The Making of the Book of Common Prayer of 1928. Accompanied by an Original Leaf Printed on Vellum at the Merrymount Press.
Hutner, Martin

Folio. 75pp. One of 285 copies printed at A. Colish, Inc., with typography by Jerry Kelly. A handsome and exhaustive account of the publication of what is considered by many to be D. B. Updike's "magnum opus," together with a vellum leaf from the original edition, which was underwritten by J.P. On the verso of the vellum leaf is the opening of "The Form of Solemnization of Matrimony," with the familiar lines of the marriage service. Morgan Jr. As new in linen boards with leather spine label, in linen and paper slipcase.

Valenti Angelo: Author, Illustrator, Printer.
Angelo, Valenti

Folio. 100pp. Signed by Valenti Angelo. One of 400 copies printed by Andrew Hoyem. Decorated and hand-illuminated by Valenti Angelo. With contributions by Sherwood Anderson, Oscar Lewis, Robert Grabhorn, and others, and with a bibliographical checklist. Lavishly illustrated with examples from Angelo's books and broadsides. Prospectus and invitation to an Open House at the press laid in. Fine in orange boards backed in red cloth, with a plain dustwrapper that has a few chips to the bottom edge.

Arthur Rackham. A List of Books Illustrated by Him.
Coykendall, Frederick

Octavo. 22pp. One of 175 copies. With an inscription and sketch from the art dealer Martin Birnbaum to Mrs. Edward J. Pearson, a noted collector of Rackham. Designed by Bruce Rogers and printed by William Edwin Rudge. Illustrated with a frontispiece portrait of Arthur Rackham and several small vignettes. Fine in gilt-titled cream paper-covered boards.

A Book of Handcrafted Paper.
Goto, Seikichiro

Quarto. (92)ff. One of 290 copies. Contains numerous tipped-in color woodcut illustrations, including a fold-out depicting each of the steps in the papermaking process, and samples of paper from Japan, China, Korea, and Nepal. Providing a chronicle of a disappearing art, the author notes that the number of papermaking households in Japan diminished from 2,669 in 1904 to twenty in 1963. Text in English and Japanese. Stab-sewn into unusual red-lacquered paper wrappers with an all-over relief design of birds and branches. Title stamped in gilt. Extremely fine, housed in a folding cloth box with bamboo clasps, and in the original publisher's box.

Tosa Washi (Handmade Papers of Tosa, Kochi Prefecture).
(Morita, Kosei)

Two quarto volumes. xvi, 106, (8)pp; 5pp, 150ff. One of 500 copies. The first volume is illustrated with eight pages of color photographs, and with additional black & white photographs depicting the papermaking process throughout the text. The second volume contains 150 samples of Tosa handmade papers, elegantly mounted in mats. The paper samples are accompanied by descriptions in both Japanese and English, and although the text of the first volume is primarily in Japanese, an Introduction, an outline of the history of Tosa washi, and a description of the process of making Tosa paper, accompanied by a chart, are provided in English. Tosais a province within Kochi Prefecture in Japan, and their handmade papers are known for their softness and strength. The wide, creative variety of handmade papers made in the Prefecture is well documented in this book. Stab-bound in brown wrappers, and housed together in a blue paper-covered chemise and the original shipping carton. Faintest foxing to the printed paper labels on the front covers of the first volume and chemise, else a fine set.

Ecchusan Kami Tekagami.
Uemura, Rokuro & Keisuke Yoshida

Quarto. (4), (27)ff. One of 250 copies. Illustrated with three fold-out maps, one of which is printed in color, and two black & white plates. A collection of fifty-six specimens of Japanese handmade papers made in the Toyama Prefecture. The papers range from translucent to opaque, and some are dyed or incorporate fragments of natural materials to add texture. The samples are followed by text in Japanese describing the papermaking history of Toyama Prefecture, which has been home to several of Japan's major centers of papermaking. Stab-bound in pink wrappers that match some of the paper samples included in the book, and housed in a matching chemise with bone closures. A fine copy.

Hosokawa Shishi.

