two-panel dustjacket, though not credited, are surely the work of calligrapher Stephen Harvard, whose very similar treatment appears on a History of Photography also printed by Stinehour. A very fine copy, and, like other books printed by Stinehour, a total pleasure to hold in one's hand.
Risbury, Herefordshire: The Whittington Press, 1997. Miriam Macgregor. Oblong quarto, unpaged, with a brief text followed by 13 full-page wood engravings, following the tree from one spring equinox to the next, with the text printed in warm brown ink, the beautiful wood engravings in black. Eventually the tree falls, and the last text page says, simply "and so on..." This copy is number 243 of 385 copies set in 12-pt Bell and printed at Whittington on Zerkall mould-made papers and one of 300 bound by The Fine BIndery in May, 1997, in printed terra-cotta pattern papers with an apple-tree design, and housed in a slipcase. Fine, as issued.
Rochester, NY: Press of the Good Mountain, 1964. 12mo, 26pp., an edition of 500 copies issued as Typophiles Monograph Number 75, with several commentaries on Elmer Adler and his printing activities, and with illustrations printed in brown ink showing various artists' versions of his Pynson Printers pressmark. Fine in buff wrappers.
Austin, Texas: W. Thomas Taylor, 1991-1995. A complete run of 16 issues of this superlative periodical, starting with Volume I, Number 1, for October, 1991, through Summer of 1995. Numbers 13-14 and 15-16 are double issues bound as one, for a total of 14 separate quarto volumes in beautifully printed heavy wrappers. Fine as issued.
Philadelphia: Pennsylvania German Society, 1953. First edition. 24 cm x 15.5 cm, 169pp., illustrated with 24 color plates. There are two owner's bookplates on the front pastedown endpaper, that of Francis Waring Robinson, long-time curator at the Detroit Institute of Arts, and the other of Connecticut book collector Harold Corbin which, though not signed by him, was designed by Joe Blumenthal of the Spiral Press, who was a friend of Corbin's and whose work Corbin collected. Robinson has also signed the volume in pencil on the front free endpaper. Fine in faintly rubbed pictorial boards and a red cloth spine, just slightly worn and shelf-rubbed at the base.
New York: International Typeface Corporation, 1993. first edition. Octavo, 64 pages, with a foreword by Mark Batty, president of ITC, an introduction by Jerry Kelly, who curated the exhibit as well as designed the book, and two essays,"The Twentieth Century Type Specimen" and "Type Specimens in a Century of Typographical Change. The rest of the book is given to illustrations, printed in red and black, and a checklist of the exhibition. Fine and as new in heavy white wrappers with a dustjacket of Mohawk Ticonderoga Peach. The book was designed by Jerry Kelly and printed and bound at the Stinehour Press in Lunenberg, Vermont in an edition of 1,100 copies -- 500 for ITC, 100 for the Rochester Institute of Technology, and 500 given to The Typophiles as Monograph New Series Number 9. Laid in is an address label from the Stinehour Press addressed to a printer in Connecticut, with a handwritten note from Roderick Stinehour on a Stinehour alphabet card thanking the printer in Connecticut for information and material sent to him, and mentioning the typographic workshop Stinehour taught at Dartmouth. Undated, but the mailing label has a pencilled 1993 date on it.
Concord, N.H. and Boston: Edson C. Eastman and Lee & Shepard, 1872. tenth edition. Pocket-size: 6 5/8" x 4 1/2", 248 pages plus 7 pages of ads following the text of the book. There are two maps, a smaller foldout showing railroad routes to the White mountains, and a larger foldout map showing the White mountains and vicinity, prepared by C.H.V. Cavis. This map has two tears at the stub joining it to the book, and also at one of the folds and in one section, though without loss of text. There are a half-dozen or more half-page black and white illustrations, also a list of area altitudes and a wonderful list of boarding houses in the area, complete with the names of proprietors, how many people he can board, and the prices. Several pages are brown-stained from laid-in ferns and cloverleaves, some of which I have left in place. A previous owner's presentation inscription is on the front free endpaper, and laid in is a business card from Kiarsarge House in North Conway, showing the hotel and giving a list of places of interest in the area. A very good copy in terra-cotta cloth, lightly soiled and with a....
