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1931ST20201Waltham St. Lawrence: Golden Cockerel Press 1931. No. 352 OF 500 COPIES the first 12 on vellum. 343 x 241 mm. 13 1/2 x 9 1/2". 1 p.l. 268 2 pp 1 leaf colophon. <br/> Original white half pigskin and buckram sides by Sangorski & Sutcliffe stamp-signed on front pastedown raised bands top edge gilt other edges untrimmed. ILLUSTRATED THROUGHOUT with four large wood engravings on section titles and scores of striking large and small woodcut illustrations decorative elements and initials BY ERIC GILL. Printed on Batchelor handmade paper. The front pastedown with the engraved armorial bookplate of Albert and Constance Ramsay-Cohn the bookplate of Louis W. Black and the bookplate of "Downsland Court Ditchling Sussex." Chanticleer 78; A Century for the Century 26. Buckram boards somewhat freckled as usual very faint printer's smudges in one margin otherwise A VERY FINE COPY the pigskin--almost always found soiled and/or damaged--quite clean and pleasing and virtually pristine internally.<br/> <br/> This is an especially appealing copy of the chief work produced by one of the foremost English private presses. One of Eric Gill's outstanding achievements as an illustrator and one of the Golden Cockerel Press' great books the "Four Gospels" has been called by Franklin the finest of all private press books printed between the wars. The success of the work has much to do with Gill's ability to create a harmonious integration of woodcut illustration and typography his Golden Cockerel typeface one of the most important ever cut specifically for private use is introduced here. At the same time that the work achieves an aesthetic balance it also takes risks with the emotional nature of the woodcuts and with its unjustified page layout. As Franklin observes Gill's "pictures beautifully explain their letters as leaves spring from branches. This work is a wonderful extension of typography." Founded in 1920 with the intention to print fine editions of important well-known books as well as new literary works of merit from young authors the Golden Cockerel Press was purchased in 1924 by the illustrator and wood-engraver Robert Gibbings. "Under his direction" says Cave the Press was "transformed into the principal vehicle for the renaissance of wood-engraved book illustration" up until the beginning of World War II. In addition to doing wood engravings himself Gibbings employed a stable of eminent artists including among others Gill John Nash John Farleigh David Jones Eric Ravilious and Blair Hughes-Stanton. Our copy has been owned by two notable collectors and scholars of illustrated books. An early owner was British art historian Albert Mayer Cohn who wrote the catalogue raisonné of George Cruikshank's work. Later the volume passed into the hands of Boston collector Louis W. Black whose Aldine-related bookplate was designed by celebrated wood-engraver Leonard Baskin 1922-2000. Regarding the other bookplate here we have been unable to trace exactly who resided at Downsland Court in Ditchling but it is worth noting that Gill's Sussex artist's community was centered in Ditchling where he lived from 1907-24; it is certainly possible that our copy belonged to someone associated with this group. Golden Cockerel Press unknown
1922204721922. Full Limp Red Calf. Slipcase -- marbled paper pastedown on all sides other than opening. Chemise or inner folder -- thick glossy card stock all sides other than that has red calf with title label. Emily Swinton. Magnificent illuminated manuscript version of the Rubaiyat or some verses from the Rubaiyat. The illuminated borders are singular -- their design is unlike that we are familiar with and not even vaguely similar to anything we have ever seen produced by a latter-day illuminator professional or amateur. Their tracery is of blues greens reds some yellow in a few instances and not least the all important gilt. The illuminator surely was paying homage to some Islamic and Persian illumination in her palette but overall these sources are but influences; the illuminations are far from merely imitative. The design pulls you in and as one gazes longer one will discover small figurative imagery woven into the lines and swirls of the larger ornamentation. Words are beyond us to come close to capturing their complexity and character -- our photos hopefully will impart something of that. Let us just say the colors are deep and bold. Within these extraordinary borders is the calligraphic text rendered in a stunning easily legible Gothic Fraktur script. And there are four dream-like miniature watercolors as well of scenic Persian villages. N.d. circa early 1920s. 4to. 28.5 by 19 cm. Unpaginated 14 leaves with illumination -- illumination on one side. The back side of the leaf then left blank. Tissue guards for each page with illumination. The first leaf has no text -- it is a rectangular abstract design suggestive perhaps of a spectacular rug and inspired by such illuminated painting as one finds in many an antiquarian Koran. The next leaf is the title page with the words appearing to float on the page. The lettering has a distinctive verticality and the gilt letters are both clearly the letters they are supposed to be but have an abstraction that one can imagine they are Arabic script as well. The last two leaves with a more restrained formalistic illumination has evenly spaced dome-shaped pointers as one finds in Koranic decoration to highlight important passages. The binding slipcase and chemise are functional but don't really do the contents justice. Other than some crease marks on the calf and light wear overall to these protective features the binding and slipcase present no issues. unknown
