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: 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.
London: The Cresset Press, 1929. Douglas Percy Bliss. 1st edition thus. Hardcover. Quarto. A four-volume set: xxx,196; xii,244; x, 254; viii,227pp. For this edition, there is an introduction by Hamish Miles and illustrations by Douglas Percy Bliss. This is copy #469 of 500 on mould- made paper with a striking colored plate as frontispiece to each volume, and a b/w drawing as chapter heading to each of the 101 tales in the collection, translated by Painter and drawn from sources such as Boccaccio and the Heptameron. Very slight soil and foxing else very good in printed paper on boards, beige linen spines with white cloth spine labels, Corners are somewhat shelf-rubbed, and there is a previous owner's signature on the pastedown endpaper of each volume. These tales were first published as "The Palace of Pleasure" in 1566-1567. Four volumes:.
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.