Billy Popgun.
Winter, Milo

Quarto. x, 60, (2)pp. First edition. One of 350 numbered copies. Illustrated with eight full-page color plates, protected with tissue guards, and twelve half-tone drawings by Milo Winter. This is the first book by Winter, who went on to illustrate popular editions of such works as Gulliver's Travels, Arabian Nights, and Aesop's Fables. He was known for his anthropomorphized, but still anatomically accuate, depictions of animals. This can be seen very well in this story about a boy, his popgun, and his adventures with the animal, insect, and avian inhabitants of his backyard. Bound in publisher's vellum-backed paper-covered boards, stamped in gilt to front cover and spine, with illustrated endpapers. About fine, with light wear to extremities, small amount of scuffing to boards, and slightly darkened spine. T.e.g.

Oddballs.
Westergard, Jim

Quarto. 96pp. One of thirty copies, signed by the author/illustrator, Jim Westergard. Illustrated with forty wood engravings immortalizing infamous people, ranging from well-known oddballs such as Lizzie Borden and Hunter Thompson, to more obscure characters, including the tenth-century Icelandic poet Gunnlaug Wormtongue, who was known for his offensive and unpopular poetry, and the Gentleman Bandit Bill Miner, who is said to be the originator of the phrase "Hands up!" Westergard includes himself in the group, with a self-portrait as the frontispiece. Each illustration is accompanied by a short biographical sketch on the facing page. The expressive, often darkly-humorous illustrations and cheeky descriptions of each character make this book a quirky delight. With an Introduction by Barry Moser and an Afterword by publisher Rollin Milroy. Bound in blue cloth with a spiderweb-patterned glassine dust wrapper. As new.

Gulliver's Travels.
Swift, Jonathan

Two quarto volumes. One of 195 copies on handmade paper. With twelve hand-colored copper-engraved illustrations by Rex Whistler and many engraved head- and tailpieces. In original green morocco and vellum-over-boards by the Wood bindery. Spines show slight toning and a few small snags at the top of both volumes and along the outer hinge of the first volume. Spines possibly redyed, and the spine lettering has been skillfully redone on three morocco lettering pieces on each volume. Housed in original slipcase that has been re-covered in buff linen. Overall, a nearly fine set of Whistler's most important illustrated text and an increasingly scarce book. Prospectus laid in.

The Defence of Guenevere and Other Poems.
Morris, William

Octavo. 310pp. First edition thus. With lovely illustrations throughout by Jessie M. King in black & white, including numerous head- and tailpieces, as well as twenty-four full-page plates. The Scottish illustrator studied at the Glasgow School of Art, which became known as the center of the "Glasgow Style," Scotland's Art Nouveau movement characterized by the influences of Celtic imagery, Japanese prints, and the work of William Morris himself. The Art Nouveau binding, in gilt-decorated dark red cloth, was also designed by King and shows a pictorial gilt-stamped design of a resplendent Guenevere. With the original glassine dust wrapper, and housed in a slipcase. A few small chips and one small hole to dust wrapper, some faint, scattered foxing to contents, else a fine copy. T.e.g.

Das Vogel-ABC. ABC in 52 Bildern.

Small square quarto. (52)pp. One of 110 copies, signed by the author/illustrator, Friedrich Wilhelm Kleukens. A beautiful German alphabet book, printed entirely by lithography. Each letter is shown both in Fraktur and Roman types, one on each page, and is illustrated with vibrant hand-colored birds whose names begin with the letter. Perched on top of the letter Q is a bright green quetzal with long, dramatic tail feathers, and two parakeets, or Wellensittich, cuddle on top of the letter W. Below each letter is a couplet describing the bird. In addition to being half of the Ernst Ludwig Presse, along with his brother, printer and typographer Christian Heinrich Kleukens, F. W. Kleukens was a distinguished typographer and artist in his own right. Kleukens illustrated many of the Presse's books, as well as a few books for children. Stab-bound in illustrated wrappers, protected with mylar and a contemporary plain paper dust wrapper. Some faint foxing to covers and fore-edge, else fine and bright.

Tatters, the Puppy.
Wain, Louis

Small quarto. (8)ff. A die-cut shaped book for children in the form of a large-eyed puppy wearing a big blue ribbon. Illustrated throughout by Louis Wain in black and red, depicting the misadventures of Tatters the puppy as he learns how to be a good dog. Wain was best known for his illustrations of cats, but dogs were also one of his favorite subjects, especially early in his career. In illustrated wrappers, which depict both the front and back of the puppy. Slightest wear to spine, else a very fine, fresh copy of a scarce book.

Original Stories from Real Life; with Conversations, Calculated to Regulate the Affections, and Form the Mind to Truth and Goodness.
Wollstonecraft, Mary

12mo. (xii), 177pp., + (3)pp. advertisements. Second edition. This is the first edition to be illustrated with six plates designed and engraved by William Blake, which are in the second state. In this didactic text, intended to aid in the education of young women, two spoiled girls are shown the moral virtues of charity, honesty, and selflessness by their governess, Mrs. Mason. Ink spots to the margins of a couple pages, not affecting text, else very fine in later calf, gilt-ruled spine with a red lettering piece. All edges yellow.