1903ST19464Boston: Privately Printed by Nathan Haskell Dole 1903-05. No. 2 OF 26 COPIES OF THE HELLENIC EDITION printed on Royal Japanese vellum. 230 x 165 mm. 9 x 6 1/2". 10 volumes. <br/> SUPERB CONTEMPORARY INDIGO CRUSHED MOROCCO GILT AND INLAID covers with gilt rule border central panel framed by 20 inlaid lighter blue morocco tulips interspersed with tiny gilt stars raised bands spine with three panels inlaid with sprays of dark red and citron morocco tulips and lilies accented with small tools two panels with gilt titling SKY BLUE MOROCCO DOUBLURES featuring an indigo morocco frame inlaid with red morocco lilies at corners central panel inlaid with eight teal morocco tulips and a large red morocco lily on graceful gilt stems a sprinkling of gilt stars above them ivory watered silk free endleaves all edges gilt. LAVISHLY ILLUSTRATED by artists including A. G. Learned and E. F. Bems with decorative frame on limitations and title pages NINE FRONTISPIECES 97 HEADPIECE VIGNETTES 95 DECORATIVE TAILPIECES AND 269 THREE-QUARTER FRAMES ALL HAND COLORED and 675 black & white three-quarter frames. With engraved bookplate of George Clinton Ward on front flyleaf most now loose. Spines with just a hint of dulling a whisper of shelfwear to a couple of volumes isolated small marginal smudges from the printing process but A VERY FINE SET WITH VIRTUALLY NO SIGNS OF USE.<br/> <br/> This superb set features English translations of important Classical texts handsomely printed on Japanese vellum extravagantly illustrated and sumptuously bound. It contains "The Wisdom of Marcus Aurelius" "The Eclogues of Vergil" "Sayings of Epictetus" "Selections from Gesta Romanorum" "Odes of Anacreon Anacreontics and Other Selections from the Greek Anthology" "The Satires of Horace" "The Story of Odysseus in the Land of the Phacians Being the Sixth and a Part of the Seventh Book of the Odyssey" "Selections from Aristophanes and Lucian" "The Olympic and Pythian Odes of Pindar" and selections from the Koran translated by George Sale. The project was undertaken by writer translator and editor Nathan Haskell Dole a popular member of the Boston literary set. Educated at Philips Andover and Harvard he was much influenced by family friends like Henry Wadsworth Longfellow and Oliver Wendell Holmes Sr. He showed an early facility for languages teaching himself to read French German Greek and Latin. Our set was designed by Dole to be the crown jewel of a library combining beauty and luxury with Classical erudition. The bindings here are unsigned but are very similar to those on a copy of this work in the Phoebe Boyle sale bound by the Adams Bindery. Ralph Randolph Adams was along with Henry Stikeman and a handful or others one of the great American art bookbinders of his era. His workshop produced bindings of notable beauty and craftsmanship. The New York Times 11 October 1902 described an Adams binding as "so exquisite in design and execution that those long skeptical of the ability of Americans to bind artistically should now be convinced of their error. . . . It is to be hoped that all American binders will be encouraged to strive toward producing designs like Adams' that are in a measure original and which show more of the individual touch of the artist.". Privately Printed by Nathan Haskell Dole unknown
1946TV253828Pierre Matisse Editions New York 1946. 1st Edition. HARDCOVER. This copy is inscribed and signed by Yves Tanguy with an accompanying small but intricate ink sketch. This is one of a tranche of un-numbered copies given to Tanguy for complimentary distribution there a total of only 1200 numbered copies for sale. Large 4to. in textured paper covered boards with grey on black printed spine and black on grey printed covers. 94pp on thick stiff paper tipped-in colour frontispiece plus one other tipped-in colour plate 36 full page b/w illustrations and numerous small line drawings in text. Dual text in French and English. This was the first significant monograph on Tanguy __CONDITION : Covers slightly dusty and tanned 2cm chip to head of spine spine edges lightly rubbed page-block edges slightly tanned contents very clean and tight. Overall VERY GOOD. Comes housed in a custom made sturdy cloth covered solander case. __NOTE Due to size and/or weight shipping will cost more than the price shown above. Orders made by card will only be completed after you have approved the extra cost. . To see more of our Art Monographs etc type DbbARTIST in the Keywords search box __We always ship in PROTECTIVE CARD PARCELS Pierre Matisse Editions, New York hardcover
19356911935 - reliure - Sanjian Shuwu 三閒書屋 - Yinyu ji 引玉集 (« Recueil pour attirer le jade ») 木刻五十九幅 - Deuxième tirage, avril 1935 - In-8 (19,5 × 15,5 cm) reliure cartonnée de l'éditeur, dos noir, pièce de titre contrecollée sur le premier plat - 68 pages - 59 reproductions de gravures sur bois soviétiques imprimées au procédé collotype (珂羅版) d'après les tirages originaux fournis par les artistes - Comprend un texte de Chen Jie (陳節), traduction abrégée d'un essai de A. D. Chegodaev consacré à la gravure soviétique contemporaine - Tirage limité à 215 exemplaires, dont 15 exemplaires hors commerce - Diffusion assurée par la librairie Uchiyama (內山書店), Shanghai - Ouvrage en chinois - Avec des œuvres de Dmitri Isidorovich Mitrokhin, A. Kravchenko, N. Piskarev, Vladimir Andreevich Favorsky, P. Pavlinov, A. Goncharov, M. Pikov, Sergei Mikhalovich Mocharov, L. Khizhinsky, Nikolai Vasilievich Alekseev et Sergei Mikhailovich Pozharsky - A PROPOS : Rare anthologie consacrée à la gravure soviétique moderne, publiée à Shanghai par 三閒書屋 et diffusée par la librairie Uchiyama (內山書店). L'ouvrage réunit cinquante-neuf reproductions en collotype de gravures sur bois réalisées par plusieurs figures majeures de l'école russe et soviétique de la gravure des années 1920-1930, parmi lesquelles Vladimir Favorsky, Dmitri Mitrokhin, Alexei Kravchenko et Pavel Pavlinov. Accompagné d'une traduction abrégée par Chen Jie d'un essai de l'historien de l'art soviétique A. D. Chegodaev, ainsi que d'une préface, d'un catalogue des planches et d'une postface, le volume fut conçu comme une introduction à l'estampe contemporaine soviétique pour le public chinois. Témoignage remarquable des échanges artistiques sino-soviétiques dans le Shanghai républicain des années 1930, il s'inscrit dans le contexte du mouvement de la Nouvelle Gravure (新興木刻運動), alors en plein essor sous l'influence des milieux intellectuels de gauche et des réseaux culturels gravitant autour de la librairie Uchiyama et de la figure de Lu Xun. Les reproductions furent réunies à partir de documents et publications soviétiques découverts au début des années 1930, notamment par l'intermédiaire de la revue Graphika. /// ENGLISH: Sanjian Shuwu (三閒書屋) - Yinyu ji (引玉集, “Collection to Draw Forth Jade”): Fifty-Nine Woodcuts (木刻五十九幅) - Second printing, April 1935 - Octavo (19.5 × 15.5 cm), publisher's boards with black spine and mounted title label on upper cover - 68 pages - 59 collotype (珂羅版) reproductions of Soviet woodcuts printed from original impressions supplied by the artists - Includes a text by Chen Jie (陳節), an abridged translation of an essay by A. D. Chegodaev on contemporary Soviet printmaking - Limited edition of 215 copies, including 15 non-commercial presentation copies - Distributed by Uchiyama Bookstore (內山書店), Shanghai - Text in Chinese - Featuring works by Dmitri Isidorovich Mitrokhin, Alexei Kravchenko, Nikolai Piskarev, Vladimir Andreevich Favorsky, Pavel Pavlinov, Aleksandr Goncharov, Mikhail Pikov, Sergei Mikhailovich Mocharov, Leonid Khizhinsky, Nikolai