Een Boecxken Gemaket van suster bertken die lvij iaren besloten heeft gheseten tot Utrecht in dye Buerkercke.
Suster Bertken (Bertha Jacobs)

Small octavo. 18ff. From an edition of 70 copies, this is one of twenty Roman numeral copies reserved for owners of the Press. This copy was designated for Nelly van Eyck-Benjamin, the wife of Dutch poet Pieter Nicolaas van Eyck, who was one of the founders of the Press. De Zilverdistel is considered the first private press in the Netherlands. The text consists of meditations on the passion of Christ and is one of two books written by Bertken, who was cloistered in a small cell in Utrecht for 57 years. This edition was printed to commemorate the 400th anniversary of the posthumous publication of this text and marks the first use of Lucien Pissarro's Distel type, which is printed in three colors and augmented by various large decorative initials, likely drawn by S. H. de Roos. Bound in original limp vellum with snowflake design in gilt on upper cover, title gilt on spine.

WINTER.

64mo. (16)pp. A near-miniature chapbook illustrated throughout with woodcuts showing wintertime activities, such as chopping wood, sleighing, and sitting by the fire. The title page has a vignette of an old man sitting in front of a bare tree, captioned "Old Age-- The Winter of life." The text, in prose and verse, lists the months of winter and describes the tasks and diversions of the season: "In the long winter evenings, how pleasant for a family to sit by a good fire, and hear the cold wind whistling without." In printed wrappers bearing the title, imprint, and an illustration of a dog on the front cover, and a depiction of a giant on the rear. Contemporary owners' signatures to title and final pages, and an gift note in pencil inside the front cover. Spine ends slightly split, else a very nice copy.

Five Micrographic Biblical Passages.
Anonymous

Five bifolium sheets, each measuring approximately 7 5/8 by 10 3/4 inches. All contain images of Biblical scenes, composed of miniature writing known as micrography. The images, therefore, are composed of the words from the Biblical passages that describe the action being depicted. Four of these images are framed with watercolor borders. The scenes shown are: Samson slaying the lion, composed of the text from Judges 14; Samson pulling down the pillars of the Philistine temple and Delilah cutting Samson's hair, both of which are drawn from sections of Judges 16; Daniel in the lion's den with text from Daniel 6; and the bearing of giant fruit from the land of the Canaanites. This last image lacks a border but contains the full text of Numbers 13 below. Micrography, or micro-calligraphy, can be traced back to the ninth century, when it appeared primarily in Jewish Biblical codices. Marginal notations from these codices were employed to create geometric and floral patterns. Micrography was also popular in Christianity and Islam because it circumvented the Second Commandment, which proscribed the depiction of "what is in the heavens above." As the technique spread throughout Europe, more elaborate motifs emerged, usually comprised of introductory passages from Biblical texts, as exemplified by this intricate example. The practice of micrography, while slightly altered, is still in use to this day. Apart from a few small holes to the Canaanite image and minor soiling to edges, this is a fine set.

Panorama der Berliner Gewerbe Ausstellung (Panorama of the Berlin Industrial Exhibition), 1896.

Printed by S. Schottlaender, Breslau. A colorful telescopic view of the Industrial Exhibition's main hall, comprised of six bright, chromolithographed panels attached on the sides by accordion-folded paper. The front panel shows the outside of the hall, and the viewer looks through a small hole to behold the exhibits within. A banner in the foreground reads "Nahrungs und Genussmittel," or "Food and Beverage," and the stately domed building contains a veritable feast: tables are stacked high with rounds of cheese, meats, and casks of wine. Further back in the scene, shoppers peruse the latest fashions produced by the textile industry. At the end of the hall is a technological display, including engines, bicycles, and even a printing press. The back panel has a cut-out window covered with orange tissue, letting light come through with a stained-glass effect. On the back, printed in black & white, are labeled illustrations of some of the other buildings housing exhibits. In original colorful pictorial sleeve, which has a map of the exhibition grounds on one side, with labels for all of the displays. Sleeve shows some wear and is slightly cracked and chipped on one side, else a very fine optical souvenir.

The True and Wonderful Story of Paul Gasford, who, when only about four years old was lost in the woods, and by his own remarkable contrivance and wisdom, after four days' travel, got safe to his parents, at Niagara, 40 miles from the place where he was lost.