The Man in the High Castle.
Dick, Philip K.

First edition. Dick's intricately woven novel about an alternate post-war world that might have been, controlled by Germany and Japan. The book received the 1962 Hugo Award and is generally considered to be one of Dick's best works. Fine in black cloth boards, titled in red. With the original unclipped dust wrapper, which is lightly rubbed to front panel and has two small closed tears: one to the head of the spine and another to the top of the rear panel, else fine and bright. Top edge yellow. (Barron 3-65; Pringle 37).

The Child's Own Story Book, or Simple Tales.

48mo. chapbook. 16pp. Illustrated with an engraving on the title page, a frontispiece of three children sharing a book, and four full-page engravings depicting scenes from the stories. A collection of stories teaching lessons such as kindness to animals, and the virtues of honesty. Fine in blue printed wrappers, with publisher's advertisement on the rear cover and the title and an illustrated vignette on the front.

The Theory of Color in its Relation to Art and Art-Industry.
Bezold, Wilhelm von

Octavo. xxxiii, 274pp., + thirteen plates. American edition, revised and enlarged by the author. With an introduction by Edward C. Pickering, a professor of Physics at MIT. Illustrated throughout with many woodcuts, as well as the thirteen chromolithograph plates. The first plate depicts the spectra of sunlight and color pigments, and the second plate shows Bezold's versions of color wheels. Other plates illustrate the illusion of how colors appear to change when juxtaposed against other colors. Six of the plates have text printed in black on paper of various colors, with white tissue guards. When overlaid with the tissue, the black lettering appears to take on tinges of color. Bezold was a physicist and meteorologist working at the Royal Polytechnic School in Munich, and his approach to color theory was intended to be practical for artists and those working in applied arts. Many of his examples are drawn from the decorative arts throughout history, especially from textiles and ornamental mosaics. According to "A Color Bibliography" by Robert L. Herbert, published in the Yale University Library Gazette, "Bezold represents the generation beyond Maxwell and Helmholz, when the distinction between color-light and color-pigment was at last clearly understood in the scientific world." Bound in original light brown cloth, gilt-titled to spine. First signature slightly loose, some wear to spine ends, else fine.

A Plague on Your House. A Eulogy & Necrological Etchings of the Frog.
Kuch, Michael

Square octavo. (xiv)pp., + 28ff. plates. One of 60 numbered copies of this, the first book produced by the Double Elephant Press. The text, about the decline of frog populations around the world, gives a humorous spin to this serious topic. Kuch writes, "More for its restraint than for flamboyance is the frog renowned. It out Buddhas Buddha with its stoic reserve, its patient anticipation, with its leap of faith, its enlightened vacuum." Yet, "naked & vulnerable, the frog is too sweet, too trusting--victim of its own lack of protection" and is dying. The text is accompanied by twenty-eight etchings by Kuch showing frogs in various poses, including a couple dancing and one frog standing with its arms crossed. The etchings were printed either with variously colored inks or on colored paper, except for a double fold-out etching that is printed in black. The whole was printed by Arthur Larson in Hadley, Massachusetts on paper handmade by the Velke Losiny Mill in the Czech Republic. Bound by the Three Bear Trap Bindery of Northampton, Mass. in marbled paper-covered boards, with red leather French corners and spine label, and housed in a raw silk-covered slipcase lined in suede. A very fine copy of a rare New England press book.

Adults Alphabets. Examples of English Press Alphabet Books from the last hundred years with an Alphabetical description, copious illustrations and a checklist of Press Alphabet Books.
Blamires, David

Quarto. 45, (3)pp. From an edition of 170, this is one of twenty-five copies hand-colored by Sylvia Stokeld and signed by the author. The colophon states that 85 copies were to be Pochoir colored, but in a letter to noted Irish collector Alan Clodd laid in, the publisher, Dennis Hall, explains, "My wife who was doing the hand coloring had a small mutiny with the thought of hand coloring 85 'Adult Alphabets' and 85 'Haslewood Books' as it took much longer than envisaged - so compromise was reached and we decided to do only 25 each..." He goes on to write that the remaining 60 copies would be sold as "Intermediates", with only the three woodcuts from William Nicholson's "An Alphabet" colored and the book in a slipcase. This copy is Pochoir colored throughout, to every letter that was originally published in color. Fine in patterned cloth-covered boards with a hand-colored paper label to top board and a spine label. Small smudge left during coloring process to one page. Housed in hand-colored slipcase, which is slightly worn at edges and very lightly soiled.