Vasilievich Alekseev and Sergei Mikhailovich Pozharsky. ABOUT: Rare anthology devoted to modern Soviet wood engraving and printmaking, published in Shanghai by Sanjian Shuwu and distributed through Uchiyama Bookstore (內山書店). The volume gathers fifty-nine collotype reproductions of woodcuts by several leading figures of the Russian and Soviet printmaking revival of the 1920s and 1930s, including Vladimir Favorsky, Dmitri Mitrokhin, Alexei Kravchenko and Pavel Pavlinov. Accompanied by Chen Jie's abridged translation of an essay by Soviet art historian A. D. Chegodaev, as well as a preface, plate catalogue and postface, the work was conceived as an introduction to contemporary Soviet printmaking for Chinese readers. A remarkable testimony to Sino-Soviet artistic exchanges in Republican-era Shanghai, it belongs to the context of the New Woodcut Movement (新興木刻運動), then flourishing under the influence of left-wing intellectual circles and cultural networks associated with Uchiyama Bookstore and the figure of Lu Xun. The reproductions were assembled from Soviet books, periodicals and documentary sources discovered in the early 1930s, notably through the journal Graphika. /// 中文：三閒書屋出版 — 《引玉集：木刻五十九幅》 — 1935年4月再版 — 32開（19.5 × 15.5厘米）精裝本，黑色書脊，封面貼書名籤 — 68頁 — 收錄蘇聯木刻作品59幅，以珂羅版工藝依據藝術家提供之原拓本複製印製 — 附陳節摘譯 A. D. Chegodaev（契戈達耶夫）論蘇聯現代版畫藝術之文章 — 限印215部，其中15部為非賣贈送本 — 上海內山書店代售 — 中文版 — 收錄 Dmitri Isidorovich Mitrokhin、Alexei Kravchenko、Nikolai Piskarev、Vladimir Andreevich Favorsky、Pavel Pavlinov、Aleksandr Goncharov、Mikhail Pikov、Sergei Mikhailovich Mocharov、Leonid Khizhinsky、Nikolai Vasilievich Alekseev 及 Sergei Mikhailovich Pozharsky 等藝術家作品。關於本書：本書為三閒書屋於上海出版、由內山書店代售之珍稀蘇聯現代木刻版畫選集。全書收錄59幅以珂羅版精印之蘇聯木刻作品，作者均為1920至1930年代俄羅斯及蘇聯版畫復興運動的重要藝術家，其中包括弗拉基米爾·法沃爾斯基（Vladimir Favorsky）、德米特里·米特羅欣（Dmitri Mitrokhin）、阿列克謝·克拉夫琴科（Alexei Kravchenko）及帕維爾·帕夫利諾夫（Pavel Pavlinov）等人。書中除收錄陳節摘譯之蘇聯藝術史家 A. D. Chegodaev 論文外，尚附序言、圖版目錄及後記，旨在向中國讀者介紹蘇聯當代版畫藝術。本書不僅是研究俄蘇版畫的重要文獻，亦是1930年代上海中蘇藝術交流的珍貴見證。其出版背景與中國新興木刻運動（新興木刻運動）密切相關，反映了左翼知識界、內山書店文化網絡以及魯迅所倡導之版畫思想的深遠影響。書中圖版主要彙集自1930年代初傳入中國之蘇聯書籍、期刊及藝術資料，其中包括《Graphika》等重要出版物。
1926ST20084Waltham St. Lawrence: Golden Cockerel Press 1926. No. 48 OF CLXXV COPIES. 258 x 195 mm. 10 1/4 x 7 3/4". 15 3 pp. <br/> Understated black crushed morocco by J. Franklin Mowery stamp-signed "JFM 94" on rear turn-in wraparound design of blind-stamped L-shaped panels of intersecting lines smooth spine with vertical gilt lettering leather hinges edges untrimmed. Original illustrated upper cover of dust jacket repaired at one corner bound in at rear. In a matching morocco-lipped slipcase. Title page with large woodcut of the risen Christ four large vignettes in the text four pictorial half borders and four full-page woodcuts all by David Jones printer's device in colophon. Front pastedown with bookplate of Jan van der Marck. Chanticleer 40. A pristine copy.<br/> <br/> This is a wonderfully--if understatedly--bound copy of one of the most strictly limited Golden Cockerel Press productions. The binding is the work of J. Franklin Mowery retired Head of Conservation at the Folger Shakespeare Library and past president of the Guild of Book Workers. Mowery studied bookbinding under Professor Kurt Londenberg at the Staatliche Hochschule für bildende Künste Academy of Art in Hamburg and trained as a paper conservator under Otto Wächter in Vienna before returning to the U.S. to work at the Huntington Library. According to his article "A Binder's Training" Guild of Book Workers' Journal XX 1981-82 the blind-stamping technique seen here was "particularly favored by Professor Londenberg" and often employed by Mowery for the range of design possibilities it offers. The method uses dies to stamp the patterns: "a photographic process can transfer any black and white image onto zinc plates that are deeply etched and mounted onto type-high metal blocks for heated impressions or onto wood for cold embossing." Mowery stated that lines of the design here represent the driving rain of the storm that struck Jonah's ship. Founded in 1920 with the intention to print fine editions of important well-known books as well as new literary works of merit from young authors the Golden Cockerel Press was purchased in 1924 by the illustrator and wood-engraver Robert Gibbings. "Under his direction" says Cave the Press was "transformed into the principal vehicle for the renaissance of wood-engraved book illustration that took place in the years between the wars." In addition to doing wood engravings himself Gibbings employed a stable of eminent artists including among others Eric Gill Blair Hughes-Stanton John Nash John Farleigh Eric Ravilious and David Jones. The memorable woodcuts are the work of Jones 1895-1974 who had a brief but impressive career as an illustrator before eye strain forced him to abandon engraving in 1930. In his published study of Jones' work Douglas Cleverdon says that in the short time Jones was engraving "he produced a remarkable amount of work of great variety; some witty some mystical; some boldly cut some delicately shaded; some simple to print some virtually impossible. Although he never attained . . . the greatest technical mastery in the conventional sense his prints are nearly always distinguished by their excellence of design personal commitment and absolute individuality." Our binding was commissioned by collector and self-described "radical" museum administrator Jan van der Marck 1929-2010 who championed artists that pushed boundaries--often to the consternation of the museum boards who employed him. Golden Cockerel Press unknown
1961AMO-4505London : George Allen & Unwin ltd. Boston : Houghton Mifflin Company. 3 vol. 8vo 9.0" x 6.0" inches (23 x 15,5 cm) 423pp, folding map ; 352pp, folding map ; 416pp, folding map. First edition. Later printings (12/9/8). The Fellowship of the Ring. First edition first published in July 1954. Twelfth impression 1962. The Two Towers. First edition first published 1954. Ninth impression 1962. The Return of the King. First edition first published, October 1955. Eight impression 1961. Printed in Great Britain in 11 on 12 point Imprint type by Jarrold & Sons Ltd, Norwich. Each volume with a folding map at the end printed in red and black, top edges stained red. Exquisite full dark blue morocco fine leather binding, gilt ruled covers with the gilt "Ring & Eye" design stamped on the both covers, spine with decorated 5 raised bands ans two red gilt lettered morocco labels in the second and fourth compartments, with intertwined "J.R.R.T." initials in the bottom compartment. The amazing quality of the binding in in the style of Sangorski & Sutcliffe in fine condition. Extremely rare and absolutely spectacular.