48mo. 15, (1)pp. Illustrated with nine woodcuts and with vignettes of a boy carrying a backpack and book on the front cover and title page. Two of the cuts have been hand-colored in green, probably by a previous owner. This chapbook tells the survival story of a child left behind by his parents while they were moving from the Bay of Quinté in Ontario to Niagara, recounted by a reporter from the Christian Advocate, a Methodist newspaper from New York. In pale yellow printed wrappers, with publisher's advertisement on the rear cover. Wrappers show faintest soiling, else fine.

Where the Two Came to their Father: A Navaho War Ceremonial.
King, Jeff

Portfolio of eighteen large pochoir plates, together with a descriptive booklet containing text by Jeff King and commentary by noted mythologist Joseph Campbell. (18)ff; 84, (4)pp. First Bollingen edition; first issue booklet. The plates are reproductions of sand paintings by Navajo Shaman Jeff King, as recorded by the artist and ethnologist Maud Oakes. The original paintings were made in 1943 as part of a two-day ceremony to prepare young Navajo men who had been drafted into the army. The plates are printed in earth tones, reflecting the original materials used to create the paintings: cornmeal, ground flowers, pollens, and charcoal, typically on a background of buckskin or earth. King's text explains the symbolism of each element of the images, and the painting's ritual significance. According to King, Plate XIV: Earth and Sky, which shows sacred mountains beneath deities of sun, moon, and stars, is intended to give warriors "the strength and protection of their Earth Mother and Sky Father." This is the first book in The Bollingen Series, which was established by philanthropists Paul Mellon and Mary Conover Mellon in 1943. The plates are housed in a buckram portfolio, and the booklet is bound in gray wrappers. Slight soiling and wear to spine of booklet; plates and portfolio fine and bright.

Chinoiseries / Costumes d'Antan.
Anonymous

Octavo. (22)pp. Album of Chinese landscapes in original watercolors, facing depictions of women's antique costumes painted on silk, interleaved with tissue. "Chinoiserie" refers to European art characterized by imagery of a romanticized China, and it appears that the brightly-colored landscapes in this album were done later than the silk paintings, most likely by a Western artist. Included are market scenes, depictions of boats on a river, and pagodas. The delicate paintings of costumes on silk are done in a much more traditional Chinese style. Great attention is paid to details, such as the knotted red and green silk cords worn around the women's waists, floral hair ornaments, and the subtle patterns of their loose-sleeved robes. One woman carries a basket of flowers, another poses beside a deer, and one is dressed as a warrior with a sword, in a jacket and loose trousers, tying on her knee guards. The costumes are colored in soft shades of blue, pink, and green. Very fine in soft gilt-titled white calf with raised bands on the spine, blind-tooled with decorative rules. Housed in a flannel-lined box.

A una Alondra [To a Skylark].
Shelley, Percy Bysshe

Small quarto. (28)pp. From an edition of thirty-two copies, this is one of three copies printed on Japan paper. Signed by the translator, Miguel Alfredo Olivera, on the colophon page. Shelley's famous ode, translated into Spanish, is illustrated with colored engravings by Raúl Veroni. A lovely production, this copy is loose, as issued, in printed wrappers and housed within a hand-painted chemise and slipcase, on which the skylark theme is presented in an almost Impressionistic style. Very fine.

The Cat in the Hat.
Seuss, Dr. (Theodor Geisel)

First edition. This is the first issue of Dr. Seuss' perennial classic, with unglazed boards, 200/200 price intact on the jacket flap, and no mention of the Beginning Reader Series on the back panel of the jacket. This book marked the birth of the Beginning Readers Series and is comprised of 220 words. It was intended to be easily read by students in first and second grade and to show beginning readers that reading can be fun. The Cat in the Hat's subversive antics have entertained readers for more than fifty years. Slight soiling and scratching to rear panel of dust jacket, some minor wear to dust jacket edges and corners. Top and bottom of spine bumped, slightest rubbing to corners, else a very good copy of this pioneering children's classic.

Original watercolor story panels for Upsidedowntown.

Nine brilliant watercolor paintings on paper, each measuring approximately 8 1/2 by 11 inches. Colorful, accomplished set of story panels for what is presumably an unpublished children's book, the unwritten narrative of which follows a group of balloon children as they are sold by a balloon vendor at a county fair, then drift up into "Upsidedowntown." There, they frolic with a dog and go to a candy store. One of them is punctured by some bad nails and then patched up by a kindly doctor balloon. This all takes place with the county fair upside down in the panel. The story ends with a green balloon child in bed, with a child's bedroom upside down above. An especially innovative children's tale told in picture form, without words, by an artist who signs two panels "Alberta." Two panels with tape marks on verso, else fine and bright.