Poem on his Birthday: In the Mustardseed Sun.
Thomas, Dylan

Square small octavo. (14)ff. One of 85 copies signed by the printer and illustrator, Nicholas Parry. Illustrated throughout with prints by Parry in shades of orange and green. This copy features a designer binding by master English bookbinder Paul Delrue, whose many accolades include two bronze medals from the prestigious Prix Paul Bonet in 1992. Executed in 1983, this binding employs many inlays and onlays of morocco in shades of teal, orange, gray, red, and black depicting a shoreline landscape. A red sun shines down on a hillside and stone wall, black-and-red plants, and suggestions of a river and the sea. On the back cover, a seagull flies overhead, and a tall red cross is seen on the horizon. Signed and dated by Delrue on the colophon page. Minor toning to spine, else fine in a protective blue cloth slipcase.

Cinderella; or the Little Glass Slipper; Versified and Beautifully Illustrated with Figures.

32mo. 24pp. First edition. The beloved fairy tale is retold in rhyming quatrains and illustrated with seven hand-colored costumes for the heroine, which include four detachable hats. Cinderella's head can be moved from one costume to the next, in sequence with the story, completing the paper doll figure. In the first illustration, a "meanly attired" Cinderella churns butter while her elegantly-dressed half-sisters are visible in the background. In another, she peeks out the window of her grand coach, which is pulled by four white horses and attended by many footmen. Three of the figures show her attired in ballgowns, and another depicts her flight from the palace missing one glass shoe. The final figure depicts Cinderella and her prince holding hands at the altar on their wedding day. According to Herbert H. Hosmer, Jr., "Almost all collectors of paper dolls and children's books long to acquire examples of the work of S. & J. Fuller of London," which was one of the first publishers of paper dolls to produce sets in series. The figures have been tucked inside the front cover of the accompanying book, which is bound in stiff brown printed wrappers. With the original slipcase, printed with the same text as the book's wrappers, which is worn but complete. Cinderella's head has been repaired, previous owners' signatures to front endpaper, and covers show some wear. This set was described by Gumuchian as "one of the scarcest of this type of book."

Das Hohelied Salomos (The Song of Songs).

Octavo. (16)pp. An extraordinary illuminated manuscript on vellum calligraphed by Peter Moser. The text, in black, is adorned with red and blue illuminated initials and delicate tendrils in blue that create a border on the left margin of each page. On the title page, the title is gilt on top of a gesso ground, giving dimension to the letters. Beautifully bound by Bruno Scheer in gilt-decorated red morocco, with vellum paste-downs bordered with gilt dentelles. Spine with seven raised bands, gilt-titled in five of the six compartments. Spine and corners slightly rubbed along edges, else fine. In a slipcase of mottled gray paper. With the bookplate of the Talmud scholar, translator, and bibliophile Lazarus Goldschmidt, whose distinguished collection is now held at the Royal Library of Denmark. A.e.g.

Jeg Laver Kartoffeltryk.
Nielsen, P. Birkedal

Quarto. (30)pp. First edition. Illustrated throughout in color and black & white. A Danish guide to the craft of printing with carved potatoes, which also includes examples of stories illustrated with potato prints. Instructions show how to carve the stamps, and how to create characters, scenes, and action by combining and re-arranging basic geometric shapes. The stories are comic misadventures clearly intended to capture children's attention: in one, a boy and a rabbit outsmart a devilish troll, and in another, roving thieves meet their demise in various ways. The color illustrations show the full artistic potential of this humble medium: the final page is a Scandinavian landscape, in which three children hold the flags of Norway, Sweden, Denmark. Slight toning to front cover, else fine in illustrated boards.

[DELUXE]. Aun Aprendo: A Comprehensive Bibliography of the Writings of Aldous Leonard Huxley.
Bromer, David J.

Octavo. 408pp. One of 50 deluxe copies signed by the bibliographer, of which 40 are available for sale. The deluxe edition includes a previously unpublished poem by Huxley dedicated to his first wife Maria. Aun Aprendo: A Comprehensive Bibliography of the Writings of Aldous Leonard Huxley is the culmination of over twenty years of research, fact-finding, and detective work undertaken by David J. Bromer. "Aun Aprendo," which means "Still Learning" in Spanish, was the title of a commencement speech that Huxley gave at the progressive Happy Valley School in California in 1951. Bromer's experience as a collector and bibliographer of Huxley's work has sparked a life-long process of education and discovery. With over 2,000 entries, Aun Aprendo is the most current and comprehensive descriptive bibliography of Aldous Huxley's works ever produced. It describes the first appearances of Huxley's works in the English language and identifies many previously unrecorded contributions to books, pamphlets, and periodicals. As a result, Aun Aprendo is an essential tool for librarians, scholars, book collectors, and interested Huxleyans, offering insight into the labyrinthine mind of one of the foremost thinkers of the twentieth century. Bound in the manner of the British deluxe edition of Brave New World, with bright yellow cloth and a gilt-titled blue leather spine label. A blue cloth slipcase protects the book. As new.