Small quarto. (64)pp., (60)ff. A collection of sixty full-page samples of handmade Japanese Hosokawa papers, accompanied by a history of the paper illustrated with black & white photographs. Edited by the association of Hosokawa Paper Makers. Hosokawa is a type of paper made from kozo, or mulberry fiber. The samples range from thick cardstock to thin, translucent sheets, and many incorporate fragments of other fibers to create texture and color variation. One of the sheets incorporates metallic strands, and others have been dip-dyed with geometric patterns. Stab-bound in bright purple paper wrappers with a leaf design and the title in orange. The endpapers are also comprised of handmade paper, and the title page is printed on paper embossed with a wood-grain design. Housed in a green paper-covered chemise with wooden closures, and the original printed shipping carton. Very fine.

Wazome Washi.
Oikawa, Zenzo

Small quarto. (93)ff. One of 250 copies, signed by the author to the front endpaper. Contains 92 tipped-in samples of dyed Japanese hand-made papers in all colors, ranging fom bright yellow and red to earthy shades of brown, green, and tan. One sample of pink paper has some spotting, covers slightly faded at the center, else a fine copy in brown cloth with a red and yellow label to the front cover, and with a plain paper dust wrapper. Housed in a brown cloth chemise with bone closures.

W.B. Yeats/Montale.
Yeats, William Butler

Quarto. 26, (4) pp. From an edition of 130 copies, this is one of 100 ad personam copies. Illustrated with three etchings by noted sculptor Fausto Melotti, each of which is signed in graphite. Contains four poems by Yeats: "Sailing to Byzantium", "The Indian to his love", "When you are old", and "After a long silence". These are followed by translations into Italian by Nobel Laureate Eugenio Montale. According to the colophon, Franco Riva completed the design for this book in August, 1981, but died the following month. The task of printing this edition fell to Martino Mardersteig of the Officina Bodoni, and it was completed five years later. This, then, is Riva's last book, and its straightforward elegance and harmony between text and image is a fitting tribute to one of Italy's finest printers. A fine copy, loose as issued in publisher's blue cloth folding case, which show some faint scuffs.

Lines of the Alphabet in the Sixteenth Century.

Small quarto. 79pp. One of 600 copies.

A Bibliography of Thomas Carlyle's Writings and Ana.
Dyer, Isaac Watson

Octavo. xii, 587pp. Reprint of the 1928 edition. Slightest rubbing to corners of spine, else fine in gilt-stamped red cloth.

Catalogue of the Collection of Samuel Butler (of Erewhon) in the Chapin Library Williams College.
Wilson, Carroll A.

Octavo. vii, 35pp. Illustrated with a frontispiece portrait of Samuel Butler by Charles Gogin. A catalogue of works by and about Samuel Butler, as well as items of ephemera and some of the author's personal belongings, including his typewriter. Slight split starting between pages 22 and 23, else a near fine copy in blue cloth boards with the original glassine.

[Poole Press] Merrie England. A philatelic celebration of ancient festivals.
Adams, Maryline P.

(18)ff., frenchfold. From an edition of 101, this is one of twenty specially bound copies. Written, designed, handpress printed, bound, and signed by Maryline Poole Adams. Printed with illuminated title and colored initials, and with hand-colored vignette illustrations. Contains four tipped-in English stamps for Christmas, Lammastide, Valentine's Day, and May Day. Some oxidation to decorative color stamping on binding, else fine in burgundy morocco stamped in green and rose. Slipcase. (2 1/8 by 2 3/4; 55x75mm).

Selection of Books from the Library of the Late John Williams White, Formerly Professor of Greek in Harvard University.

Octavo. 12pp. Inscribed by the publisher, Maurice Firuski, on the colophon page. This bibliography was designed by Bruce Rogers at the printing house of William Edwin Rudge. Tiny tear to front cover and small chip to head of spine, else fine in printed wrappers.

Aura.
Carruth, Hayden

Folio portfolio. One of fifty copies. This copy is press-numbered and bears an additional inscription by Claire Van Vliet to a well-known American collector. Carruth's poem "describes the light and space created by the evening sun on a Vermont mountain landscape at dusk." The double-sided, foldout paperwork by Van Vliet and Kathryn and Howard Clark of Twinrocker Handmade Paper Mill "creates the same atmosphere" as the poem. Opening the paper fold by fold, "the sensation of walking at sunset up to the crest of a Vermont hill and suddenly viewing the wide horizon" is captured. The October 1977 issue of Fine Print describes in detail the making of this beautiful and colorful paperwork, the first of its kind in book form. Aura has become the scarcest and most sought after of all Janus Press printings. This is a mint copy in linen clamshell box with handmade paper label.