THE ENTERTAINING STORY OF LITTLE RED RIDING HOOD. TO WHICH IS ADDED, TOM THUMB'S TOY.

24mo. 31pp. A collection of stories illustrated with twelve wood engravings. In this cautionary version of Little Red Riding Hood, both the girl and her grandmother are consumed by the cunning wolf. The tales in "Tom Thumb's Toy" warn of the consequences of naughty behavior and extol the virtue of honesty. The chapbook ends with the poem "My Mother." Bound in gray, printed wrappers, with a list of other "penny books" by the publisher on the rear. With the small stamp of "Folklore Society, London" on the front wrapper and first page, else a splendid copy.

(Amish Valentine).

Single leaf measuring 5 by 7 3/4 inches. A drawing of a young man and woman glancing shyly at each other, with their noses drawn in an angular fashion so as to point at each other. Below the figures is penned words "i cant [sic] stop long this time." A Feb. 25, 1861 inscription on the verso says "Valentine & Mr. Willis S. Marden." The young man wears simple clothing, a blue hat with a red band, a red shirt, and blue pants, that seems to place him in an Amish or Mennonite community. His hair is long and curly. The woman's costume is slightly more elaborate; she wears red shoes and a pearl necklace with her blue dress, and her uncovered hair is curled. The sheet of paper was once folded into quarters. Until postal rates became standardized, early valentines were typically folded, sealed, and hand-delivered to a beloved's doorstep. Pennsylvania-German or Dutch handmade valentines gained recognition for their fine workmanship, with detailed pinprick and cutout designs. This example is no less remarkable for its simplicity. Some faint discoloration, primarily to fold lines, and slightest wear to two corners.

Typescripts with Author's Corrections for Two or Three Graces.
Huxley, Aldous

103ff. typed carbon sheets comprising the typescripts for the complete contents of Huxley's 1926 collection, Two or Three Graces. In addition to the title novella, the collection contains three shorter stories: "The Monocle," "Fairy Godmother," and "Half-Holiday." This is likely the setting copy for the book, as some of the pencil notations are concerned with matters of font selection and page breaks; also, it has the Little & Ives receipt stamp on the verso of page 4, showing it as being received on 8 December 1925. Huxley composed almost all of his works on the typewriter, and these typescripts show the author's changes in black and red pen, as well as an editor's annotations in pencil for the printer. The title of "Fairy Godmother" was changed by Huxley, and the first page of the story has a slip from the publisher tipped into the margin. Housed in a specially-made, folding cloth chemise and a green morocco-backed slipcase. Some edgewear is present to the thin typing paper, and a marginal tear to page 74 has resulted in slight text loss.

All for Love: or, the World Well Lost. A Tragedy, as is acted at the Theatre-Royal; and written in Imitation of Shakespeare's Stile.
Dryden, John

Octavo. (x), 78, (i)pp. First edition. The last play that Dryden wrote for the King's Company, All for Love is an imitation of Shakespeare's Antony and Cleopatra. It was written in blank verse and focuses on the tragic last hours of the two star-crossed lovers' lives. With a calligraphed bookplate on the first free endpaper stating that the book was presented to the author Louis Auchincloss in 1935 as the English Essay Prize at Groton School. A prolific writer who balanced both literary and legal careers for most of his life, Auchincloss wrote numerous essays and at least a book each year while working as a lawyer. Bound in brown cloth, gilt-titled on the spine, and with the Groton School seal in gilt on the front cover. Corners slightly rubbed, and a tear to the margin of one page that minimally affects the text has been skillfully repaired, else a very good association copy of Dryden's best-known play.

Story for Sara. What Happened to a Little Girl.
Allais, Alphonse

Oblong 12mo. (18)ff. One of twenty-six lettered copies, signed by Gorey. An ironic tale, illustrated Gorey's characteristic drawings. What happened to the little girl was not very nice, but then again, neither was she. Some slight fading to spine and the faintest trace of soil to front cover, else very fine in yellow illustrated wrappers. (Toledano A41a).