The Man of Sorrows.
Hubbard, Elbert

Octavo. (iv), 111pp. One of 100 copies on Imperial Japon, signed by Hubbard. The title page is hand-decorated with a thistle design, and the colophon device and opening initials are hand-colored. An account of the life of Christ written by the enterprising founder of the Roycrofters, Elbert Hubbard himself, in a lovely binding, probably by Louis H. Kinder. Hubbard brought Kinder, an expert bookbinder, to East Aurora in 1897 in order to set up a bindery. Kinder became responsible for the training and supervision of other bookbinders, and, by 1900, the Roycrofters were offering deluxe, hand-tooled editions of their books. Bound in full blue levant with an elegant, Art Nouveau-style motif on the front cover framing the title, featuring flowers created with tan morocco onlays and gilt-tooled leaves. The spine is gilt-titled and decorated with a foliate design. Wide morocco turn-ins have gilt-tooled flowers slightly larger than those on the front cover and leaves in each corner, framing marbled endpapers. In a felt-lined box with the title printed on the spine. Box shows some soiling and wear, else very fine.

The Word.
Paz, Octavio

Quarto. 10ff. Original calligraphic manuscript by Ingmire of the text from a section of Paz's poem "Blanco." This poem, which was published in 1967, has been linked to Paz's time in India, and it can be read as a figurative exploration of Indian religious philosophy. "The spirit is an invention of the body/ The body is an invention of the world/ The world is an invention of the spirit", all of which is rooted in the Word, which also harkens back to the Logos at the beginning of the Gospel of John. In treating this text, Ingmire has envisioned the first section of the poem as a text that is revealed from an abstract drawing on the facing page, as if emerging from the blotting of the drying ink. This treatment reaches its climax in the center spread, where the text is written in alternating lines of black and raised gold against a marbled background, and what appeared as strange and jarring is suddenly transformed into something harmonious and striking. A bold interpretation by Ingmire, whose work has balanced traditional calligraphy with modern, innovative techniques and an astounding ability in his use of gold script. Bound in heavy handmade paper wrappers with the title in vertical blocks on the front cover. Housed in a complimentary folding case by the Foolscap Press. Extremely fine.

No. V-109. The Biography of a Printing Press.
Morris, Henry

30pp. From an edition of 150 printed at the Bird & Bull Press and signed by Henry Morris, this is one of thirty-five deluxe copies with an extra leaf titled "The Remedy for Micro-Typographia," which includes a version of the Lord's Prayer in Dutch printed from a single piece of engraved, 10-point Didot type. Each letter is only 0.145mm high. Together with the original piece of type that was used to print the Lord's Prayer. In a note written on the back of the type's glassine envelope, Morris writes that he had to stop and clean out the type after each impression, but the end result is quite legible when viewed under 10x magnification. Also includes a prospectus and correspondence from Morris, in which he writes that "the type is 4pt and very hard to set." No. V-109 is the only miniature book printed at Bird & Bull and the first time that a Bird & Bull checklist appeared in print. Very fine in a deluxe binding by Gray Parrot of gilt-stamped black morocco with an onlaid "V" in gray. The endpapers are purple paste-paper made by Henry Morris. Sold out at publication, and one of the most sought after Bird & Bull printings. (Bradbury, p. 38; Bromer/Edison, p. 49). (2 3/8 by 1 7/8; 60x47mm).

Category, Fifty Drawings.
Gorey, Edward

One of 100 deluxe copies, signed by the artist and specially bound. A Gorey favorite, with fifty numbered cats, pictured in color, and posed in various settings and manners. Cat number thirty-one wears a striped scarf, standing on the seat of a unicycle with arms crossed. The original drawings of these cats were done to accompany the limited edition of Amphigorey. Spine faded and lightly spotted, else fine in blue cloth, in a toned blue slipcase with a few spots of foxing. (Toledano A50b).

Shropshire Word-Book, A Glossary of Archaic and Provincial Words, etc., Used in the County.
Jackson, Georgina F.

Quarto. civ, 534pp. Illustrated with a frontispiece map in red and black, defining Shropshire County. This British linguistic text conceals a large, bright fore-edge painting underneath its gilt edge, depicting eighteenth-century views of New York and Philadelphia harbors. The scenes are framed inside two oval vignettes, depicting bustling seaports with ships in the foreground and the cities in the distance. The ships' flags flutter in the breeze, including one large bark flying a red-white-and-blue French flag. Both vignettes are set on a red background, with floral devices in the spaces between them and in each corner. In his new reference work on fore-edge painting, Jeff Weber identifies the painter of this edge as the Dover Painter, and he notes that this oval treatment "is the only time I have seen this treatment by this artist." This book was also illustrated in Weber's grandfather's book. At the time, the elder Weber suggested that fore-edge paintings of American scenes by London artists, such as this example, were likely intended for an audience of American travelers and collectors who purchased their fine books abroad. Bound by Proudfoot in red morocco with gilt and blind-stamped borders to both covers, gilt dentelles, and a richly gilt spine. Bookplates of Dorothy Shea and Edward Collett, and from the collection of Estelle Doheny. Extremities rubbed and corners bumped, else fine.