1924371052London: Nonesuch Press 1924. Deluxe edition one of 75 copies on Arnold unbleached rag paper no. XXXIV. First vol. printed ad hominem for H. Malcom Hubbard with ink note below "Transferred to Ion Buchanan Pritchard F. Meynell. Each volume with an engraved title page head piece and tail piece by Stephen Gooden. 5 vols. Folio. Full brown crushed niger by Best with gilt rule borders and spine relatively unadorned raised bands a.e.g. on the rough. Book ticket of Philip Duschnes. Ex-library with labels from General Theological Seminary Rare Book Room to front paste-downs of each volume. Faintest traces of rubbing to board edges spines of vols. I & 3 slightly darkened from smoke interior fine. GOODEN Stephen. Deluxe edition one of 75 copies on Arnold unbleached rag paper no. XXXIV. First vol. printed ad hominem for H. Malcom Hubbard with ink note below "Transferred to Ion Buchanan Pritchard F. Meynell". Each volume with an engraved title page head piece and tail piece by Stephen Gooden. 5 vols. Folio. One of the great early books of the Nonesuch Press and Stephen Gooden's second book commission after the Nonesuch Anacreon of 1923.<br /> The copies on fine paper were offered at 5 guineas bound in full niger or full vellum. The name of the subscriber was printed in the first volume; this copy printed for railway magnate H. Malcolm Hubbard bears a note from Francis Meynell recording the transfer to Ion Buchanan Pritchard another railway executive.<br /> Uncommon and attractive. Dreyfus 21 and 20. The Nonesuch Century 21 and 20. Ransom Selective Check Lists pp. 163-164 nos. 20 and 21. Rumball-Petre 125 "a beautiful work of a famous press". Tomkinson p. 136 nos. 19 and 19a Nonesuch Press unknown
1901T60<p><em>The Boke off the Revelacion off Sanct Jhon the Devine done into Englysshe by William Tyndale</em></p><p><strong>Summary: </strong>A noble private press production of William Tyndale's Book of Revelation under the direction of C.H. St John Hornby. The text follows Tyndale's 1534 translation preserving the language of the earliest printed English New Testament in a setting distinguished by clarity proportion and generous margins.</p><p><strong>Description: </strong>General title page 1587 with printer's device. Each of the four chapters begins within a decorative initial. Text presented in single-column Roman font. Outer margin contains cross-references and few notes. Includes two indexes Tables at the rear.</p><p><strong>Pagination: </strong>1250797 pp.</p><p><strong>Collation: </strong>par8 A4 B-Z8 Aa-Zz8 Aaa-Zzz8 Aaaa-Iiii8 -Iiii2-8. Textually complete lacking final six leaves of Tables and final blank leaf.</p><p><strong>Binding: </strong>Original limp vellum.</p><p><strong>Condition: </strong>Crisp and clean throughout.</p><p><strong>Provenance: </strong>Philip C. Duschnes Rare Books and bookplate of General Theological Seminary to pastedowns.</p><p><strong>Note: </strong>The Ashendene Press one of the great English private presses of the period alongside the Kelmscott Press and the Doves Press is celebrated for its stately typography and uncompromising craftsmanship. Of the press' 132 books nine were biblical in subject.</p><p>This book is printed on Ashendene paper made by Batchelor using Fell types on loan from Oxford University. This is the second book produced by the press and the first in two columns and with black an red throughout.</p><p><strong>References: </strong><em>The Privately Printed Bible</em> pp. 26-27.</p> Ashendene Press hardcover
196757805A human document, with an Introduction by Barbara Hannah, 8vo paperback, Schippert & Co, Zurich, s.d. [ 1967 ], XII-128 pp. with 12 original colored drawings under an envelope pasted on guard, and autograph text in flemish on 14 leaves (letters, poems) in another one. Full Tite : The healing influence of Active Imagination in a Specific Case of Neurosis [ Unique and exceptional copy with autograph manuscripts and 12 original drawings: Anna Marjula mystery solved ! ]
1992DEMO006065IStatesboro GA: The Boxwood Press 1992. First Limited edition. Hardcover. Fine. In a mahogany and copper scroll case with vertical slot and hidden crank handle; with a protective velvet cloth <br/><br/>Only 16cc.Remarkable bilingual presentation / re-interpretation of this Biblical work placing it in the the Reagan / Bush era. Illustrated with 16 color etchings by Bernard Solomon the translator and etcher. He realized there were remarkable parallels between the Biblical story of Esther and that of Anita Hill Clarence Thomas and the U.S. Senate Judiciary Committee. This interpretation unfolds sequentially as each leaf is unrolled from the 33 in. high scroll holder. The body of the scroll holder is one of the original copper plates used for the etchings which is why it is limited to an edition of only 16. The top and bottom of the handcrafted minaret-style case is finely shaped and polished mahogany by Anthony V. Mann. Designed with a hidden crank to rewind the scroll into the case. Altogether remarkable! The Boxwood Press hardcover
19522221650<p>Typed Letter Signed in the form of contract proposal from Victor Weybright at The New American Library of World Literature Inc. 501 Madison Avenue New York 22 New York Murray Hill 8-3470 May 9 1952. Addressed to Dylan Thomas c/o Mr. Oscar Williams 25 Water Street New York 4 New York. Very good.</p><p>Signed by Thomas at end and initialed twice by him noting hand corrections.</p><p>Contract for the purchase of the first part of Dylan Thomas' "Adventures In The Skin Trade."</p><p>Thomas was in New York on his American lecture tour having arrived on January 20th lecturing at Harvard U.C. Berkeley et.al.; leaving the U.S. on May 16th.</p><p>Oscar Williams born Kaplan 1900-1964 was a poet anthologist friend and promoter of Dylan Thomas. He occupied a penthouse at 35 Water Street and Thomas most likely stayed there when in New York.</p><p>Dylan Thomas contracts are uncommon on the market today.</p><p>See Dylan Thomas "The Collected Letters" 2000 ed pages 958-959 for a footnote detailing this contract and a related letter to Oscar Williams.</p> unknown books
1933ST15997Montgomeryshire Wales: Gregynog Press 1933. No. 37 OF 250 COPIES one of 110 in this binding accompanied by three additional plates on Japon EACH ONE OF 12 SIGNED BY THE ARTIST. 390 x 255 mm. 15 1/4 x 10". 15 leaves. <br/> Fine original dark slate blue Oasis morocco device in blind on front cover blind titling on front cover and spine. In the original paper slipcase somewhat worn and browned but sound. Wood engraved title with device and 21 wood engravings in the text five of them full-page chapter openings by Blair Hughes-Stanton and WITH THREE ORIGINAL SIGNED WOOD ENGRAVINGS ON JAPANESE VELLUM--"The Man Mourns I" 5/12 "The Man Mourns II" 4/12 and "Destruction" 5/12--attractively matted. Printed in blue and black on Japanese vellum; with an additional half-page engraving from chapter I laid in. Harrop 29; De Zilverdistel Cat. II 29; Hughes-Stanton 21. ◆A breath of fading to the spine negligible signs of wear to the binding but a fine copy with only trivial condition issues and the additional engravings pristine.<br/> <br/> This is in Harrop's words "one of the most spectacular books to come from this or any other press" our copy with the bonus of three limited edition wood engravings from the work signed by the artist. "Lamentations" was designed and illustrated by Blair Hughes-Stanton 1902-81 who studied at the school of Leon Underwood at Hammersmith and had a long and productive career producing sophisticated woodcuts as an avant-garde artist. Although he was encouraged to make his expressive sometimes even savage images look more like those of Eric Gill he resisted and successfully established his unique personal style as an illustrator. The three extra engravings here are excellent examples of his dramatic emotional technique; "The Man Mourns I and II" effectively convey overwhelming grief while "Destruction" inspires a feeling of impending doom. From 1930 through 1933 Hughes-Stanton worked for the Gregynog Press in Wales helping to design text layout providing woodcut illustrations and designing bindings. The press was founded in 1922 by two spinster sisters Gwendoline 1882-1951 and Margaret 1884-1963 Davies using a substantial inheritance from their industrialist grandfather; it produced 42 works between 1923 and 1942 eight of them in Welsh. Cave says that the books printed by the Gregynog Press "more than bear comparison with the work of any other private press" and "in the design and execution of bindings the Gregynog Press was far superior to any the Doves Press included.". Gregynog Press unknown