Pointe Shoes.
Someck, Ronny

Quarto. 8ff., + one frenchfold leaf. One of 88 copies. With two hand-colored linear etchings by Someck. Contains five poems on ballet dancing printed in English and Hebrew. Ido Agassi is a book artist and bookbinder from Israel. He teaches his craft, while also operating Even Hoshen, a fine press founded with his father, Uzi, who is a book designer. This book is in a clever non-adhesive binding of Ido Agassi's creation, which carries the theme of ballet to the exterior of the book: in the lower right corner of the black cloth boards, a pair of ballet slippers has been formed from sections of pink ribbon. In matching black cloth slipcase. Very fine.

[Tamazunchale Press]. The Geese.
White, E. B.

46pp. One of 250 copies. E. B. White's observations on domestic geese first appeared in "The New Yorker." Printed by Enschedé. Extremely fine in gray morocco, gilt. The marbled endpapers resemble goose feathers. A.e.g. (Bradbury, p. 300). (2 1/2 by 1 7/8; 64x46mm).

The Gift of the Magi.
Henry, O.

39pp. One of 350 copies signed by the printer, Jane Bernier. With two full-page hand-colored illustrations. Extremely fine in morocco-backed marbled boards with gilt-stamping. (Bradbury, p. 33). (3/4 by 5/8; 20x15mm).

Paper Samples.
Dawson, Glen

iv, 53pp. One of approximately 150 copies. A collection of twenty-six half-inch by half-inch paper samples collected by Glen Dawson on a European tour in 1966. Although not explicity stated, the samples are of toilet paper. Samples are tipped-in on the rectos, with information on their source locations on the opposite page. Locations range from the Flughafen Hotel, Berlin, to a cricket field in Elsted, England, and include bookstores, museums, restaurants, and the better sort of shops. Fine in gilt-stamped black leatherette by Bela Blau. (Bradbury p. 62). (1 3/8 by 1 3/16; 35x31mm).

Blue Water, Yellow Balls.
Blinn, Carol

Quarto. (4)pp., accordion-fold. One of twenty copies signed by Carol Blinn, who wrote, illustrated, and printed this book. A poem by Blinn is accompanied by a watercolor illustration that extends across the central page spread, depicting three yellow balls floating on a cerulean pool surrounded by evergreen trees. The image is an homage to David Hockney, who made a series of paintings of swimming pools using vibrant shades of acrylic paint. The title page is accented with blue and yellow watercolor, and on the page following the poem is a palette of the watercolors that Blinn used in her illustration. Created by Blinn in the summer of 1987, the book is an ode to the season, bringing alive the bright colors, heat, and slower pace. Bound in tan cloth with a watercolor label evoking the undulation of water. Housed in a matching box backed in light green morocco. Laid in is a portfolio of materials describing the artist's process of imagining, writing, and designing the book. These include diagrams depicting ideas for the book's binding and eleven drafts of the text, evolving from prose to poetry, showing the author's changes. A lovely, scarce book produced in a very small limitation.

Twelve Papers by John Mason.
Mason, John

Folio. 12ff. A note on the front-cover label states that after John Mason published his work Papermaking as an Artistic Craft, he received many requests for specimens of his handmade papers. This book is the result of those requests. A collection of twelve examples of papers by Mason, mounted on heavier gray paper. Many of the papers were made from found objects, such as plants encountered alongside the River Soar, and one of Mason's own shirts that he tore. Others incorporate full plants and leaves, dyed contrasting colors, into paper. A label pasted inside the front cover describes each sample. Mason was the proprietor of the Twelve by Eight Paper Mill and Press, in Leicester, England, and each sample bears the mark of the Press. A couple of the samples are letterpress printed: one is a specimen page from a book on papermaking, and the other is a broadside for an address given by John Mason in 1957. A few of the samples show some light spots of adhesive offsetting to the corners where they were mounted to the backing paper. Also, two of the samples have descriptions pasted to the backing page, which do not match the samples, and three others have traces of adhesive in the same place. It is unclear if these were original to the portfolio. Housed in a portfolio with a printed label to the front cover.