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.

MITE.

30pp. With seven illustrations and each page bordered in red. This was the smallest English book printed from movable type in its day. As Robinson states in his introduction, it was "issued as a curiosity." It contains a variety of amusing information, including an article about the invention of printing. Fine in gilt-stamped green cloth. Housed in a tiny square box. (Spielmann 376; Bondy p. 99). (13/16 by 3/4; 21x19mm).

The Mail Box (A Postal ABC).
Poehlmann, Jo Anna

(27)ff. One of 200 copies signed and numbered by the artist. A tiny panorama with twenty-six reproductions of postage stamps from all over the world tipped in. Poehlmann has managed to assemble a complete alphabet in manuscript initials, printing commemoratives and even an animal alphabet from Colombia. The design mimics a package, in brown paper and tied with a red string. Mint. (1 3/4 by 1 1/2; 45x38mm).

The Young Stork's Baedeker.
De Bakker, Pete

Two volumes, comprising the Travel Guide and Lexicon. 40; 30pp. One of fifteen deluxe copies with the additional Lexicon volume. The Travel Guide has a frontispiece illustration of a stork and an egg, and two fold-out maps showing the storks' migratory routes and nesting places. In the Guide, a father stork advises his young offspring on how to make the long migratory journey from the Netherlands to Africa, which can span more than 10,000 miles, and warns of the dangers along the way. The Lexicon explores the etymology and folklore of this long-legged bird. Identically bound in printed paper boards, housed in a matching slipcase. One spot of offsetting on the title page, where the frontispiece stork's wing had adhered to the facing page, else fine. (2 5/8 by 1 3/4; 67x43mm).

Shall I Die? Shall I Fly?
Shakespeare, William

(11)ff. One of 160 copies printed at the Firefly Press and illuminated on the title page by Suzanne Moore. This Elizabethan poem was recently discovered in manuscript and attributed to Shakespeare. An elegant miniature bound in handmade paper over boards by Barbara Blumenthal, with a calligraphic design in silver by Don Glaister. Lacking red paper sleeve, else very fine. (2 7/16 by 1 9/16; 61x41mm).

[Miniature] The John Muir Trail: Book One.
(Muir, John)

18pp., accordionfold. A unique manuscript, and number one in a series of six manuscripts painted by Donna Thomas while hiking the 218-mile John Muir Trail in the Sierra Nevada Mountains. A selection of quotes from the famed naturalist and conservationist John Muir are illustrated throughout with hand-colored drawings of sights along the trail, including Half Dome at dawn, Cathedral Lake, and some creek-side wildflowers. Bound in gilt-stamped green moroco embossed with a design suggesting mountains, and an inner cover, also of green morocco, decorated with a blue feather that Thomas found on the trail. Housed in a slipcase with a hand-painted pictorial label. Extremely fine. (3 by 2; 77x50mm).

Alphabet Inutile, by William-Anthony Caswell.
Caswell, William-Anthony

(64)ff., frenchfold. One of 26 lettered copies, signed by the artist. Each letter is illustrated with two pages of etchings by Righi: one bearing an abstract shape, and another with decorative, hand-etched text. An alphabet book in French, featuring comically nonsensical definitions of words that begin with each letter. Printed on Japanese paper and stab-bound. Housed within a slipcase and a black cloth chemise, which has etched copper printing plates mounted to the covers. The plates are for the two pages that accompany the letter "W" in the book. (2 1/4 by 1 3/4; 56x45mm).

THE INSTRUCTIVE HISTORY OF INDUSTRY AND SLOTH.

(32)pp. Illustrated with a frontispiece and eight woodcuts framed with decorative borders. A didactic tale demonstrating the importance of being industrious, followed by several riddles and logic problems intended to engage young minds. The text opens and closes with alphabet pages, and the last page bears an advertisement for the publisher I. Cooke & Co. In original decorative paper wrappers with a design of flowers and leaves in green and red. Binding has been expertly and nearly imperceptibly repaired. An uncommonly fine copy of a scarce chapbook. Only two institutional copies recorded.

THE LOST CHILDREN. EMBELLISHED WITH COLORED ENGRAVINGS.

16mo. 15pp. Chapbook illustrated with a hand-colored vignette on the title page and three bright, hand-colored engravings. The rear wrapper has a vignette of children harvesting fruit or nuts from a tree. The narrator, Mary, warns her younger sibling Jane of "the folly and wickedness of playing truant from school." She tells a tale in verse about two boys who were buried in a landslide while playing when they should have been in class. Bound in printed, buff wrappers. The paper covering the front wrapper is slightly rubbed in spots, revealing text from the paper beneath. Gift note inside the front wrapper from a mother to her son, dated 1833.