1962ST15876Frankfurt am Main: Ars Libri Verlag Gotthard de Beauclair 1962. No. 93 of 250 COPIES IN ENGLISH SIGNED by the illustrator and designer. 494 x 320 mm. 19 3/8 x 12 5/8". 40 pp. 2 leaves.Designed by Gotthard de Beauclair. <br/> FINE RED CRUSHED MOROCCO BY ROLAND MEUTER signed "R. Meuter Ascona" on rear turn-in upper cover with gilt lettering underlined with four gilt rules smooth spine with gilt titling leather hinges. In the original linen clamshell box backed with matching morocco. With 30 lithographs in the text by Gerhart Kraaz and one additional lithograph in a portfolio. ◆Slight discoloration from a bookmark in the lower gutter of colophon opening otherwise in perfect condition.<br/> <br/> Handsomely bound and beautifully designed and printed this very large folio first publication from the Ars Libri Press later called Ars Librorum exemplifies the kind of high quality work for which leading German publisher and book designer Gotthard de Beauclair was known. Beauclair 1907-92 began his career at Insel Verlag where he rose to art director and according to the Oxford Companion to the Book "turned inexpensive Insel books into collectors' items with excellent typography." He also founded three different publishing houses where he produced special limited editions that made full use of his excellent design and typographical skills. The present item is one such work recognized by the Association of German Book Artists as one of the most beautiful books of 1962. Gerhart Kraaz 1909-71 studied painting and worked as a graphic designer before becoming a serious book illustrator. The present title is considered his first major work in the realm of bibliophilic editions. His illustrations in charcoal are sensuous and shadowy capturing the romance and allure of the most beguiling Old Testament book. This edition in English appeared the same year as the German language edition but is much rarer--apparently the publisher cancelled a number of copies and very few ever made it to market. The binding characterized by an elegant simplicity is appropriate for the subject matter and for the stately large-format volume. Our binder Roland Meuter maintains an atelier in Ascona Switzerland where he continues to produce imaginatively designed bindings that attract considerable attention. Ars Libri Verlag, Gotthard de Beauclair unknown
1967wh5East Society 1967. 1st Edition. Soft cover. Very Good. the wraps are shelf rubbed and the bottom of the spine is a little worn. there are a few light marks. internally the book has no inscriptions and the binding is excellent. Our orders are shipped using tracked courier delivery services. East Society paperback
1956755j1601Mexico City Mexico: Culinary Arts Institute. Very Good with no dust jacket. 1956. Second Edition. Hardcover. Offers authentic recipes from every region of the Mexican Republic. Adapted for use in the United States Central and South America. Author 1899-1968 "was a Mexican cook researcher writer and teacher. She was a pioneer of Mexican gastronomy and an entrepreneur of Mexican cuisine." - Wikipedia. "Before Rick Bayless before Diana Kennedy Josefina Velázquez de León was the sage of the Mexican kitchen Mexico's original celebrity chef." - Lesley Tellez. "Between the 1930s and 1960s she published over 140 cookbooks ran a cooking academy and hosted TV and radio shows. She is the woman responsible for giving a national face to regional Mexican cuisine." - laplazala on Instagram. "Her most important book is her only bilingual work the 'Mexican Cook Book Devoted to American Homes' published in 1947. Decades later it remains a classic. In a clear approachable tone Josefina breaks down iconic recipes such as tomato-infused Mexican rice refried beans chilaquiles and mole poblano. She traveled throughout Mexico and collected home cooks' recipes into books unifying what was then a disparate collection of locally known dishes. No one has matched her output and zeal or done more to shape Mexican food's culinary identity." - Lesley Tellez. Our research suggests this example is a slightly renamed second edition of the 1947 first edition mentioned above. 10-320 pp. Detailed Table of Contents at back. Light wear to original dark cerulean cloth lettered and ruled in gilt. Binding intact. Contents uniformly tanned with age remarkably clean and unmarked. No dust jacket presumably as issued. A rare and wonderfully preserved example of this Mexican epicurean classic. 19.6 x 14.5 cm. Axford p. 269. ; Drawings; 8vo . Culinary Arts Institute hardcover
195359302Menu original format 16 x 10,5 cm, aux armes de la Reine Elizabeth, texte calligraphié du menu, rédigé en français : "Potage de Tomate à l'Estragon", "Truite de Rivière", "Poulet Reine Elizabeth ou Cornets de Jambon Lucullus", "Salades", "Galettes aux Fraises", "Roulade", "Mousse au citron", "Café. Friandises", "Moselle Brauneberger '43", 'Champagne Krug '45" / Original Coronation Luncheon Menu", 1953, with Queen Elizabeth coat of arms, size : 16 x 10,5 cm, Manuscript calligraphied text, with first mention of "Poulet Reine Elizabeth" and full text in french
1962306831<p>First edition so stated; "First Published 1962". Octavo. Original black cloth stamped in gilt. Dust jacket designed by Barry Trengrove unclipped; four short closed tears; a few nicks. Very good an attractive copy. 196 pages. First edition first issue in black cloth with "16s" price on the front flap and large margins on the jacket flaps.</p> Heinemann hardcover books
197884950Sao Paulo Brazil: Capa 1978. First Edition one of only 6000 copies. Hardcover. Very good/Good. Format is approximately 9 inches by 11.25 inches. 176 pages. Text is primarily in Portuguese with text in English starts at page 155. Illustrations many in color. DJ has wear soiling and some small tears and chips. Inscribed on the fep by the artist the subject of this work. Inscription reads Para Mrs. Anne Richardson com o abroco amigo do Ianelli S. P. dez 78. Stamp of Arcangelo Ianelli with address at bottom of fep. Arcangelo Ianelli July 18 1922 in São Paulo - May 26 2009 was a painter sculptor and illustrator from Brazil who was involved with an artistic group called Grupo Guanabara along with Manabu Mabe 1924-1997 Yoshiya Takaoka 1909-1978 and Tikashi Fukushima 1920-2001. Introduction by Aracy Amaral. Includes Form and Space in the colors by Juan Acha; On Paining and the Painter by Jacob Klintowitz; and An Imaginary Dialogue by Marc Berkowitz. Reviews Biographic Data Bibliography Chronology of the works. Biography of the author. Paulo de Tarso Mendes de Almeida São Paulo May 28 1905 - São Paulo 1986 was a Brazilian lawyer jurist poet writer and art critic. He graduated in Law class of 1931 from Faculdade do Largo de São Francisco he was state attorney until his retirement. However he stood out more in areas other than legal. He began his life as a writer with the publication of a book of poetry entitled Cartazes 1928. From the 1930s onwards he followed all the avant-garde movements that took place in São Paulo being one of the founders of the Sociedade Pró-Arte Moderna and the São Paulo Artistic Family. The arts always excited him and that's why he wrote chronicles about cinema in the Diário Nacional and later about plastic arts in several newspapers and literary magazines in São Paulo Rio de Janeiro Minas Gerais Pernambuco and even Argentina and Uruguay. His main work was the book which he entitled De Anita ao Museu. It is an indispensable work for anyone who wants to know the history of the modernist movement in São Paulo as the author attended and participated in most of the events he describes and does so with complete fidelity. From the beginning of the movement that is from the exhibition by Anita Malfatti in 1917 the narrated facts go through the years until arriving at the creation of the São Paulo Museum of Modern Art and the São Paulo Biennial recounting in fluent prose the events that occurred and its interesting characters. He held the positions of artistic director of the Museum of Modern Art of São Paulo in 1959 and 1960 secretary general of the Bienal de São Paulo and Brazilian commissioner of the XXX Bienal de Veneza in 1960. Capa hardcover