Türkische Ebru-Muster. Turkish Ebru Patterns.
Sönmez, Nedim

Quarto. (13), (45)ff. One of 85 copies signed by the authors, Nedim Sönmez and Dr. Nuran Sönmez. This is the second of four books in a series on the art of paper marbling. The text is bilingual, in German and English. With forty-five original tipped-in samples of marbled papers by Nedim Sönmez. The marbled papers are done in the traditional Turkish style of ebru, the history of which is described in Sönmez's introductory text. According to Sönmez, ebru, which is a Persian word meaning "cloudy," "stands for the refined, pastel veil of clouds of the paper." Ebru originated in Asia in the early 16th century, and here Sönmez has compiled a collection of designs ranging from the earliest examples to the present day. First used as a background for calligraphy, artists in Turkey continued to experiment with the marbling techniques in order to create increasingly complex designs, which became works of art in their own right. Some of the designs are intricate combed patterns of feathers and fan shapes, while others form flowers and leaves within the swirls of color. Whenever possible, the authors used the original pigments and techniques to re-create the designs. Loose in a blue cloth and marbled paper-covered portfolio with ribbon ties. In fine condition.

[Matisse, Henri] Dear Mr. Clifford.
Matisse, Henri

Square 16mo. (7)ff. One of twenty-five copies. Illustrated with mixed-media collages, elements of which are at times integrated into the text, and two sculptural pop-ups that incorporate curved pieces of copper wire for an airy, kinetic effect. The collages are perhaps a nod to the large cut-out paintings, known as "gouaches découpés," that Henri Matisse made late in his life, around the time that that this letter was written. The endpapers are made of collage pieces encapsulated between sheets of translucent paper. The text of this artist's book is comprised of excerpts from a letter written by Matisse to Henry Clifford on the occasion of the artist's 1948 retrospective exhibition in Philadelphia. Matisse describes how the apparently effortless lightness and joy of his works disguises many years of training in drawing and sculpture, which he feels are essential to a young artist's development. He expresses concern that young artists might view his work and feel that they could dispense with the traditional artists' training altogether. However, Matisse writes, "If drawing belongs to the realm of the Spirit and colour to that of the Senses, you must draw first to be able to cultivate the Spirit and to be able to lead colour through the paths of the Spirit." According to Matisse, careful study and preparation are the path that leads an artist to truly learn to paint from the heart: "It is only after years of preparation that the young artist should touch colour -- not colour as description, but as a means of personal expression." As an artist himself and the creator of this book, Jeffrey Morin clearly connected with the content of the letter, and in the colophon he writes that he "wishes to bring this letter to light -- admitting its influence and importance." Bound in tan buckram. Spine slightly cocked, else very fine.

The Wandering Tattler.
Wakoski, Diane

Tall quarto. (26)pp. First edition. One of 130 copies signed by the author. Printed on handmade papers of various subtle colors. Poems about birds, with fanciful drawings of them by Ellen Lanyon, printed with inks in the colors of the species in nature. A camel carries the birds at the beginning and the end of the book. The colphon tells us that the Press could make fifty sheets of paper a day and used 1,400, that a purple finch spontaneously posed next to the ink slab, and that a gynecologist did the proofreading. A major production of the Press. Nearly imperceptible toning to spine, else fine in blue morocco-backed black cloth in fine slipcase.

The Fabulist. Number Three. Autumn, 1921.
DWIGGINS, W. A

Octavo. 11pp. One of 500 copies, printed at the Yale University Press. On the colophon page, the Fabulist is described as being "published as often as appropriate material presents itself." A collection of poems by John French Wilson, elegantly printed and illustrated with two vignettes and a larger paisley ornament. Short, closed tear to fore-edge of cover, else fine in brown pictorial wrappers with an engraving by Dwiggins of an archer on the front cover.

A Bakers' Dozen of Emblems. Drawings by W. A. Dwiggins, and Verses by William Rose Benét. Collected from Various numbers of The Saturday Review of Literature issued in 1927 and 1928. And Electra, a New Linotype Face from the Hand of the Said W. A. D.
Benét, William Rose

Octavo. (36)pp. Dwiggins' illustrations are printed in several colors and accompany the verses by Benét. Following these is the advertisement for the new Electra typeface, written with Dwiggins's characteristic wit. Spine slightly sunned, small dampstain to bottom edge of front cover, some slight fraying to edges and corners lightly bumped, else near fine in red printed wrappers.

