Browse the latest catalogs, newsletters, and e-lists of rare books, fine bindings, incunabula, print ephemera, and much more from the members of the ABAA below. (Also includes podcasts, blog posts, and other digital formats.)
*New* indicates any catalogs brought to our attention since late-December 2024.
NEW YORK: Dodd, Mead & Company, 1898. FIRST EDITION. Hardcover. 8vo. Lovely, paper-covered boards, brilliantly colored -- Bertram Goodhue's genius dances off the late nineteenth-century page, and still pops -- powerfully -- into our 21st century consciousness -- 125+ years later! 1-1/2-inch spot (spilled turquoise ink) to top left of rear board, and a repaired 1 1/2 in. x 1/2 in. closed tear to paper over spine.
A play with characters from the Carroll classic,including of course Alice in Wonderland, The White Rabbit, The Queen of Hearts, The Knave, Humpty Dumpty, Tweedledum and Tweedledee, The Cat, The Mad Hatter, etc., Gorgeous color Illustrations to both covers by the legendary typeographer and font-inventor Bertram Goodhue include The Knave (Frontispiece); The White Rabbit, Alice, and the Queen of Hearts. Twenty-panel decorative endpapers in orange and red with various Carroll characters within each grid. Printed by D.B. Updike at the Merrymount Press in Boston. Scarce. Very Good.
[New York]: Ballantine Books, [1969]. Color halftone, 36.25” x 23.625, on slightly larger sheet. CONDITION: Very good, occasional slight rippling, one faint dot of soiling below “a” in “Forodwaith” at top, 1.5” pen mark at serial number in lower-left corner, recently backed with Japanese tissue.
A rare and visually enchanting poster map of J.R.R. Tolkien’s Middle-earth, bordered by illustrations adapted from Barbara Remington’s inaccurate but iconic cover art for the first authorized American edition of the Lord of the Rings trilogy.
At the center of this poster is what Tolkien called the “general map” of Middle-earth, created by his son Christopher in late 1953 and charting “the whole field of action” from the Northern Waste at the top to Haradwaith and Far Harad at the bottom (“General Map”). A compass rose appears in the lower-left quadrant, just above the title. The price of $1.49 is printed in the lower-right margin. Other examples of this map, presumably printed later and responding to increased demand, bear the higher price of $3.
Bordering the map on all sides are Barbara Remington’s fanciful and ominous illustrations, many parts of which are evidently adapted from her cover illustrations for the first Tolkien-authorized edition of the The Hobbit and the Lord of the Rings trilogy in America, published by Ballantine Books in 1965. Production of this edition moved so rapidly—Ballantine was trying to pull ahead of an unauthorized edition from another publisher—that Remington had no time to access the books: “I didn’t know what they were about…I tried finding people that had read them, but [they] were not readily available in the states, and so I had sketchy information at best” (Carmel). Accordingly, her illustrations “puzzled Tolkien. ‘What has it got to do with the story?…Where is this place?’…He thought the cover ugly, with ‘horrible colours’” (Hammond, p. 28). Remington later wrote to Tolkien explaining her circumstances, and admitting that “after reading the books thoroughly she agreed that her art was inappropriate to the text” (Hammond, p. 28). Wanting to establish the series in the American market, however, Ballantine Books refused to print different illustrations until the ’70s, and by then Remington’s work had “achieved mass-cult status” (Carmel).
Barbara Remington (1929–2020) was born in Minnesota and moved to New York in the early 1960s, where she became friends with many Beat artists. She worked as a freelance illustrator, including for Alfred Hitchcock’s Mystery Magazine and for the popular children’s magazine Highlights. She also designed costumes for plays at the Gateway Theatre, created window displays for Tiffany & Co., ushered at Carnegie Hall to see performances for free, and “worked on a yacht to go on free trips to Martha’s Vineyard. It was a great deal of fun” (Hage). She later opened a store with her first husband, and after several decades in New York moved to Thompson, Pennsylvania, where she died in 2020.
OCLC records just four holdings of this map, at the Library of Congress, University of Illinois, Harvard, and the Osher Map Library.
A scarce map of Middle Earth illustrated by the artist whose cover illustrations became the first face of Tolkien’s work in America.
L’Assiette au Beurre. Satirique, humoristique, hebdomadaire. A group of 80 issues, from No. 1 (4 April 1901) to No. 450 (13 November 1909). Prof. illus. (substantially in color). Lrg. 4to. Orig. dec. illus. wraps. Intermittent light wear and chipping; on the whole, a well-preserved selection, unbound, in the original wrappers. Paris (S. Schwarz/ E. Victor), 1901-1909.