[Steinbeck, John] A Letter Written in Reply to a Request for a Statement About his Ancestry.
Steinbeck, John

First book edition. One of 350 copies. Inscribed by the Reverend L. M. Birkhead, the National Director of the Friends of Democracy, to the novelist Laura Hobson. Published "because of its peculiar interest at this time," as indicated on the dedication page, the text consists of two letters: the first from Birkhead to Steinbeck, and the second, Steinbeck's response. Steinbeck addresses the rumor about his purported Jewish heritage and the claim that The Grapes of Wrath was Jewish propaganda. Closing his letter, Steinbeck writes "Those who wish for one reason or another to believe me Jewish will go on believing it while men of good will and good intelligence won't care one way or another. I can prove these things of course -- but when I shall have to -- the American democracy will have disappeared." A very fine association copy in boards with paper label and original glassine.

Crosses of Gold: A Book of Verse.
Crosby, Caresse

16mo. 93pp. One of 100 copies. This is the first edition of Caresse Crosby's first book, illustrated with twenty-nine bright, hand-colored plates by Daniel-Girard. A few of the decorative devices are drawn by hand. This intimate book of romantic poems and short prose pieces is dedicated to Crosby's husband Harry: the first poem is an acrostic on his name, and the letters have been drawn in and decorated by hand. Many of the pieces are set in France, celebrating the Crosbys' experiences as American expatriates in the 1920s. Both Harry and Caresse dedicated themselves to the literary arts. The Crosbys first began publishing books in order to see their own work in print, and Crosses of Gold is the second book they published. In 1927 Harry and Caresse began to pursue this career more seriously and founded Éditions Narcisse. A year later they changed the name to Black Sun Press. Bound in full tree-calf, with the spine decorated in gilt and a red morocco label. This was the binding that the Crosbys used for copies given to their friends. Small splits to front outer hinge, light rubbing to corners, else a near fine copy of this passionate tribute.

In Die Festo Natalis, Et Circuncisionis Christi, Sapphicum Alphabeticum.
Ferrerius, Zacharias

Oblong 12mo. (14)ff. From an edition of 80 copies, this is one of forty printed for André Jammes, the French antiquarian bookseller. With a New Year's greeting inscribed on the first free endpaper from Jammes and his family. A beautifully-printed Christmas alphabet book with red calligraphic initials on each page. These elaborate initials were derived from a 1523 writing book by Ludovico Vicentino Degli Arrighi, an influential Italian bookseller, papal scribe, and later, typographer. Vicentino admired italic script and wrote an entire work about it; fittingly, this book is set entirely in Arrighi-Vicenza italic. The text is derived from a Christmas hymn and is represented in the original Latin. Extremely fine in paper-covered boards that look like vellum, in original brown card slipcase.

I'll Die Tomorrow.
Spillane, Mickey

Square octavo. (48)pp. One of 45 copies. Printed by Peter Koch and illustrated with digital pigment prints of seven photographs by Karen Filter. The photographs depict scenes that could have been taken straight from film noir, with gun-wielding men wearing fedoras and women in slinky dresses. Filter's photographs have a vintage aesthetic, and were originally printed using a unique color technique that she created based on Carbro prints from 1930s and 1940s, and technicolor from the 1950s. Fitting to accompany Spillane's work, the photos were selected from Filter's "B-Movie Series" and "Detective Series." Filter made her name on the Los Angeles music scene in the 1980s, photographing everyone from jazz greats like Dizzy Gillespie to Devo and the Go-Go's. As new in boards printed with a six-color letterpress take on the pulp style, with the title in bold red and yellow. The back cover features a black and white print of the side of a gun. Listed at publication price.

The Work & Play of Adrian Wilson. A Bibliography with Commentary.
Wilson, Joyce Lancaster

Folio. 160pp. One of 325 copies printed by the book designer, author, and printer Adrian Wilson at the Press in Tuscany Alley. A lavishly illustrated bibliography, printed in two colors, with sample pages bound in. Spine very lightly sunned, else very fine in quarter-morocco and wheat buckram.