The Königsmark Drawings.
Whistler, Laurence

Folio. One of 1000 copies. Illustrated with ten plates, comprising Rex Whistler's illustrations for A. E. W. Mason's novel Königsmark, reproduced in facsimile in sepia and color. The artist's brother, Laurence Whistler, provides the Introduction, as well a brief summary of the novel's plot to explain the context of the illustrations. Faintest spotting to covers and some toning and finger-marks to spine, else fine in gilt-stamped red cloth. Housed in the original slipcase with a paper label to the front, which shows a fair amount of wear to the corners and extremities, and a repair to the bottom edge.

The Gentle Art of Making Enemies.
Whistler, James McNeill

Small quarto. 292pp. One of 250 copies, signed in pen by the artist James McNeill Whistler with his butterfly insignia. A memoir of, and response to, Whistler's libel suit against John Ruskin, who infamously described Whistler's work as "flinging a pot of paint in the public's face." Included are excerpts from Whistler's correspondence and the trial transcript. Bound in gilt-stamped light brown paper-covered boards, with a brown cloth spine. Some edgewear to covers, endpapers lightly toned, slight splits starting to front hinge and between pp. 192-193, else about fine.

Rex Whistler: His Life and Drawings.
Whistler, Laurence

Small quarto. 103pp. First edition. Illustrated with fifty black & white plates, and many smaller drawings throughout the text. A biography of, and tribute to, the famed illustrator Rex Whistler, who was the author's older brother. Bound in gilt-stamped olive green cloth. Covers slightly bowed, light wear to spine ends, else about fine. Together with: Rex Whistler: 1905-1944. A Memorial exhibition. (London), The Arts Council, 1960. Octavo. 31pp. A catalogue from a retrospective exhibition of Whistler's art at the Victoria & Albert Museum in 1960, illustrated with black & white plates. In illustrated wrappers. Wrappers slightly toned to edges, with previous owner's inscription and notes to front panel, else very good. Letter from one Whistler collector to another laid in. Also with: Typography: 8. Summer 1939. London, James Shand, 1939. Quarto. 58pp. This journal issue contains a ten-page article on Whistler, illustrated in color and black & white. Spiral bound, with printed wrappers. Some light foxing to endpapers, else fine.

Jules Chéret.
Mauclair, Camille

Quarto. 133pp. One of 600 copies. Illustrated with full-page, tipped-in reproductions of Chéret's art, and numerous smaller black & white illustrations throughout. An examination of the life and work of famed painter and lithographer Jules Chéret, who designed and printed some of the most iconic Belle Époque posters. His illustrations were often characterized by free-spirited and lively women, advertising touring troupes, events, liquor, cosmetics, and more. Many of the illustrations in this book depict sketches and paintings that were eventually turned into posters and advertising pieces, showing the artist's creative process. Bound in printed wrappers with a glassine dust wrapper. Faint offsetting to title page, small split starting at foot of spine, and glassine slightly chipped at extremities, else fine.

Bound to Make Books: An Exhibition of Limited Edition Books by Angela Lorenz.
Lorenz, Angela

Square octavo. (26)pp. One of 500 copies. Warmly inscribed by the artist to Anne & David Bromer. A catalogue for an exhibition of artist's books by Angela Lorenz held at Harvard University's Houghton Library in September 1994, featuring full-page photographs of the books and detailed descriptions of each. A creative and insightful examination of the artist's work. Printed on thick paper, the pages are bound by a red shoelace threaded through the top left corner. The covers are black boards and the front has a circular cut-out revealing the design of a button beneath. Very fine.

Thirty-Four Marbled Papers.
Parrot, Gray

Quarto. (4), (34)ff. One of seven copies, signed by Gray Parrot. The second book of marbled paper examples created by Parrot, with 34 tipped-in samples of marbled papers made over the course of six years, including one large fold-out page. According to the preface in Some Marbled Papers, Parrot first became fascinated with bindings and marbled paper while working at Harvard's Houghton Library as an undergraduate. He is now one of the foremost practitioners of this art form. Title page and colophon handsomely printed in gold and silver ink. Hand-bound by Parrot in green marbled paper, backed in matching green morocco, and gilt-stamped on the spine. Housed in raw silk folding case, which shows just light fading to the spine. T.e.g.