Boston: James Fisher, 71 Court Street, c.1841. Broadside, laid down on a stiff backing sheet, slightly trimmed to 30 x 25 cm., taking the "Pr. by Chas. Thomas & Co." statement in the lower margin. Engraved by D. Kimberly. Entered according to Act of Congress, in the year 1841, by the Franklin Print Co. The lettering by J.B. Bolton. A printing of The Declaration of Independence, with fac-similes of the signatures and likenesses of the signers, the arms of the states, and of the United States, and portraits of the presidents. Engraved script, with text below a reproduction of Trumbull’s painting and above Durand’s key and facsimile signatures. The whole within an ornamental border featuring medallion portraits of Presidents Washington through W.H. Harrison, and the seals of 26 states. An American eagle, holding a banner carrying the U.S. motto tops the border. Some overall toning to sheet. OCLC: NY Historical, Univ. of VA, MA Historical.
A small archive of material related to the inauguration of John F. Kennedy. Included here are an invitation, ticket, program, and souvenir photographs with printed signatures of Kennedy and Vice-President Johnson housed in original envelope with tissue guards.
Offered by Between the Covers Rare Books and found in "eList 233: Politics."
London: T. Fisher Unwin, 1892. First Edition. Hardcover. 1st edition in English, issued as a volume in the publisher’s “The Children’s Library” (our London issue precedes the nearly identical looking New York issue). Spine faded half a shade, gift inscription to the front blank, a bit cocked (as is typical), else a near fine copy, seldom seen so beautiful.
Influential? When Pinocchio was published dozens of different Italian dialects permeated Italy, but Collodi was a lord of grammar, and the book was so popular and widely read that it unified the Italian vernacular into a single common language.
Paris [&] London: Publié par V. Morlot [&] Mc.Léan, [n.d., ca. 1830]. First edition. Oblong folio (10 5/8 x 13 7/8 inches; 270 x 352 mm.). Twelve numbered hand-colored lithographed plates. Plates lithographed by Bernard. Each plate with the publisher's oval blind-stamp in lower blank margin. Bound without the printed titlepage. Mid-nineteenth century quarter red calf over marbled boards, smooth spine ruled and lettered in gilt. A superb example with fne contemporary hand-coloring.
The plates are captioned: “L’Écrou;” “Chambre du détenu malheureux;” “Chambre du détenu philosophe;” “Les Élections;” “Le Cabinet de lecture;” “Le Cabaret;“ “Le Café;” “Le Repas dans la cour;” “Les Jeux dans la cour;” “Le Bain du créancier;” “Le Paye;” and “Sortie du débiteur;.”
An exceptionally rare album depicting various scenes at the Parisian prison of Sainte-Pélagie. Tis prison, once located in the 5th arrondissement, was active from 1790-1899 and housed many renowned prisoners during and after the French Revolution, including the Marquis de Sade. In this series, Adam conveys in various scenes of prison life the dignifed squalor to which its inhabitants were reduced. We have only seen this book once before - a copy with modern hand-coloring which we sold in 2003. OCLC locates just one copy - BCU Dorigny (Lausanne, Switzerland).
V.p.: v.i., 1890-1903. Four volumes; octavos (measurements provided below); all bound in publisher's pictorial cloth. Moderate wear to margins, corners of the 1901 edition bumped and rear hinge cracked, textblock uniformly toned due to inferior paper quality, else Very Good, an excellent set and teaching tool.
Three editions as well as an early salesman's dummy of this popular work on women's health and the female reproductive system by Seth Pancoast (1823-1889), medical doctor, mystic, and occultist who co-founded the Theosophical Society. During his storied career Pancoast wrote several works on Kabbalah, as well as The Magic of Numbers, and a treatise on red and blue light, though by far his most popular work was this guide to women's health. Collection contents as follows:
1. Pancoast's Tokology and Ladies' Medical Guide. N.p.: [Thompson & Thoma[s]], [1901]. Large octavo (22cm.); publisher's splendid blue pictorial cloth stamped in gilt, silver foil, and dark red depicting a woman at her toilette reaching for a beaker with her right hand, holding up another beaker in her left, all edges marbled, floral endpapers; [2],xxxii,[33]-600pp.; double chromolithographed frontispiece followed by author portrait, nine leaves of plates, about half of them full color.
2. Pancoast's Tokology and Ladies' Medical Guide. Chicago: Thompson and Thomas, [1903]. Octavo (20cm.); publisher's blue pictorial cloth adorned with flowers and cherubs embossed in gilt and brownish-red, all edges marbled; xxxii,[33],600pp.; four frontispieces, including three chromolithographs, one with moving parts, as well as an author portrait; six leaves of plates printed in pinkish red.
