Paris: Les Peintres du Livre / Skira, 1967. Raoul Dufy. Large square octavo, unpaged, approximately 140 pages comprising verses by Apollinaire and profuse -- and absolutely vibrant -- wood engravings by Raoul Dufy. In this edition the wood engravings are printed on a deeper cream paper rather than the pure white used for the poems. An edition of 3,000 copies; this is number 572. Spine title a trifle dulled else just about fine in deep green cloth and a spinach green suedecloth slipcase, lightly worn and faded at the edges. The text is in French.
London: Frederick Warne & Co., (1875). fourth edition. A tiny compendium --only 4 1/4" x 2 3/4" (107mm x 71mm), 108pp -- of great charm, with a colored frontispiece, followed by 365 minuscule color illustrations of brief biblical texts, four to a page, with blank boxes on opposite pages to note birthdays or engagements. This is the fourth edition, with a brief preface. There is an owner's inscription dated 1881, and notations regarding people and dates on some entries. The book is bound in somewhat edge-rubbed full blue-black calf stamped blind and gilt, all edges gilt, and laid into a custom fold-over chemise and slipcase covered in hand-marbled paper with a leather title patch.
New York: Push Pin, 1954-1965. Milton Glaser, Seymour Chwast, Edward Sorel. A collection of publications issued by Push Pin Studios, dating from 1954 to 1965, and including issues of the Push Pin Almanack, the Push Pin Monthly Graphic, and the Push Pin Graphic, a remarkable series of brilliant publications that lasted until 1980. Of the earliest group, this collection includes numbers 8, 9, 10, 11, 13, 14, and 15 of the Push Pin Almanack, dating from January-February 1954 to May-June, 1955, in narrow almanac format, (16 pages), in purposely prim colored wrappers, lightly edge-rubbed. This is followed by 29 issues of the Push Pin Monthly Graphic, including numbers 5, 6, 8, 9, 10, 11, 13, 14 (two copies),15, 16, 17, 18, 19, 20, 21, 22, 24, 25, 26, 27, 28, 29, 30, 31, 34, 35 (two copies) and 37 (the Plain Brown Wrapper issue) dating from 1957 through 1962. A number of them also enclose laid-in supplements. After "Monthly" was dropped from the title, there are 3 additional issues of the Push Pin Graphic in this collection: 23, 36, and 45, from 1959 through 1964. The last copy, number 45, square octavo, contains the Tiny Tim recording, a blue plastic...
New York: Island Press, 1941. Emery I. Gondor. presumed first edition. Quarto, unpaged (32pp.) with Emory Gondor's large black and white drawings on every page. This is a particularly good copy, with a small "Creative Playtime" sticker on the fron free endpaper otherwise perfectly clean and unmarked in pale yellow pictorial boards and a green cloth spine. The book is in its original dustjacket with a $1.25 price, and with only two inch-long closed tears on the front panel. Just about fine.
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.
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 in this volume, 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.
Paris: Les Peintres du Livre, Albert Skira, 1966. Henri Matisse. Square octavo, unpaged (approximately 104 pages), with profuse etchings by Henri Matisse, first done in the early 1930s and considered the definitive illustrations of Mallarmé's poems. The plates are given plate marks in this edition, which did not appear in the original. An edition of 3,000 copies; this is number 1839. The title page has an unusual tipped-on title patch of grey laid paper. The edges are lightly browned and foxed, but this is otherwise a very good copy in deep blue cloth and a slightly darkened and edge-rubbed wavy-line-patterned slipcase. The text is in French.
London: Charles Tilt, 1837. First edition. Quarto, viii,169pp., errata leaf. The book is illustrated with 50 full-page engraved plates on heavy stock by R. Garland. The plates, which include a vignette title page, show internal and external views of six cathedrals, including Rouen, Amiens, Notre Dame, Chartres, Beauvais and Evreux. There is scattered mild foxing to some pages and plates, and most tissue-guards are absent, (with no indication that they had ever been present). This is a very good copy recased in modern grey linen on boards, with a gilt-ruled red morocco spine and new endpapers.
New York: W.W. Norton, 1964. Chiang Yee. First Edition. Large octavo (24cm x 16.5 cm), 366 pages, with 16 full-page plates in color as well as profuse black and white drawings in the text, all of them by Chiang Yee. This copy is inscribed on the front free endpaper to "Professor and Mrs. Mark Van Doren with best wishes from the author". Both Mark Van Doren and Chiang Yee taught at Columbia University, where they were colleagues and friends. The top edge of this copy is slightly browned, but it is a very good copy in a lightly chipped and torn dustjacket that shows some age-toning, particularly on the reverse.