D.B.U. and R.R.
Lathem, Edward Connery & Elizabeth French Lathem

Small quarto. One of fifty copies signed by the designer, Roderick Stinehour, and containing specimens of printed matter vreayed by Rudolph Ruzicka and Daniel Berkeley Updike. Edited by Edward Connery Lathem and Elizabeth French Lathem. A collection of excerpts from the correspondence between these two men active in the world of books and publishing: Ruzicka as an illustrator, type designer, and book designer, and Updike as a printer, historian of printing, and proprietor of the Merrymount Press. Bound in blue and red marbled paper-covered boards, backed in navy blue cloth. Very fine.

The Bookplate Designs of Rex Whistler.
Lee, Brian North

Octavo. 39pp., plus 41 plates. One of 650 copies with a printed illustration of a bookplate as the frontispiece. A guide to the bookplate designs of Rex Whistler. The designs range from romantic and whimsical scenes to more traditional heraldic vignettes and depictions of their owners' libraries. Some slight spotting to edges of covers, else about fine in light blue cloth-covered boards, with the title printed in gilt to a black lettering piece on the spine.

Photograph of a Dwiggins marionette: F. Morton Smith.
Dwiggins, W. A.

A black & white photograph of a marionette made by W. A. Dwiggins, measuring 10 by 10 1/2 inches. The marionette is a likeness of F. Morton Smith, a Boston lawyer who was married to Margaret Coatsworth, the sister of the children's book author and illustrator Elizabeth Coatsworth. Both Margaret Coatsworth and F. Morton Smith were friends of Dwiggins and became involved with his theatrical productions: Smith is listed as a puppeteer on the program for Dwiggins's first production, "The Mystery of the Blind Beggarman, or Billy Brown's Bravery," which was performed for two seasons in 1933-1934. In Smith's marionette likeness, Dwiggins perfectly captures his friend's bushy eyebrows and prominent nose, and depicts him wearing a jacket and bow tie and smoking a cigarette. A noted book and type designer, illustrator, calligrapher, and writer in his professional life, Dwiggins began making marionettes as a hobby in 1928 and continued for twelve years. He took on the role of director, carved the figures, and designed the stages, scenery, costumes, and lighting for his productions. Everything was done with the same perfectionism that defined all of his work. Dwiggins made marionettes of himself and several of his friends. Although it does not appear that these marionettes were ever characters in a formal play, photographs taken by friends of Dwiggins show the marionettes interacting onstage. Photograph is mounted on board and protected by a piece of mylar. Indentation and slight staining from a paperclip to left margin, slight bumping to corners, and photograph has a slight warp to edges, else a very nice image of one of Dwiggins's remarkable marionettes.

Set of Four Bibliographies of Christmas Books.
Klinefelter, Walter; Brooke Crutchley

Four octavo volumes. 24; 114; 77; 42pp. Fine in printed boards. With three autograph letters laid in from Wilbur Macey Stone, noted collector of children's and miniature books, dated 1935, 1937, and 1938. The set is comprised of three books by Walter Klinefelter: Christmas Books, A Bibliographical Check-List of Christmas Books, and More Christmas Books, to which WIlbur Macey Stone contributed the Introduction. Each has a presentation card laid in, signed by the printer, Fred Anthoenson. Together with A Printer's Christmas Books by Brooke Crutchley. Christmas Books is in the original box, which is lightly soiled and has a few splits to the lid. More Christmas Books is in the original glassine dust wrapper and has a two-color fold-out of a rare early broadside of "The Visit of St. Nicholas." A bibliographical Check-list of Christmas Books shows some slight wear to spine ends, else a fine set.

The Diary of Philip Leget Edwards: The Great Cattle Drive From California to Oregon in 1837.
Edwards, Philip Leget

Small quarto. 47pp. Number four in the Rare Americana series. Illustrated with a color frontispiece of Yerba Buena harbor, California, in 1837. With an Introduction by Douglas S. Watson. Some light foxing to endpapers, else fine in tan and blue marbled paper-covered boards backed in green cloth. Engraved bookplate of Robert Ernest Cowan to front pastedown.

Folio 50: A Bibliography of the Folio Society 1947-1996.
Nash, Paul W.

331pp. Small quarto. Illustrated with 32 color plates and numerous black & white illustrations throughout. A collection of essays about the Folio Society precedes the bibliography. Two pages slightly creased to top corners, else very fine in gilt-stamped gray cloth and the original slipcase.

Hartrampf's Vocabularies: Synonyms, Antonyms, Relatives.
Hartrampf, Gustavus A.

Quarto. Fine in gilt-stamped red cloth that shows minor wear to extremities and faint rubbing to spine.