1958814A58Milano : La Rinascente 1958. First edition. Hardback. Very Good Indeed. 8" by 8" . Not Stated . A very scarce first edition study of Gio Ponti's work with industrial design text both in Italian and English. The first edition of this work. A very scarce study of the career and work of Gio Ponti Italian architect and designer who built over a hundred buildings in Italy and other countries as well as popular furniture pieces. The present volume was issued by La Rinascente in Milan for the award 'La Rinascente Compasso d'Oro' industrial design award founded in 1954 promoting quality in the field of Italian industrial design. With both Italian and English text translated by Maureen Thompson. With illustrations in text. Complete with slipcase. In the original publisher's binding over paper covered boards. Externally very smart with minor shelf wear spine and boards only lightly bumped some sunning to spine. Internally firmly bound. Pages bright and clean. With illustrations in text. Very Good Indeed La Rinascente hardcover
1925100676<p>New York and London 1925-1926. 1925-1926. Very good. - 1 An autograph letter 1 & 1/4 pages signed "Rosita Forbes". Writing from 28 Wilton Place London on May 23 1924 Rosita Forbes is concerned with her tax liabilities in England as a result of her just completed first American lecture tour. She addresses a Miss Smith of the Pond Bureau asking that should "British Income Tax people" inquire about her tour and her contracts with the Pond Bureau "please give no information of any sort but refer the questioners to us. Next time I come to U.S.A. I shall have to have a financial secretary to keep accounts!". She suggests she could return in October "but I don't want to arrive in America more than one day before my first lecture. Your country is too expensive."</p><p>2 A cablegram from Forbes dated May 9 1925: "AVAILABLE AMERICAN LECTURES FROM NOVEMBER FIRST OR EARLIER TILL MARCH CABLE CONFIRMATION."</p><p>3 A 3-page autograph letter 7 inches high by 4-1/2 inches wide "Rosita Forbes". Writing from 28 Wilton Place London on May 9 1925 Forbes addresses Pond stating that she has "always been ready to come out to U.S.A. by Oct. 30th. I cabled you to this effect yesterday.I sent you a quantity of press cuttings & a good Abyssinian dress picture a week ago. Now I send you some snapshots & a map with our complete route on it.I don't see how Weigall & I can clash because our subjects are so different.I hope this time you will save on railway fares!!!! Please try & arrange lectures in groups if possible! Macaulay is going to publish my Abyssinian book 'From Red Sea to Blue Nile' & also a novel 'Wings Aflame' in the autumn. Best of luck to us both!!!!" The title "Wings Aflame" may be a reference to her novel "If the Gods Laugh" published in 1925.</p><p>4 A retained carbon of Pond's cable dated May 13 1925: "NOVEMBER ONE TO MARCH SATISFACTORY CAN YOU REMAIN TO MARCH THIRTEEN HAVE ENGAGEMENT BOOK FOR NINTH"</p><p>5 A return cable from Forbes dated May 14 1925: "YES FORBES"</p><p>6 A retained carbon of Pond's letter dated June 11 1925 addressed to "My Dear Lady Rosita". In his letter Pond complains "I note that Macaulay has the books. I'm sorry one of the better publishers was not selected for they do publish rather sensational stuff". He goes on to comment about Abyssinian controversies. "Marian C. Cooper asks me to ask you not to judge his ideas of Abyssinia by his articles in ASIA which were edited without his consent nor the film The Golden Prince which was made up without his aid from some pictures he and Schoedsack made. .Powell in his book on Abyssinia criticized Cooper for things he had done and he does not wish you too to join in the hue and cry."</p><p>7 Retained carbon of Pond's June 16 1925 cable: "CAN I USE ABYSSINIAN PHOTOS FOR NEWSPAPER PUBLICITY ARTICLES.".</p><p>8 A cablegram from Forbes dated June 18 1925: "FORBES ANXIOUS SELL ARTICLES AND PHOTOGRAPHS ABYSSINIAN EXPEDITION CONSULT KENNADAY 215 WEST 33RD STREET AND DO WHAT BOTH CONSIDER BEST.".</p><p>9 Retained carbon of Pond's reply to Forbes cablegram now addressing her as "My dear Mrs. McGrath". "Paul Kennaday tells me that he has not been able to place your articles about Abyssinia. I am awfully sorry that this has not been done for we need publicity in this country to secure business and so far no one knows that you have been in Abyssinia or made a new journey.Things so far have not been going as good as I like but this does not mean that there will be no tour and a fairly good one. If you find that English bookings are going exceedingly well I suggest that you give Mr. Christy more time in November."</p><p>10 A 2-page autograph letter 5-3/4 inches high by 4-3/4 inches wide on "28 Wilton Place" letterhead signed "Rosita Forbes". The letter dated September 15 1925 overlaps with Pond's later letter of September 18th. "I am so sorry you are having trouble over my American tour - what bad luck. I think under the circumstances it would probably be better if I arrived on January 1st & stayed till early April.Would you mind on receipt of this letter cabling me the date you consider most suitable for me to come over as I have to arrange the letting of my house which is a matter needing time. I don't mind what date I come but as living is very expensive in U.S.A. I don't want to come until there is contract business in view!!".</p><p>11 A retained carbon of Pond's September 18 1925 letter to Forbes suggesting that the tour be moved forward to January "to commence your tour with your booking in Haverhill Massachusetts on January 5th."</p><p>12 A retained carbon of Pond's letter responding to Forbes letter of September 15. Dated September 25 1925 Pond writes "I think we are both agreed that it is better for you to arrive in early January. I am not cabling you about this as I wrote you on September 18th and you know my point of view. Your first engagement at present is January 5th."</p><p>13 A cablegram from Forbes dated September 29 1925: "DELIGHTED ARRIVE JANUARY FIRST / ROSITA".</p><p>14 A retained carbon of a letter from Pond dated October 8 1925 concerning a booking. "The Chicago Geographic Society is very anxious to have you this year but they are unable to pay more than one hundred $100.00 dollars. Are you willing to allow me to book you with them I giving you the minimum rate of seventy-five $75.00 dollars which was in force last year and retaining twenty-five $25.00 dollars to cover my own expense"</p><p>15 A 2-page autograph letter 7 inches high by 5-1/4 inches wide on "Broadlands Romsey Hampshire" letterhead signed "Rosita Forbes". Forbes sends the first sheet of her contract not here present and pictures for her lectures. "I shall probably have to come over on the 'Paris' of the Compagnie Transatlantique leaving Plymouth on the 16th Dec. as I can probably get better accommodation on her as I have done a good deal of writing for the Company.I am so sorry you are having so much trouble over my tour for I've always told everyone that of all the business men all over the world I've come in contact with you are the best to work with.".</p><p>16 A retained carbon of a letter from Pond dated October 30 1925 encouraging Forbes to come later than the December date she suggested. "There will really be nothing doing here until your first lecture on January 5th."</p><p>17 A 2-page autograph letter 5-3/4 inches high by 4-3/4 inches wide on "28 Wilton Place" letterhead signed "Rosita Forbes". The letter dated October 30 ok's the arrangements with the Chicago Geographical Society but questions "Won't the National or American Geographical Socs. have me this time" She confirms her early arrival in New York and makes a request "Please secure an inexpensive room with bath somewhere in N.Y. Consult Miss Smith because you are not very good my friend at cheap hotels!!!!"