De La Rue's Improved Condensed Diary and Engagement Book. Thumb Shape.
Godward, William

70pp. Printed in blue and red. This miniature almanac and memo book includes all of the usual holidays, and also notes the last day to pay fire insurance. A table in the front includes practical information, such as the university terms for Oxford and Cambridge and postage rates. The case folds over itself like an envelope and closes with a tab. Very fine in red gilt-stamped morocco. A.e.g. (1 5/9 by 1 3/4; 40 x 43mm).

Shakespeare's England.
Winter, William

12mo. 274pp. A unique copy with beautifully executed original pen and ink drawings throughout showing the sights and landmarks of Shakespeare's country. Profusely illustrated with hand-drawn vignettes of the thatched cottages of Stratford-upon-Avon, landscape vistas of Warwick and Windsor, and other known British locations. The illustrations are imaginative and romantic: at one point, a flock of birds alights from the rooftop of the Red Horse Inn and wings its way across the open pages to Stratford Church. The text, which is meant to be a guide for the American literary traveler, opens with quotations from Shakespeare and Wordsworth. Fitch has encircled these verses with a set of scenic, cascading post cards, threaded together with a ribbon. Very little is known about the illustrator, E. Fitch: one illustration is signed "E. Fitch Catskill," but no record could be found of an illustrator by that name in the area. Ornately bound in red morocco by the American bindery Bradstreet's. Both covers are decorated with borders of oak leaves and acorns, employing onlays of green morocco and gilt vines. The spine is divided into six compartments, gilt-titled in one, and with gilt roses in the remaining five. Green morocco doublures are decorated with gilt dentelles and a border of leafy vines accented with minute butterflies. Silver moiré silk endpapers bordered with gilt decoration and a rose in each corner complete this sumptuous binding. Extremely fine and housed in a red morocco pull-off case. T.e.g. With a laid-in card bearing a gift note from the Philadelphia rare book dealer A. S. W. Rosenbach; it is speculated that Rosenbach, or another bookseller, might have had this copy specially embellished for an important private client.

The Book of Common Prayer, Together with the Psalter, or Psalms of David.
Anonymous

12mo. 282ff. Bound by Edwards of Halifax in full vellum with a gilt pentaglyph and metope roll border on a blue wash background. Both covers ornamented with gilt wavy broken line and sprig roll borders on a blue wash background, enclosing a gilt roll with the leaf spray initials "MLC" at center. Spine with gilt titling against a blue wash background, and compartments separated by the gilt pentaglyph and metope roll border. Each compartment contains a tooled urn device. With a contemporary fore-edge painting of Fountains Abbey in Yorkshire. Once one of the richest religious houses, thanks to its system of lay brothers within its severe Cistercian order, it was dismantled under Henry VIII's dissolution of monastaries. It is the largest abbey ruin in England. A contemporary ownership inscription (M.L. Carey? or Casey?) at the top margin of the title page matches the initials on the front cover. It is likely, therefore, that the painting and the binding were commissioned by the original owner, a conjecture that is reinforced by the fine condition of this example. Apart from light foxing to title page and a few early leaves, the text is fresh and clean, the vellum is likewise clean, with just a touch of finger soiling, and it retains its original slipcase of gilt-tooled, straight-grained green morocco.

[Miniature]. Poems of Life.
Dickinson, Emily

35pp. From an edition of 125 signed by the printers, William and Raquel Ferguson, this is one of twenty-five deluxe copies with hand-illuminated initials signed by the calligrapher, Nancy Chandler Edwards. Handsomely printed using Bruce Rogers types. Contains eight truly exquisite pictorial initials in colors and gold leaf. The second miniature book published by the Bromers, and now quite scarce. Stanley Marcus, in an exhibit of his miniature books at the Library of Congress, described "Poems of Life" as the finest miniature book of the second half of the 20th century. Bound by Gray Parrot in full vellum with yapp edges and gilt titling. Extremely fine. T.e.g. Bookplate of Rabbi Kalman Levitan. (Bradbury 923). (2 3/8 by 1 5/8; 60x41mm).

[Miniature]. A Bestiary.
Chamberlain, Sarah

19ff. From an edition of 125, this is one of thirty-five deluxe copies. With fifteen wood engravings by Sarah Chamberlain of exotic animals, including the panda, koala, Siberian tiger, and platypus. A fine copy in vellum-backed sepia silk boards with gold endpapers. Housed in a matching gold-edged slipcase together with the extra suite of prints, all signed and numbered. The prints are contained in a separate silk chemise. (Bradbury p. 38). (2 1/16 by 2 1/4; 53x58mm).