Brewer's Dictionary of Phrase and Fable.
Evans, Ivor H.

Small quarto. Centenary Edition revised by Ivor H. Evans. Fine in gilt-stamped red cloth, with near fine dust jacket that shows minor sunning.

The Minerva Press, 1790-1820.
Blakey, Dorothy

Small quarto. (viii), 339pp. A history and bibliography of the Minerva Press. Two water spots on the spine, tanning to edges and spine, else a near fine copy bound in sand cloth-backed gray boards. Previous owners name on first free endpaper.

Wynkyn de Worde & His Contemporaries from the Death of Caxton to 1535: A Chapter in English Printing.
Plomer, Henry R.

Quarto. 263pp. With fourteen black & white illustrations. A fine copy of this bibliographic work., bound in blue paper-covered boards, backed in tan cloth, with a lightly rubbed spine label.

French Rococo Book Illustration.
Holloway, Owen E.

Quarto. 115pp., + 65ff. of illustrations. With 283 examples of Rococo book illustration. A near mint copy in gilt-stamped blue cloth, with an about fine jacket that only shows faint sunning to the spine.

The Hand-Produced Book.
Diringer, David

Small quarto. 603pp. A companion volume to "The Alphabet." Illustrated throughout in black & white. A fine copy in gilt-stamped red cloth, with a good wrapper that has several tears at edges.

Haggadah and History. A Panorama in Facsimile of Five Centuries of the Printed Haggadah from the Collections of Harvard University and the Jewish Theological Seminary of America.
Yerushalmi, Yosef Hayim

Two quarto volumes. 494; 18, (32)pp. One of 200 numbered copies of the "bibliophilic issue," with a portfolio of sixteen plates reproducing the eight extant leaves of the oldest illustrated printed Haggadah, with an introductory study by Yosef Hayim Yerushalmi. The first volume contains an extensive survey of the development of the printed Passover Haggadah with facsimile pages from many editions. The Introduction is followed by 200 black & white plates reproducing pages from Haggadot from around the world, dating from the fifteenth century to the 1970s. A handsome presentation, bound in marbled paper-covered boards backed in crimson morocco. Housed in a marbled paper-covered box together with the portfolio of plates. One side of the box is starting to split, some slight rubbing to extremities of box and to the morocco lettering piece on the spine of the portfolio, a couple of very small spots of rubbing to edges of spine of first volume, else a fine set. T.e.g.

A History of the Old English Letter Foundries.
Reed, Talbot Baines

Quarto. xiv, 400pp. A new edition, enlarged from the 1887 first edition, by A. F. Johnson, with Notes, Historical and Bibliographical, on the rise and progress of English typography. Bound in gilt-stamped green cloth, with a yellow dust jacket printed in black. A fine copy in a very nice jacket, that shows a small amount of wear at head of spine and light soiling.

Bibliography of Eighteenth Century Art and Illustrated Books: Being a Guide to Collectors of Illustrated Works in English and French of the Period.
Lewine, J .

Quarto. xv, 615pp. One of 1,000 copies. With thirty-five plates, giving specimens of the work of the artists of the time. Half maroon leather over maroon cloth, with five raised bands and gilt stamping to spine. A good copy, with scuffs to the covers and corners, split at front joint, and first endpaper and first leaf detached. T.e.g.

A Selection of Incunabula.
Harper, Lathrop C.

Large octavo. ix, 586pp. Five catalogues bound together containing descriptions of incunabula for sale by the bookseller Lathrop C. Harper. Half green leather over green cloth, with five raised bands and gilt stamping to spine. A nice copy with wear to edges. T.e.g.

Catalogue of the John Boyd Thacher Collection of Incunabula.
Ashley, Frederick W.

Quarto. 329pp. In the original binding of quarter brown leather over tan cloth boards. A nice copy that is worn, with some loss at head of spine, bumped at corners, and soiled. Unopened.

Incunabula Typographica: A Descriptive Catalogue of the Books Printed in the Fifteenth Century (1460-1500) in the Library of Henry Walters.
Walters, Henry

Quarto. vii, 522pp. Printed in black and red, with illustrations throughout in black & white. Bound in full brown leather, in a fifteenth-century style, with three raised bands formed by leather straps, which extend onto the surface of the boards and become part of reliefs that end in fleur-de-lis. A near fine copy that shows light wear. Booksellers' label to inner rear board