3. Pancoast's Tokology and Ladies' Medical Guide. Chicago: Stanton and VanVliet Co. Publishers, [1903]. Octavo (20cm.); publisher's blue decorative cloth adorned with flowers and cherubs (same design as copy no. 2) stamped in black and white; xxxii,[33]-600pp.; chromolithographed frontispiece with moving parts followed by author portrait, nine leaves of plates including two chromolithographs usually found at the beginning of the volume, remaining plates printed in dark red.
4. [Salesman's Dummy] The Ladies' New Medical Guide, an Instructor Counsellor and Friend in all the delicate and wonderful matters peculiar to woman... Philadelphia: John E. Potter & Company, [1890]. Small octavo (20cm.); publisher's peach cloth stamped in black and gilt (same design as copy nos. 2 & 3), unadorned spine, top edges stained red, fore-edge marbled blue; mixed pagination; double chromolithographed frontispiece, plate samples throughout, as well as author portrait and text illus., many leaves enhanced with tipped in explanatory pink slips, morocco spine sample mounted to front pastedown causing offsetting to facing leaf.
An excellent collection and teaching tool on the history of women's health and popular American printing.
Offered by Capitol Hill Books and found in "E-list #36."
London: Peter Davies Ltd., 1956. First U.K. Edition. Sharp copy of this early novel by Armstrong, set in a small southern California college, where an absent-minded professor misplaces a container of poison, which involves a score of unrelated people in a frantic search. Winner of the Edgar Award for Best Novel in 1957.
First Impression. Octavo (19cm); turquoise cloth, with titles stamped in gilt on spine; dustjacket; [4],5-220,[4]pp. Small contemporary owner's ink name and date at upper margin of title page, else Fine in a Near Fine dustjacket, unclipped (priced 12s.6d. net), with a hint of sunning to spine, a few pinpoint rubbed spots to spine ends, and two spots of dust-soil to front joint.
Offered by Captain Ahab's Rare Books and found in "Holiday Catalog."
New York & London: G.P. Putnam’s Sons … The Knickerbocker Press, 1899.
First edition. 194, [4, ads] pp. 1 vols. 12mo. Original tan pictorial cloth stamped in blue, red, black, and gold. About fine. BAL 1120; Starrett 16; Wright, III, 522.
Signed by Bierce on the flyleaf. Bierce was a journalist and short story writer, famous for Civil War stories – chiefly "An Occurrence at Owl Creek Bridge" – based on his own experience. This collection of fables is, along with his Devil's Dictionary, the most concise collection of his acid wit.
Offered by James Cummins Bookseller and found in "Once Upon a Time."
Swiss Watch Chamber of Commerce. La Chaux-de-Fonds, Switzerland. 1950s. A 1950s booklet die-cut into the shape of a watch, promoting Swiss watches. Printed in Switzerland for the Swiss Watch Chamber of Commerce to court the American market. The organization was founded in 1876, and was dedicated to promoting the Swiss watch trade abroad. This publication is notable for its clever bit of book design: when the first leaf is turned, the mechanism under the watch’s dial is revealed, making the viewer feel as if they are uncovering the inner works of a real watch. Includes detailed descriptions of how watch mechanisms work with diagrams inside. Aims to show how finely produced Swiss manufactured watches are and that they are a “safe investment”. Single vol. (3.75” by 5.75”), pp. 12, illus., die-cut.
Strasbourg: Thomas Anshelm, January 10, 1488. Contemporary blindstamped calf over wooden boards. With 59 woodcuts, of which 28 are combinations of 23 separate blocks. Colored throughout by a contemporary hand. Offered with a French export license.
Impossibly rare sole edition of this lavishlyillustrated incunable, the very first oeuvre of the humanist printer-woodcutter Thomas Anshelm (ca. 1468-1523), in which he employs a revolutionary program of illustration dubbed by modern scholars the ‘combinaison des bois’ (cf Dupeux). In this scheme, the woodcuts are designed with ‘adaptable’ backgrounds which line up perfectly alongside multiple other blocks, thus allowing the illustrator to depict a variety of different scenes using a relatively small number of blocks. Quite aside from its rarity (no copy has ever been offered at auction; no copy resides in any US institution), this copy is the only one known to us with hand-colored illustrations.
London: John Murray, 1871. 2 volumes octavo (20 cm). Original green cloth. Spine cocked somewhat on volume 1. Both volumes well-read, but quite good. Owner's name in pencil on title page of volume 1. References: Norman 599; Garrison-Morton 170. Corrections to the text in volume 1 mark this printing as the second issue of the first edition. Volume 2 is the first restriking (“seventh thousand.”) It is noted that the word "evolution" occurs here on page 2 of volume 1 for the first time in any of Darwin’s works.