The Poet's Corner: John Greenleaf Whittier.
Whittier, John Greenleaf

(51)pp. One of 300 copies. A diminutive collection of the works of this influential Quaker writer and abolotionist, featuring two poems: The Barefoot Boy and Snow-Bound. It also includes a portrait of the poet on the second page. This is the third volume in Raheb's "Poet's Corner" series which showcases the work of famous nineteenth century American poets, standing on its own. Very fine in burgundy pyroxylin, stamped with a decorative motif and the title in gilt. (Bradbury p.202). (11/16 by 15/16; 18x24 mm).

The Poet's Corner: Henry Wadsworth Longfellow.
Longfellow, Henry Wadsworth

(31)pp. One of 300 copies. This is the second volume of three in the Poet's Corner series, standing on its own. Contains four of Longfellow's best-known poems, including Paul Revere's Ride, and a portrait of the poet. Very fine in burgundy pyroxylin with the title stamped in gilt. (Bradbury p.202). (11/16 by 15/16; 18x24mm).

Sketches by "Boz," Illustrative of Every-day Life, and Every-day People. In Two Volumes. Together with Sketches by Boz . . . The Second Series. Complete in One Volume.
Dickens, Charles

Three small octavo volumes. viii, 348 pp.; (iv), 342pp.; viii, 377pp., + (19)pp. of advertisements. First edition, first issues in book form of Dickens's first work. Illustrated throughout with engravings by George Cruikshank, volumes I and II each with a frontispiece and seven subsequent illustrations, and the Second Series with frontispiece, engraved title-page, and eight subsequent illustrations. Volume I Preface dated February, 1836, and both volumes with all but one or two internal flaws as called for by Smith. Second Series is one of the few early copies without the list of illustrations, with thirteen rather than seventeen lines on the first page of the Contents; legible commas on the Free and Easy imprint; and with Vol. III unerased from the foot of each plate. According to Sadleir, these points "certainly seem to represent an earlier (and perhaps suppressed) issue of the book . . . the only possible explanation seems to be that [the publisher] and Dickens planned Sketches by Boz as a three-volume work, and that the plates were prepared for the third volume in uniform style with those of Volumes I and II. Possibly Dickens then insisted on adding more material than a normal third volume could accommodate, and a second series in one bulky volume was forced on the publisher." Eckel even more definitively states that the missing list of plates "prove[s] to be a mark of the first issue of the book." Although most of the sketches in this work were originally published as separate entries in various magazines and journals between 1833 and 1836, this edition does represent the first appearance of five of the sketches: "A Visit to Newgate," "The Black Veil," "The Great Winglebury Duel," "Our Next-Door Neighbours," and "The Drunkard's Death." The first two volumes are bound in publisher's olive green cloth, with a gilt cartouche and lettering on the spines. Corners lightly bumped, some minor spotting to cloth, else about fine. Second Series is bound in the rare original rose-colored cloth with blind-stamped wreath on the front cover and spine in four compartments, top compartment lettered in gilt within a decorative gilt frame. The gilding has been applied without black pigment, again indicating one of the early copies, as mentioned by Smith. Some bumping to corners, spine slightly sunned, and a few short closed tears in cloth at foot of spine. Nearly fine. Each volume in a green cloth chemise, the three volumes housed together in a quarter morocco slipcase lettered in gilt on the spine. This set came from the collection of William E. Self, former president of Twentieth Century Fox, and bears his bookplate. Both volumes also with the bookplates of noted collectors Winston Henry Hagen and E. Hubert Litchfield. A very nice set of a seminal work of modern Western literature, with excellent provenance.

The Warning Clock; or The Voice of the New Year.
Cameron, Lucy Lyttelton

32mo. 16pp. With five woodcut illustrations, including the frontispiece and the title page. A chapbook by children's author Cameron, who also wrote The Two Lambs, The Two Mothers, Emma and Her Nurse, and other titles. The publisher, Mahlon Day, is one of three printers in New York credited with developing books intended to entertain children, instead of simply providing instruction or moral education. Bound in printed yellow wrappers. Some light browning, still a nice copy in printed yellow wrappers.

Childhood's End.
Clarke, Arthur C.

First edition. One of Clarke's most famous novels, and considered by many to be one of his best. A Golden Age tale about the evolution of the human race and its joining the other advanced races of the galaxy. Ranked number 9 on Pringle's list of the 100 best science fiction novels, Childhood's End "gained praise from C.S. Lewis, among others, for its deft blend of hard science and religious mysticism," Pringle notes. Jacket spine slightly toned and shows a few faint spots, else a fine copy of a book that is rarely available in fine condition.

LONDON ALMANACK FOR 1896.

(20) ff. One of the copies in which the pages have been folded vertically and bound into "finger" format. Entirely engraved. Contains the usual lists of royals, officers of state, bank days, Saints' Days, eclipses, and the like. Bound in full dark green morocco. Very fine in a matching slipcase that shows just a very bit of rubbing at the corners. A.e.g. Bookplate. (1 3/8 by 1 1/4; 35x31mm.).

Biedermeier-Wünsche.
Pazaurek, Gustav E.