Seiho Junishi Jo (An Album of the Twelve Zodiacal Signs by Seiho).
Seiho, Takeuchi

Small folio. Folding album consisting of twelve ink wash and color prints on thirteen sheets, each bearing Seiho's chop mark. One of the key figures of modern Japanese painting, Seiho (1864 - 1942) absorbed elements of European-style painting -- Impressionism, in particular -- and successfully fused them into traditional Japanese styles, especially those of the Maruyama-Shijo School. The present work, which is considered a masterpiece of Shijo artistry, clearly demonstrates this harmony between styles. Seiho was awarded the first Order of Cultural Merit in 1937. Two small holes on the front blank, else a bright, clean copy in original paper-covered boards, which show light edgewear and abrasions to front cover. Housed in a rough cloth folding case with bone clasps.

Poems by Li Po.
Po, Li

Two quarto volumes. 72; 17pp. One of 150 copies. Designed and printed by Carolyn Hammer with the assistance of W. Gay Reading and Paul Holbrook in red and black Hammer Uncial on Iyo Glazed paper. Bound by Hammer, Reading, and Susan Coates in black cloth with printed label. Li Po's seal appears on the title page, having been reproduced from a seal impression in "Mr. Ho's History of Seals" from 1623. The second volume was printed by Byron-Page Printing Co. and bound in gray Mingei paper. It contains the translator's notes and a phonographic recording of T'ang Dynasty music on authentic period instruments. Both volumes are housed in a black cloth chemise with black ties. Fine copy with only light discoloration to edges of chemise. Extra paper spine label laid in to first volume.

An Address Delivered . . . At The Seventeenth Annual Meeting of Delta Council.
Faulkner, William

First edition. The text of a speech by Faulkner, printed with his permission. According to Petersen, Faulkner agreed to speak to the Delta Council, which was composed of 3000 farmers and businessmen from an eighteen-county area, because he needed the $400 speaker's fee to buy a jeep. In the speech, he criticizes federal welfare programs and calls for a return to personal responsibility in the manner of "the old tough durable fathers," much as Emerson had done in the nineteenth century. Bound in the original green wrappers. A few small water spots to the front cover, else a fine copy of a rare Faulkner item.

A Year of Birds: Poems by Iris Murdoch. Engravings by Reynolds Stone.
Murdoch, Iris

Two octavo volumes. (14); (12) ff. First edition. One of fifty copies signed by both Murdoch and Stone and accompanied by a full set of numbered and initialed artist's proofs of the engravings. Twelve of Murdoch's short poems, each one titled after a month of the year and illustrated by a Stone engraving. Extremely fine in cloth-backed marbled boards, gilt lettered on the spine. The extra suite of engravings, each individually matted, is housed in a cloth drop-back box, also lettered in gilt on the spine. The whole is enclosed in a matching marbled slipcase. T.e.g.

Nothing So Monstrous.
Steinbeck, John

First separate edition, and first edition of the epilogue. One of 370 copies. Signed by Elmer Adler, owner of the press, for presentation to Howard Eric. With a card signed by the author laid in. Presumably a subscriber, Eric's name nevertheless is not mentioned in Goldstone & Payne along with the other subscribers for whom the edition was intended. Contains several pen and ink drawings of rustic character, illustrating the text. In original marbled boards with orange buckram spine printed in black and ornamented with a leaf design, which also appears either side of folio numbers. Includes original glassine dust jacket, which is slightly chipped at extremities. A very fine copy overall, housed in tan cloth chemise and leather-backed slipcase with gilt stamping on spine. Steinbeck signature card laid in.

15 Kyoto Gardens.
Kaldewey, Gunnar

Quarto. 28pp., frenchfold. One of forty copies. Signed by the author/artist, Gunnar Kaldewey. This book is inspired by the notion of "nature as art." The first text page poetically states: "Books are like gardens that one can carry/around; gardens are like books that one can/experience, promenade through or get lost..." The artist has captured the finest details of nature in his prints of lime and silver, with borders in black. Text printed in orange on transparent, smaller octavo-sized sheets, which appear intermittently throughout the illustrations. Bound in green Japanese paper over boards, with two little garden stones on the cover surrounded by gold leaf and a clear plastic frame. Housed in a paper chemise and matching slipcase. Small stain to bottom edge of slipcase, else extremely fine.

Of Joy, and Other Devices.
Guthrie, James J.

Quarto. (14)ff. One of 100 copies, signed by Guthrie. A collection of Gurthie's verses, printed in colors and embellished with delicately wrought etched devices. Laid-in is a card with a printing of the poem "Of Joy," which varies in color from the version that appears in the book. The card bears an inscription by Guthrie to a family member, signed "Uncle Jimmy." Corded into parchment-covered boards with printed color cover label, and with original blue heavy paper dust wrapper, which shows a bit of soiling. Otherwise, covers bright, and a very fine copy.