Offered by Rodger Friedman Rare Book Studio and found in "Darwin."
New York: Women’s Liberation Center of New York, 1973. Offset. Single leaf folded to form [4]pp. 8 1/2 x 11 in. Three small tears to edges, slight loss to bottom right corner; very good.
Early flyer from The Women’s Liberation Center, published just a year after its founding by Lesbian Feminist Liberation and the Lesbian Switchboard.
The Women’s Liberation Center was a key node in the New York women’s and gay liberation movement, housing the offices and meeting space of several important organizations of the period, including Lesbian Feminist Liberation, Women’s Abortion Project, the Lesbian Lifespace Project, Older Women’s Liberation, the Lesbian Switchborad, Radicalesbians Health Collective, and several others over its 15 years in the firehouse. Additionally, the Center hosted frequent programming, including concerts, screenings, workshops, community dinners, and many other public events.
A year before the publication of this newsletter, The Women’s Liberation Center was evicted from a loft on 22nd Street and moved into the firehouse, which housed the Center until 1987. This newsletter details the history of the firehouse, the precarious legal status of the Center’s use of it, the process the Center would have to successfully navigate in order to formalize its use of the firehouse, and an ultimately successful political strategy to win a lease. The newsletter also includes an article on the prevalence of rape in New York City and movement efforts to combat it and support survivors, along with a comic by Carol Sanders.
A scarce document from an important early node of the women’s liberation movement and movement for abortion rights.
OCCASIONAL LIST 22: A Miscellany: Original Art Work; Small Archive of Major English Watercolourist; Interesting Theatrical Pieces; Manuscript Material, Etc., Etc. -- available on request from fgrare@fgrarebooks.com...
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Bloomfield Hills, Michigan: Charles Pachter at Cranbrook Academy of Art, 1966. (12 3/8 x 9 1/2 inches). Prints interspersed with text on a series of folded sheets of handmade paper. Signed by Pachter on colophon page, within protective buckram board case (13 1/4 x 10 inches). Housed within original a custom cloth chemise and fine modern full black morocco box.
Artist's proof for a Edition limited to 15 copies of a collection of poems by Margaret Atwood, which reimagines the perspective of Dr. Frankenstein from Mary Shelley's novel through a series of poetic speeches, notable for its unique artistic collaboration with illustrator Charles Pachter.
Speeches for Doctor Frankenstein is a collaborative work between renowned Canadian author Margaret Atwood and Canadian artist Charles Pachter. It was produced as an artist's book made with materials found around Pachter's home with the prints created from combinations of blocks of wood and linoleum, silk screens, and certain found objects. This unique collection combines Atwood's thought-provoking poetry, which delves into themes inspired by Mary Shelley's Frankenstein, with Pachter's whimsical and evocative illustrations. The poems chart the process of the monster's creation as it emerges into being through the hands of Dr. Frankenstein. The collection explores the complex twinship between creator and creation, reflecting on the responsibilities and consequences inherent in the act of creation.
Two frontis., 16 full-page (two in color) & eight double-page (one in color) woodcut illus. and several text illus. 27.5; 20.5; 22.5; 26.5; 23.5 folding leaves. Three parts in five vols. Small 8vo, orig. green wrappers (a trifle wrinkled), orig. printed title-labels, new stitching. Tokyo: Seishidō, Vol. I Preface dated 1871; Vol. IV Preface: 1872.
First edition, a very rare complete set of this comic novel by Kanagaki (1829-94), one of the great Meiji-period fiction writers and founder of Eshinbun nipponchi [Japan Illustrated News], Japan’s first manga magazine. He was a keen observer of Japanese society amid massive upheaval; this book encapsulates Kanagaki’s masterful ability to capture the speech patterns and slang of everyday people. The expressive and lighthearted woodcuts were executed by the celebrated Kyōsai Kawanabe 川鍋暁斎 (1831-89), a frequent collaborator of the author, and Utagawa (or Ochiai) Yoshiiku 歌川落合芳幾 (1833-1904).
The book consists of ca. 20 vignettes about customers of a beef restaurant in Tokyo, such as a quack doctor, bar hostesses, student majoring in Western studies, artisan, rickshaw driver, angry samurai, courtesan, blind man, rakugo storyteller, etc., representing every stratum of society. The Japanese slowly adopted the consumption of beef; the Emperor took the “first” bite in 1872. It was first valued for medicinal purposes, kusuri gui 薬喰, but became a symbol of creeping Westernization ushered in by the Meiji Restoration. Two of the restaurant’s specialties are kurobotan 黒牡丹 (black peony, a beef-based supplement), and takeri 牛陽 (a concoction made from bull penis). The author even made and sold the former, with advertisements placed in the present book.