Oblong folio. 25pp. + 50ff. loose plates, one of which is in full color. One of 400 numbered copies. This guide to Austrian printed ephemera is illustrated throughout with black-and-white reproductions of valentines, greeting cards, paper games and dolls, and more. The extra plates show examples of ephemera produced by the major publishers of the time. Beidermeier refers to a style of visual and decorative arts that was popular between 1815 and 1848 in Austria, characterized by its elegance. Some Biedermeier cards are elaborately decorated and over-the-top. Many feature movable pictures, with tabs that turn and change the images or animate arms and legs. A fragile publication in remarkably fine condition, save for a slight split to bottom of spine and light discoloration and wear to bottom edge. In paper wrappers printed with the publisher's insignia. Housed with the loose plates in a handsome dark red morocco-backed box.

Alphabet Gothique par Midolle.

Octavo. (26)ff. A manuscript alphabet book of calligraphic paintings, signed by the artist. Includes title page, twenty-four letters, and "Fin." A renowned nineteenth-century Swiss calligrapher and miniature-painter, Midolle executed his alphabets in the gothic style of lettering to resemble the text of a medieval manuscript, and often decorated his work elaborately. Although a leading figure in the field of chromolithography, Midolle also handcolored his work in the fashion of the miniature paintings found in fifteenth-century French illuminated books. Entirely hand drawn, Alphabet Gothique is executed in such a style, with each elaborately detailed letter rendered in bright colors that have retained their vibrancy to a remarkable degree. Multi-colored flowers, birds, and serpents are prevalent as compositional motifs, intertwined with the letters themselves. Bound in brown morocco with a cover design by noted American collector Cornelius Hauck. The design depicts an oak tree in brown and green morocco onlays. The tree is situated behind three arched and spired portals in gilt that suggest a cathedral. The spine also incorporates portions of the design. Gilt dentelles and silk endpapers complete this handsome binding, which is a fitting complement to the exquisite artwork inside. A.e.g. Very fine.

Light in August.
Faulkner, William

First printing, first binding of rough tan cloth stamped in orange on front cover and in blue and orange on the spine. Top edge stained orange. Faulkner's seventh novel marks a change from the interior monologue and stream of consciousness narrative modes of previous works to more conventional storytelling. A novel which, according to its jacket copy, is "as luxuriant as a plant grown in the tropical soil of the delta of the Mississippi River." Some spotting along top edge, else a very fine copy in the original orange and blue dust-jacket, which shows slight wear at extremities. Scarce in dust-jacket.

6-Line Wood Letter Alphabets.

Six volumes, each (28)pp. One of 100 numbered copies. Titles include: Old Style Italic Type Designers, Playbill Type Faces, Round Serif Typefounders, Sans Condensed Typographic Words, Winchester Type Casting, and Sans Bold Italic Parts of the Press. Each little book highlights a different type face, featuring associated words with the appropriate letters of the alphabet. For example, "C" is for caslon, or in the case of volume one, "G" is for Eric Gill and "J" for Edward Johnston. Each volume's alphabet is printed in a different color, with the printed wrappers corresponding in color scheme. Very fine in a marbled slipcase. (2 by 2 3/4; 51x70mm).

The Mysterious Marbler With an Historical Introduction, Notes, and Eleven Original Marbled Samples by Richard J. Wolfe.
Sumner, James

Octavo. 70 pp. One of "approximately 250 copies." Sumner's manual, published in 1854, is full of very specific recipes. This is the first of Bird & Bull's fine books on marbling. Fine in handsome marbled boards backed in gilt-titled morocco. Prospectus laid in.

Twenty-Five Poems.
Thomas, Dylan

First edition of Thomas' second published book. One of only 730 copies printed. The first edition sold out quickly and three more impressions were produced afterward, making this one of the most successful poetry books of the time. Although this collection was published only two years after his first, the poems show a more mature style, exploring themes of spirituality and politics. This is a presentation copy, inscribed by Thomas to noted collector Norman Unger on the half-title page. As with all books from the Unger collection, this is a very fine copy in grey boards, with original gray printed dust wrapper.

Clara, or, The Reform.
Anonymous

64mo. 8pp. Chapbook with six woodcuts, uncolored. A little tale of a girl who was good until the age of seven, becoming ill-natured thereafter, and the story of her reform. In yellow, printed wrappers with an additional woodcut on the front cover. Slightest soiling to wrappers, else a very fine copy. (Not in Weiss, reference on Solomon King imprints).

Pachinko. A Nine Minute Dream.
Kaldewey, Gunnar

Large quarto. 6ff., accordionfold. One of thirty-eight copies on handmade paper. Signed by the publisher, Gunnar Kaldewey. This was the first book of the Kaldewey Press to utilize the technology of the computer, Photoshop, and an Epson printer, in creating the color illustrations. With an accompanying audio CD of the background noise of a Pachinko arcade. Mint in chemise and slipcase.