Sanctuary.
Faulkner, William

First edition, first issue, first binding. This is Faulkner's sixth novel, which marked his first commercial success. The story was bought by Paramount in 1932 and was adapted twice for film as "The Story of Temple Drake." As with other titles from this era, copies of this book are difficult to obtain in fine condition. This is a very fine copy in a very fine dust wrapper, which shows a couple of minor areas of restoration.

A Streetcar Named Desire.
Williams, Tennessee

First edition. This is Williams's most famous play, which won the Pulitzer Prize for Drama the year it was published. Legend has it that the audience applauded for half an hour after the debut performance ended. Williams also wrote the screenplay for the 1951 film, which garnered fame equal to (and perhaps surpassing) that of the original play with defining performances by Marlon Brando and Vivien Leigh. However, many of the more sensitive aspects of the play, such as Blanche's rape and references to homosexuality, were altered or omitted in order to comply with the film industry's censorship codes. A fine copy in printed boards with a tiny nick at the top of the spine and some light rubbing. There is no fading to the spine of the book. The dust wrapper is slightly faded on the spine and has two short, closed tears, else a fine example of a book that is notoriously difficult to find in such a state.

"Does No One but Me at All Ever Feel This Way in the Least?" Autograph Manuscript, Signed.
Frost, Robert

Holograph manuscript on two leaves of white wove, three-holed, loose-leaf paper measuring 9 1/2 by 6 inches. At the bottom of the second leaf, in Frost's hand, the work is inscribed "Robert to Fred" (i.e. Frederick B. Adams, Jr.). A life-long bibliophile, Adams was the director of the Pierpont Morgan Library from 1938-1969. This poem first appeared as Frost's Christmas greeting for 1952 and was not actually released until July 4, 1953; it was later published in Frost's last collection, In the Clearing. Adams's label on the front cover of his archival folder dates this manuscript to November 1952, and there are sufficient variant readings to suggest that Frost was still revising the poem when he presented these leaves to Adams. Of particular note is line 3, which reads: "That was to make the New World newly great"; in the published version, this was changed to "That should have made the New World newly great", removing at once the undertone of potentiality in Frost's stanza about the original settling of North America and replacing it with something more ironic. There are other stylistic variations throughout, as well as a number of obvious revisions. Together with a copy of the published greeting, which is illustrated with drawings by Howard Cook. One of 175 copies printed at the Spiral Press, and bearing Marguerite and Fred Melcher's imprint. A fine manuscript with exceptional provenance, housed in an archival folder bearing Adams's bookplate, which was designed by Rockwell Kent.

Winner Take Nothing.
HEMINGWAY, ERNEST

A collection of fourteen stories, six of which appear here for the first time. Fine in black cloth with d/w which has a few nicks along edges and one short tear at the upper corner.

One Arm and Other Stories.
WILLIAMS, TENNESSEE

Octavo. (211) pp. First edition. One of fifty copies, signed by the author. One of Williams' scarcest publications. Very fine in three-quarters paste paper with toned parchment spine, gilt-stamped on spine. T.e.g. In slipcase with printed label, slightly worn at extremities.

Le Petit Chaperon Rouge.
Perrault, Charles

Octavo. (iii), 16, (1+16)ff., frenchfold. From an edition of fifty copies, this is one of ten printed on chine and signed by the artist. This is the story of Little Red Riding Hood, with woodcut text and illustrations by Belgian artist Edgard Tijtgat. Sixteen illustrations, hors texte, appear in two states: color and bistre. Tijtgat's illustrations are bold and expressionistic in style, and also deceptively innocent: things do not end well for Red Riding Hood in Charles Perrault's moral and more sinister version of the tale. Floral motif on the endpapers and repeated throughout the book. Tijtgat is associated with the Brabant Fauvists, a Belgian movement focused on pure, bold colors and simplified lines, similar to the Fauves led by Henri Matisse in France. During World War I, Tijtgat set up his printshop in England, where this book was published. Light foxing to upper margins of a few pages, some faint offsetting from prints, short closed tear to spine foot. Overall a fine copy in color-printed pictorial boards.