The detailed woodcut renderings by Kyōsai and Utagawa feed into the comic tone. A depiction of the titular beef shop is a fascinating snapshot of 1870s Japan. Many of the illustrations include caricatural (sometimes frighteningly so) portraits of the beef shop’s hapless clientele; there is even a portrait (by Yoshiiku) of Kanagaki, in Western attire, writing at a table, with a vertical banner that advertises his homemade kurobotan. An image in the fourth volume imitates a woodcut anti-cowpox talisman, in which Edward Jenner (“god of the cowpox vaccine”) rides a cow, trampling the evil spirit of cowpox. In another, an anthropomorphized horse and cow converse about how sophisticated and Western the cow, wearing foreign garb and drinking wine, has become.
Sauk City: Arkham House: Publishers, 1958. Octavo, cloth. First edition. Cthulhu Mythos stories which all but one first appeared in Weird Tales. [Reference: Bleiler, The Guide to Supernatural Fiction. 521. Tymn (ed), Horror Literature 4-94]. Some toning to end papers, a fine copy in a fine dust jacket.
Phila., Pa.: Pride Publications, 1968. 11” x 8½”. Stapled wrappers. pp. 32. Very good: rear wrapper and last leaf with some creasing and dings. This is an issue of a short-lived and handsomely produced magazine by a Philadelphia journalist and public relations expert, Robert Lee “Bob” Lockett. We learn from Lockett's obituary in the Philadelphia Daily News that he grew up in Aliquippa, Pennsylvania and served in the Pacific with the army during World War II. He thereafter took journalism classes under the G.I. Bill and started his journalism career working in public relations for Frankford Arsenal. He was later the public relations director for the Opportunities Industrialization Center and in 1981 he retired as the manager of consumer relations for the FDA's Philadelphia branch office. Lockett's freelance writing appeared in Reader's Digest as well as the Philadelphia Inquirer. That obituary stated that Lockett founded Pride Publications in 1965 for the purpose of creating this magazine. The obituary also stated the magazine was issued through the 1970s, mentions a January-February 1970 issue and we offer the May-June 1970 issue below. The obituary also contains a quote from an unnamed Black writer that PRIDE was “the first Philadelphia magazine devoted to highlighting the positive contributions of the African-American community here in the Delaware Valley.”
Garden City, NY: Garden City Publishing Company, Inc., [1932]. xi, 386 pp. Illustrated. Hardcover cloth, light shelfwear, faint dampstaining to bottom edge of boards, in lightly edgeworn and moderately soiled dust jacket. Faint dampstaining to bottom edge of first 15 pp., internally clean. Owner inscription of John Knox dated November 15, 1934 and note in the same hand (recording Holmes's death, dated March 6, 1935) to front pastedown, photo of Holmes and Knox laid in (formerly tipped onto front free endpaper, small piece of tape adhered to photo), annotation (a quotation from "The Soldier's Faith" by Holmes) to rear pastedown, unrelated notecard laid in. $500. * This was the first biography of Holmes. John Frush Knox [1907-1997], a correspondent of Holmes, clerked for Supreme Court associate justice James McReynolds from 1936-1937. He was an avid diarist and produced a 978-page manuscript documenting his time with Reynolds, one of the earliest memoirs of a Supreme Court clerk. The work was published posthumously as The Forgotten Memoir of John Knox: A Year in the Life of a Supreme Court Clerk in FDR's Washington (2002).
New York: Currier & Ives, [1865]. Color print, 11-3/4" x 15-1/2" [by sight]. A black man, newly freed from slavery, kneels at Lincoln's feet, his shackles broken. He kisses Lincoln's hand. His wife and babies stand behind him. Lincoln's right arm is raised and pointing heavenward. Light uniform toning, but brightly colored. Two blank margin tears at lower right corner, one blank margin tear at upper left corner. Framed in wood [a few small dings] to overall size 16" x 20." Very Good.
"This commemorative print was issued soon after the assassination of President Lincoln to comfort his supporters. The semi-allegorized representation portrayed the former president as the emancipator of enslaved African Americans, guided by divine principles" [Description online at The Met].
Entering Richmond in 1865, Lincoln was met by many former slaves who kneeled before him. Lincoln told them to stand and thank God, not Lincoln, for their freedom. A decade later the Colored People's Educational Monument Association, headed by the African-American abolitionist Henry Highland Garnet. created a memorial to Lincoln. The result was a sculpture, erected in 1876 in Lincoln Park near Capitol Hill, depicting a supplicant slave and a towering Lincoln. Known as the Emancipation Memorial, or the Freedmen's Memorial, it generated some contemporary criticism for its depiction of the inferior position of the black man.