</p><p>18 A 2-page autograph letter 5-3/4 inches high by 4-3/4 inches wide on "28 Wilton Place" letterhead signed "Rosita Forbes". Addressing "Mr. Pond or Miss Smith" Forbes reaffirms her December arrival in New York. "Don't you think you cd. induce some of the newspapers to interview me on 'Curious Xmases' or 'My most extraordinary Xmas'. It wd. make publicity. I spent one Xmas in camp in the African desert on my way to Kafara. Another in an Arabian harem one in Persia & in Abyssinia they have a special ceremonial."</p><p>19 In a retained carbon of a Pond letter dated November 13 1925 he expresses his pleasure that Forbes has accepted the terms for the Chicago Geographical Society lecture. "The National Geographic which wanted you so eagerly before has now passed you by and so has the American. They are strange people."</p><p>20 A 2-page autograph letter 7 inches high by 4-3/8 inches wide on "The Nook Sunningdale" letterhead signed "Rosita Forbes". In the letter dated November 21 Forbes reassures Pond that despite her early arrival he doesn't ".have to bother at all about me till you want me to lecture.Mr. Wingate of the Dorland Agency is going to communicate with you re publicity on arrival as I've just written the feature article for the February issue of the Monitor on 'Morocco'".</p><p>21 In a retained carbon of a letter dated November 30 1925 Pond regrets that it is too late to place an article on various Christmases with any of the syndicates or magazine sections of newspapers. However he has an idea: "Iola Plaxton spent some time in Fleet Street as the special correspondent for the Daily and Sunday Express is now back in New York and keen to meet you. .she concocted a scheme provided you approved of your giving her an exclusive interview on this particular theme the minute you arrive. Meantime she is going to get an editor lined up to take it."</p><p>22 Retained copy of a cablegram dated December 22 1925: "ROSITA FORBES STEAMER 'PARIS' NY. RESERVED ROOM AT WALDORF ASTORIA. POND."</p><p>23 An undated promotional letter from The Pond Bureau signed in blue ink by James B. Pond and titled "Rosita Forbes Returns". In the letter he solicits future lecture possibilities. "Although Rosita Forbes has been announced before you are again reminded of her return tour. If you can still find a place for her do so for you will like her and she will please you. Send for open dates and terms."</p><p>24 An autograph letter 9-3/8 inches high by 6 inches wide on "Hotel Webster New York" letterhead. Dated January 7 1926 Forbes writes to the Pond office manager "Miss Smith" after her first lectures in Haverhill Mass. "I enclose two endorsed cheques value 200 $ & 230 $ - a long bill for steamer fare 2 lectures & expenses.Please send me here - I've left the Shelton too noisy - the 2 photos I gave to Mr. Pond the first day I saw him & ask him to send me a cheque soon as I have 10 dollars 1 cent a French franc & a half crown left in the world." Signed "Yrs. R.F."</p><p>25 On a "Hotel Webster New York" envelope Forbes notes her expenses: "They only gave me enclosed 150 dollars at Passaic last night instead of 200 as per contract". She then lists her expenses including a taxi fare totalling $2.52. Pond notes that he has paid the $2.50 and dates the envelope !/12/26 with the note "Remainder due tomorrow $50.00".</p><p>26 An autograph letter 9-3/8 inches high by 6 inches wide on "Hotel Webster New York" letterhead. Dated Jan. 13 -1926 and addressed to "Miss Smith" Forbes sends further financial accounts regarding the Passaic NJ lecture. "If you get a cable for me tomorrow or Friday will you let me know at once as I'm expecting a very important business wire from England. Yrs. wearily - just how you feel too!" Signed "Rosita Forbes".</p><p>27 A January 18 1926 carbon of a receipt addressed to George Byron Gordon of the Philadelphia Museum for payment of $150.00 for a lecture by Forbes. The receipt is marked "PAID".</p><p>28 A January 19 1926 carbon of a receipt addressed to Forbes detailing payments totaling $213.30 paid to her for expenses and lectures in Passaic NJ and Philadelphia.</p><p>29 A retained carbon of a letter from Pond dated January 19 1926: "When you arrive in Toledo on Thursday A Mrs. Rippon will meet you at th station and will take you to the Hotel Secour."</p><p>30 An autograph letter on 8-3/8 inch high by 5-1/2 inch wide letterhead signed "Rosita Forbes". Writing from the "Fortnightly Club 120 Bellevue Rd Chicago" Forbes informes Pond "I shall not be in U.S.A. on April 7th. I sail on the 'France' on April 3rd. If the Philadelphia Geographical Society want me they'll have to change their lectures round a bit & let me have an earlier date. Yrs. dirtily - is it possible to keep clean in Chicago!" The letter is humorously dated "Jan. 24th. I have reason to believe".</p><p>31 A lengthy 2-page autograph memo on 8 inch high by 6 inch wide notepaper signed "R. F." "Due to Rosita Forbes" Forbes outlines $489.28 in expenses and fees due her for Steamer fare and and Haverhill/Brockton lecture fees & expenses during the early part of January 1926. "Note A. You forgot to tell me that Mrs. Fuller wrote you about Dec. 1 offering me hospitality at Brockton. They were all very angry about it !!!! I cd. only say I had never been told of such an offer." The memo is accompanied by a calculator receipt from Pond's office confirming Forbes' math.</p><p>32 An autograph letter 9-3/8 inches high by 6 inches wide on "Hotel Webster New York" letterhead. Dated "Sunday Jan. 31". Addressing Miss Smith of the Pond Bureau Forbes writes: "I arrived here this morning by the 'Big Four' which only takes 1 night & 1 day instead of yr. nice -sweet - train which takes 2 nights & 1 day!! No letters!!! Please send me .the copy of Raisuli book i.e. "The Sultan of the Mountains: The Life Story of Raisuli" as I must look up some stories in it for an article.Please also let me know how many of Mr. Crane's lectures Vassar Smith Providence Bryn Maur. are arranged & what date" Signed in full "Rosita Forbes".</p><p>33 A 2-page financial memo dated Feb. 1st 1926 handwritten by Rosita Forbes on a folded 7 inch high by 5-1/2 inch wide sheet of "The Fortnightly / Chicago" letterhead. On the first page Forbes notes the amounts due to the Pond Bureau for lectures in Toledo Chicago and St. Louis. On the 2nd page she lists her expenses. The memo is unsigned.</p><p>34 In an autograph letter on 3 sides of a folded sheet of 5 inch high by 4-1/2 inch wide notepaper Forbes complains to Miss Smith of the Pond Bureau "When I asked the Buffalo Athletic Club for cheque they said by contract it was to be mailed to you but they presented me with 25 dollars as they hadn't time to look up the one way fare." She then outlines her expanses and asks that "Mr. Pond .send me a cheque for this before I go to Cambridge on Weds. & wd. you send a p.c. to Toledo & the March lectures asking them to pay me cheques at the end of lecture - otherwise I shall be in a recurrent state of bankruptcy!!" The letter is signed in full "Rosita Forbes" and is stamped "Ans'd Feb 16 1926".</p><p>35 A retained carbon of a letter from Pond to Forbes dated February 16 1926 in which Pond indicates his irritation with her. "I shall greatly appreciate it if when you have a contract calling for payment with me you do not request that a committee make payment with you.Apparently you asked Dr. Gordon in Philadelphia for your fee for he wrote me a rather long letter asking me why I had financial troubles with my lecturers. This give a very bad impression.I have not yet had any word from Brooklyn. The new chairman is apparently disgruntled.It certainly was most unfortunate that you missed Brooklyn and I do hope you will examine your contracts carefully in advance."</p><p>36 A February 13 1926 carbon of a receipt addressed to F. A. Coupal of the Buffalo Athletic Club for payment of $250.00 and $19.57 expenses for a lecture by Forbes. The receipt is marked "PAID".</p><p>37 A February 18 1926 carbon of a receipt addressed to Charles R. Crane of the Radcliffe College for payment of $200.00 for a lecture by Forbes. The receipt is marked "PAID".</p><p>38 A February 25 1926 carbon of a receipt addressed to Isaiah Bowman of the American Geographical Society for payment of $75.00 for a lecture by Forbes. The receipt is marked by Pond "Paid Mrs Forbes". Together with: a Typed Letter Signed dated February 5 1924 from Isaiah Bowman Director of the American Geographical Society praising Forbes lecture given during her first American tour. "She has a most entertaining story to tell and it could hardly be told with greater art."