New York: Charles Scribner's Sons, 1894. first edition. Two volumes, large octavo, (25cm x 17cm), xii, (4), 400; xii, 397 pages. This detailed pair of volumes called on experts in many fields to include 18 chapters, which include William Stoddard on Women in Their Business Affairs, Lillian Betts on the Principles of Housekeeping, Constance Cary Harrison on Society and Social Usages, P.G. Hubert on Occupations for Women, Kate Douglas Wiggin on the Training of children, Elizabeth Bisland, who raced Nellie Bly around the world for their publications post-Jules Verne, Thomas Wentworth Higginson on Books and reading, Samuel Parsons Jr. on the Home Grounds, and Helen Churchill Candee on House Building. There are 400 illustrations, including a dozen color chromolithographs, plus myriad drawings and photographs in black and white. The books are in extremely good condition. Most of the color plates retain their laid-in tissue guards, which have left left acidic stains on facing pages, and there are a few sprinkles of foxing on the endpapers, and a narrow paper split at the gutter margin threads on page 161. Otherwise,there is not a mark or dog-ear or stain in the pair of books, which is one of the most interesting Victorian...
New York: M. Evans and Company, 1976. First Edition. Quarto, 227 pages, with 157 black and white photographs by Ezra Stoller and others showing the versatile residential work of David Adler (1882-1949), much of it on Chicago's North Shore. There is a photographic portrait frontispiece of Adler, a long essay on the architect and his work, a chronology, a listing of books that composed Adler's architectural library, a memorial address, and an index. This is a fine copy, bound in deep blue cloth stamped with the title in gilt, in a somewhat worn and shelf-rubbed dustjacket, not price-clipped but with a few narrow tears to the edges and small chips to the top of the spine, now protected in mylar.
London: The Bookplate Society and the Victoria & Albert Museum, 1979. First edition. Oblong large octavo, 24pp., with a long descriptive text, a brief bibliography and 44 b/w illustrations of bookplates in England from 1574 to the mid-20th century. This was written to accompany an exhibit at the Victoria and Albert Museum. Faint rubbing at the corners else a fine copy in patterned heavy wrappers.
New York: copyright 1847. Published by J.S. Redfield, Clinton Hall, 136 Nassau Street, New York. This a set of wooden alphabet blocks, covered with paper on which alphabets, words and small engravings are printed. The blocks are in their original cardboard carton, worn but nearly intact and with a couple of corners mended long ago with thread. On the cover, texts on the borders read: "Amusements that interest but never tire", "Mind is developed by its own action", "Home toys to promote home joys" and "Educate and restrain by pleasing employments". The boxtop lining reads "The Parents' and Children's Guide to a pleasing and beneficial use of these blocks, designed for children from two to eight years old", with instructions for use. Wickham was an educator, and a member of the New York State Teacher's Association, He published a previous set, called "Alphabet on Blocks", in Sag Harbor, NY, about 1839, of which the OCLC records a single set, at Yale. The Canadian Center for Architecture in Montreal owns a similar but slightly larger copy dated two years earlier. This set seems to be unrecorded. It consists of 21 large wooden blocks (2 3/4" x 1 5/16" x 5/8"), covered...
New York: Midtown Payson Galleries, 1991. Small folio, 11 1/2" x 9", unpaged, with an introduction by John Whitney Payson and a note by Leonard Baskin, followed by 15 full-page color plates and several pages devoted to a chronology of Baskin, a list of his exhibitions and a bibliography. The angels, as painted by Baskin, all measured 60" x 40", and were composed in gouache, on paper. Added to this copy are several ephemeral pieces, including two large postcard invitations to this and a later Baskin exhibition, gallery news releases, and several printouts of Baskin information from magazines and newspapers. Fine in pictorial wrappers.
New York: Champion Papers, 1978. 11" x 8 1/2", 36 pages. This issue was designed by Hermann Zapf, and is full of his quotes, typefaces, calligraphy and posters, many being full-page and in color. An internally fine -- and indisputably elegant -- copy in mildly rubbed and faded heavy blue wrappers. Text and cover papers are by Champion. A very good copy.
New York: Alfred A. Knopf, 1994. 1st Edition. Narrow 12mo, 37 numbered pages. The book contains Morrison's beautiful lecture, her brief acceptance speech, a list of her books and a short biography. A very fine copy, as new in deep red cloth on boards with a black and gilt title patch. The book was issued without a dustjacket.
Los Angeles: Book Arts Program, Occidental College, 1990. Octavo, 37 pages of well-written reminiscences about these three California printers and their presses, with 16 pages of color and b/w illustrations of title pages and photographs of the printers, plus a bibliography. The book was originally an illustrated talk given at Occidental College in 1989. A very fine copy in heavy buff wrappers.