Offered by David M. Lesser, Fine Antiquarian Books and found in "Black History Month."
Boston: Little, Brown, and Company, 1929. Revised Edition. Hardcover. 184 pages. 19.5 x 13.5 cm. Capturing the societal norms and dining customs of the early 1900s, this book was published as both a training manual for anyone working in the service industry. By the early 1900s, many households and food establishments were hiring women, from many different backgrounds, to work within homes and businesses. This book provided detailed instructions on serving techniques, table setting, and proper etiquette, emphasizing the importance of professionalism and personal hygiene. Focusing on the role of education and skill, this book highlighted the respectability of a trained professional - elevating the status of a waitress. Interior and boards pristine. Dust wrapper heavily rubbed with some chips. Covered in protective mylar. Green illustrated cloth covered boards. Fine, in good dust wrapper.
(NY), Bernard Geis, (1962). "The Unmarried Woman's Guide to Men, Careers, the Apartment, Diet, Fashion, Money and Men." (Yes, "Men" twice.) Advice from the long-time editor-in-chief of Cosmopolitan (1965-1997), published three years after she became a married woman, at age 37. The book became a bestseller and the basis for a 1964 film with a screenplay by Joseph Heller. It dared to separate sex from marriage and (two years after FDA approval of the pill) from motherhood, while still remaining enthralled by subservience to male desire. This copy is inscribed by Brown: "For Wayne Thomas/ I can't think of anyone I'd rather be taken off the air with! Thank you for such a happy interview/ Love/ Helen Brown." Thomas was the off-camera announcer for the Hollywood edition of The Million Dollar Movie on KHJ TV; decades prior, Brown's first job was answering fan mail for the radio station KHJ. A fine copy in a very good, lightly rubbed dust jacket with modest edge wear. The epitome of second wave feminism. Uncommon in the first printing, let alone signed and with a good association.
NY: Dell, 1949. Paperback. First Edition. Wraps some light rubbing, faint scratch ner top of front, minor wear to the extremities, else very good with a straight, uncreased spine. Classic marijuana cover. Very good.
Offered by Kenneth Mallory, Bookseller and found in "Dell Mapbacks."
MEXICAN ILLUSTRATED BOOKS. 50 YEARS OF ILLUSTRATED BOOKS PUBLISHED IN MEXICO -- catalog available to institutional buyers by request from mmbooks@comcast.net
Illustrated Catalog on Carlos Merida (1891–1984) -- Mexican painter, sculptor, writer and graphic designer -- available by request from mmbooks@comcast.net
Châlon sur Sa ône: chez Antoine Delespinasse Marchand Libraire [ca. 1714 -1727].
12mo (142 x 78 mm). 10 pp., [1] leaf. Woodcut printer’s mark on title, type ornament headpiece, verso of final leaf with two further woodcut devices (recto blank). (First and last leaves slightly soiled.) Partly untrimmed, two deckle edges. 19th -century half hard-grain morocco, title gilt-lettered along spine (rubbed, cracks in covers).
AN ANONYMOUS DEFENSE OF THE SUPERIORITY OF WOMEN, impressively wide-ranging in its ten pages. Citing the Bible and the Church Fathers as well as classical philosophers, the author claims that women are more saintly, more beloved to God, more heroic, more beautiful, cleverer, more diligent, kinder, more rational and more peaceful than men. The erudite author opens with Genesis, arguing that the Biblical names for man and woman imply the former’s lesser nobility, as the word for man is derived from “dead and inanimate earth” (Adam, which literally means “red,” derives from adamah, ground or earth), while woman “was taken from the living substance of man, and her name bears the meaning life” (the Hebrew name for Eve, Chavah, means living one or source of life). This daring polemicist affirms that men are more at fault for the arrival of sin in the world, since the grace brought into the world by the Virgin outweighed Eve’s error; moreover since a woman was the Mother of God, while no man can claim His paternity, “the glory of her sex is infinitely higher than that of men” (p. 6).
Vincenzo Maria Coronelli compiled this unique planisphere at the pinnacle of his illustrious career, combining the best geographical knowledge with the finest cartographic traditions. Coronelli’s gorgeous map reflects how cartographers grappled with a vast intermix of geographical knowledge and myth produced during the apex of global exploration.
Among the many elements that make Coronelli’s maps so important and collectible was his direct access to the latest French sources. This made him far more confident about inserting new features and pushing cartographical boundaries in his maps. These maps are no exception. Other appealing features include the decorative borders that enhance the aesthetic appeal and reflect Coronelli’s interest in astronomy and its relation to geography. This Old World map includes coordinates and descriptions of specific zodiacs along the outer rim of the chart, along with a triple band of latitudinal coordinates and meridians to complete the composition.
The map was created for Coronelli’s prestige project, the Atlante Veneto (1691), which he designed as a continuation of Willem Blaeu’s groundbreaking Atlas Maior. It was compiled in 1690, as indicated in the atlas’ frontispiece, but was not published until the following year. In addition to the compendium of geographical and scientific knowledge, the Atlante included an essential treatise on globe-making. Coronelli based this planispheres on his large globe gores from 1688 (Shirley 537), which presented the world from a distinctly Italian perspective.
Catalog 53 -- featuring Fine Books and Manuscripts from 1641 to 1930, with special emphasis on High Spots in English and American Literature, Fine Bindings, Illustrated Books, 1890’s, Press Books and early, scarce children’s books.
Paris: L. Conquest and L. Carteret, 1905. 8vo, 8 1/2 x 5 1/2 inches. Finely bound by Captain Gladstone in full green crushed morocco with exquisite all-over gilt design on both covers, four large triangular inlaid blue morocco pieces to each corner with half-moon gilt-tooled patterning, center with blossom and vine motifs, with two circular blue morocco inlaid pieces. Wide dentelles with similar patterning and two inlaid pieces, blue silk moiré doublures. TEG, signed CEG in gilt, front dentelle. Colored engraved title and illustrations by Leon Lebegue, with added duplicate uncolored plates bound in. This copy issued to ‘Monsieur le Dr Rivet’ signed ‘L C’ [ L. Carteret, the publisher], red card paper wrappers bound-in, in place. Near fine, with slight even sunning to spine.
Offered by Nudelman Rare Books and found in "Catalog 53."
New Orleans, Louisiana, March 4, 1808. Letterpress funeral invitation, 9 1/2 x 7 in. (24 x 18 cm). English and French text in parallel columns, surrounded by decorative frame. Woodcut devices in margins around frame. Old folds, some ink smudging, docketed on verso. About fine.
John Ward Gurley was struck dead in New Orleans on March 3, 1808, at the tender age of twenty-nine. At the time of his death, he was serving as attorney-general for the newly established Territory of Orleans, as registrar of the land office, and as aide-de-camp to the governor, William C. C. Claiborne, who had appointed the young man--holding a degree from Yale--attorney general four years earlier. By most measures, Gurley’s future in frontier politics, and perhaps even at the national level, seemed preordained. Yet to his constituents in New Orleans, among whom he was as well known for his hot temper and quickness to duel as for his political acumen, it must have come as no surprise when pistol and ball sent him to his grave. Early the next day, his parents and friends issued a hastily printed notice in English and French, inviting guests to the funeral at four that afternoon, adding that “The corpse is deposited at the house of Wm. Simpson, Esq., Dauphin street [son Corps sera exposé chez M. Wm Simpson, rue Dauphine].” This remarkable imprint is surely among the most haunting such notices in the genre, especially for its time and place. It also appears to be the earliest surviving specimen of New Orleans job printing.
Offered by Primary Sources, Uncharted Americana and found in "Catalogue 8" (item #4).
First edition, first printing of Ephron's final published book, a delightfully candid collection of twenty-three personal reflections. Signed by Ephron to the title page.
New York: Alfred A. Knopf, 2010. Publisher's original blue paper-covered boards; pp. ix, [1], 137, [5]. A near find copy in a near fine, unclipped dust jacket showing just traces of shelfwear. Very presentable, protected in archival mylar.
London: Published by His Majesty's Royal License and Authority. For John Fielding...and John Jarvis, 1785-1786.Stock Code: 58704
One of the basic contemporary histories of the American Revolution, this detailed narrative was compiled largely from newspaper articles and the proceedings of the House of Commons. It is illustrated with portraits of principals such as Washington, Clinton, Greene, Cornwallis, Burgoyne, Lafayette, Captain Asgill, and Count D'Estaing. The maps show the North American colonies as far west as the Great Lakes and the Mississippi River, the English Channel, the West Indies, and other hot spots of the time in Europe and elsewhere. This set bears the contemporary ownership signature of John Parkinson, dated 1786, on the front flyleaf of each volume. Though he owned this set contemporaneously with its publication, Parkinson is not listed among the original subscribers.
Four volumes. [2],448; [2],449 [i.e. 447]; [2],445; [2],416,[59],[v]-xiv pp., plus twenty-four plates, six folding maps, and one single-page map (maps partially handcolored). Engraved titlepages. Contemporary tree calf, gilt-tooled border, spines gilt, gilt inner dentelles, marbled endpapers. Each volume lacking its leather labels. Boards lightly rubbed, worn at spine ends and corners, rear board of first volume detached but present; front hinge of third and fourth volumes loosening. Contemporary ownership signature on the front fly leaf of each volume. Clean internally. Very good overall. Each volume in a folding paper chemise, the whole set in a green cloth slipcase, gilt leather label.
New York: Daniel Wilson Productions, [1989]. Vintage original film script, 11 x 8 1⁄2" (28 x 22 cm), 102 pp. The name of Cynthia Greenhill is written on the title page. She worked on a couple of other films in this era, but is not included in this film’s credits. The front page notes that this draft includes revisions from 1/17/[89] on pink paper and revisions from 1/24/[89] on blue paper. This example of the script does incorporate those dated revisions, but the entire script is printed on white paper. Printed wrappers, brad bound, a few pages with light marginal spotting, overall near fine.
The completed film does not represent screenwriter Harold Pinter’s original vision for this adaptation of Margaret Atwood’s dystopian novel. When director Volker Schlöndorff took over the film’s direction (which had originally been assigned to Karel Reisz) and requested rewrites, Pinter suggested he enlist the original author and she, among several other people, were responsible for the final shooting script. However, only Pinter received screen credit for the script in the released film. Thus, this original Harold Pinter screenplay draft—never published—Is of tremendous value to scholars or fans of Pinter and his work. And, of course, any adaptation of Atwood’s feminist classic is of enduring interest.
Offered by Walter Reuben, Inc. and found in "Catalog 55."
2020. Limited Edition, #406/425. Certificate of Authenticity is included. In Very Good condition with minor wear to corners. Print measures 24 in. x 36 in.
New York: Criterion, [1934?]. Folio (40.5 cm). Yellow cellophane sheet + 22 ff, each illustrated with generous description and promotion text on bottom portion. Original black wrappers with silver-stamped front cover as well as die-cut center square showing the inside title. Overall, a very good copy.
A truly extraordinary, well-illustrated document—every leaf a virtual sales presentation or poster-- in which the Criterion Advertising and Merchandising Service describes how it can help a company reach the Heart of the American Market—which for Criterion was literally the Main Street of Anytown, USA [see this catalogue’s cover illustraton]. Much discussion on the Heart of this market—the Home Neighborhood— and on the key decision makers, especially the Housewife, the “Guardian of America’s Pocketbook” [see this catalogue’s front cover]. Much of Criterion’s sales thrust is through its own designed and printed Three-Sheet Posters, with many samples shown here (as well as a scene of its printing shop and lithographic presses. Overall, this is a truly bold production to be presented in the middle of the Great Depression. The layout of each sheet here act as subtle examples of Criterion’s skill in applying message and design. Of course, within ten years, the make-up of the market space (storefronts) as well as the customer-base would change forever. Ninety years later, the America of today—especially Main Street—looks nothing like the once vibrant commercial centers shown and discussed here, gutted by the Interstate Highway system, big-stores [eg. Walmart, Dollar General] located outside of the Center, the flight from urban neighborhoods... well, and other real factors! No copies located in OCLC, which however records another brochure from the firm, Criterion Service: a medium of reminder advertising (1926) at Duke.
[Dickens, Charles. 1812 - 1870]. Grego, Joseph - Editor.
London: Chapman & Hall, 1899. 1st edition. 2 volumes: 493, [3]; 507, [5] pp. 350+ illustrations. Crown 8vo. 8" x 5-5/8". Original green cloth bindings with gilt lettering/cover device. TEG. VG+ (gilt bright/bpt/minor foxing, primarily to end leaves). Item #283.4 Bibliography of Pickwick's illustrations, English & American, from 1837 to 1899. Somewhat scarce title.
Camden, NJ: Hunt Pen Co., 1956. 22.8x15.2cm: 96pp. 17th Edition. Color printed stapled wrappers. Light wear to edges and spine with a smoothed out crease to lower front corner. Small ink stain to inside of front wrapper. Pages lightly toned. Bi-fold advertisement for speedball pens laid-in. Better Than Very Good. A graphically interesting instructive guide to lettering styles and advertising design with eight pages in full color.
Originally published 1830, this was Benjamin’s fourth and vastly most popular work. This was the key book in introducing the Greek Revival to the New England countryside, as well as to the states in the mid-west. Hitchcock 130. 4to, modern (but not brand new) full cloth. 119 pp. with 64 engr. plates. With occasional scatered light foxing. Signed on front fly: “Thomas Lakey’s Bot 1 Mo 1854.”
Offered by Charles B. Wood, Bookseller and found in "Catalogue 201."
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