</p><p>39 A February 25 1926 carbon of a receipt addressed to Marion Miller of the Toledo Club Toledo Ohio for payment of $200.00 for a lecture by Forbes. The receipt is marked by Pond "did not fill date".</p><p>40 An autograph letter 9-3/8 inches high by 6 inches wide on "Hotel Webster New York" letterhead dated Sat. Feb. 27. "Dear Lady / Here is my bill.I think perhaps you'd better send it me on Monday or I might be penniless!! but most of all I want that poster about my films - 'Red Sea to Blue Nile' which I gave Mr. Pond at the Waldorf.So awfully sorry to bother you." Signed in full on the verso "Rosita Forbes". The bottom edge of the letter has some damage resulting in the loss of a very few letters.</p><p>41 A March 1 1926 carbon of a memo addressed to Rosita Forbes for payments due her of $100.00 and $16.51 expenses for a lecture by Forbes in Cambridge Mass.</p><p>42 A March 3 1926 carbon of a receipt addressed to Charles R. Crane of the Mary Wheeler School for payment of $200.00 for a lecture by Forbes. The receipt is marked "PAID".</p><p>43 A 2-page autograph letter 9-3/8 inches high by 6 inches wide on "Hotel Webster New York" letterhead dated March 4. "Dear Miss Smith / I had a letter from the man at Toledo insisting that Mr. Pond had agreed to let him know whether I was coming or not & that the Pond Bureau having failed to write he was justified in believing I was not coming. I think therefore that it is only fair to call Brooklyn & this quits as far as finance is concerned. I lost 100 dollars over Toledo owing to some slight forgetfulness!!!! & you lost 50 dollars over Brooklyn owing to some large forgetfulness!!!! .It was rather awful about Toledo because as i told you I was to be the guest at a big newspaper lunch. So much for this sad business!!".She goes on to outline her plans for lectures up until March 14. Chicago Minneapolis and Decatur Illinois. Signed "Yrs. R. F."</p><p>44 A March 25 1926 carbon of a receipt addressed to R.V. Nevins of the Algonquin Club Bridgeport Conn. e for payment of $200.00 plus $5.52 expenses for a lecture by Forbes. The receipt is marked "PAID".</p><p>45 A March 26 1926 retained carbon of a Pond letter. He expresses his disappointment as to the result of Forbes' tour. "I find that you only delivered nineteen professional talks receiving a gross amount for them of $1992.50. Considering your heavy expenses here in the way of living and moving about I am afraid you must have had a considerable loss."</p><p>46 A 2-page autograph memo 9-3/8 inches high by 6 inches wide on "Hotel Webster New York" letterhead dated March 27 1926. The memo outlines Forbes' expenses for her Bridgeport and Montclair lectures and the amounts owed her from the Pond Bureau. The memo is signed "R. Forbes".</p><p>47 An April 14 1926 retained carbon of a Pond letter. He hopes that she had "a pleasant and peaceful" journey home to England. He goes on to mention that she has a brief mention in Gilbert Frankau's newest book "Masterson".</p><p>48 A 2-page autograph letter signed "Rosita Forbes". The letter dated July 2 1931 on 9 inch high by 7 inch wide "Harefield House Harefield Middlesex" letterhead is a response to Pond concerning the lecture possibilities of the English explorer Bertram Thomas. ".before I got your letter I had warmly recommended you to him. I spent most of our lunch with him telling him to go to you but remember he'll be a serious speaker! I've told him he must make his book a bit light & he promised to try". She goes on to recommend the Turkish-Albanian soldier and statesman Izzet Pasha. "Use my name for all its worth with Bertram.</p><p>49 A July 10 1931 retained carbon of Pond's response to Forbes' letter of July 2. "I finally met Bertram Thomas. I found him a very disagreeable individual. I wrote him a letter telling him what I thought of him and he came and apologized to me. From what I know my call down was needed."</p><p>Though Rosita Forbes started travelling at an early age following her marriage to Major Ronald Forbes it wasn't until after a nervous breakdown following her husbands death in World War I that her travels started in earnest. At first she served as an ambulance driver in France during the war and subsequently traveled around the world "by way of American Hawaii Papua Sumatra Java Cochin China Siam." and again back to China where she was taken prisoner during the revolution and ended up doing Red Cross work for the Chinese army. In 1919 she resumed her travels through Africa and the middle-east and was in Jerusalem for the riots of 1920. "From here her journeys are chronicled in her lectures.After her return from Kufra she met and married Col. Arthur McGrath of the British War Office." Astonishingly all this had been accomplished by the time she was thirty years old.</p><p>Rosita Forbes described her journey around the world in her first book "Unconducted Wanderers" 1919. Disguised as a Moslem she travelled across the Libyan desert to the oasis of Kufara from 1920-21. This journey is described by her in "The Secrets of the Sahara: Kufara" 1924.</p> New York and London, 1925-1926.
196737132Hong Kong: Published by The East Society Printed by Sing Cheong Printing Co. Ltd 1967. 1st edition. Wrappers with printed dust jacket. Clear malleable plastic dust jacket protector publisher's. Spine lightly sunned. Prior owner name stamp to t.p. top magin otherwise a VG - Nr Fine copy. Unpaginated. Text in One 2-panel color image otherwise all images black & white. 11-1/4" x 8-1/2" <br/><br/>"Chang Dai-chien was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally known as a guohua traditionalist painter by the 1960s he was also renowned as a modern impressionist and expressionist painter. Further Chang is regarded as one of the most gifted master forgers of the twentieth century. . and it is suggested that many notable collections of Chinese art contains a forgery by the master painter" Wiki. "This book which represents the epitome of Chang Dai-chien's achievements since 1944 contains one hundred and thirty reproductions of his landscapes human figures plants flowers birds animals and fish in both the elaborate and the hsieh yi styles. The pictures are arranged in chronological order to enable the reader to see more clearly how the master after having already attained in his middle age a dizzy height in Chinese art continued on to reach even greater heights." Foreword. While well represented institutionally the work somewhat uncommon in the trade. Published by The East Society, Printed by Sing Cheong Printing Co. Ltd unknown books
196246618æ±äº¬ Tokyo: èŠ¸è‰¸å ‚ Unsodo 1962. Revised edition. Softcover. vg- to near fine. Quartos. Unpaginated. 15 string-bound volumes in blue paper wrappers. White paper labels with gilt lettering on the front covers. Housed in a large dark blue cloth-covered clamshell portfolio with a printed paper label on the front cover and bone fasteners. English label on the spine of the portfolio. Gorgeous reproduction of the classic monumental work by Hokusai 1760-1849 originally issued in 15 volumes between 1812-1878. The first 12 volumes were issued by the artist during his lifetime while volumes 13-14 were issued posthumously from previously unpublished material. The final volume includes a compilation of some previously published material and of other work not even by Hokusai and is therefore not considered authentic.<br /> <br /> The vast amount of content covered in these "sketchbooks" consists of thousands of images ranging from domestic and social scenes animals landscapes plants architecture historical scenes legends and martial arts to masks as well as household and ritual objects. Of interesting note are some detailed close up images of firearms. Finely printed to reproduce the quality and look of the original editions with images printed in b/w and hues of light pink. The set includes a 22-page informative text booklet in Japanese and English. Additionally the final section of each volume contains text in Japanese and English relating to the specific content of the volume and giving additional technical and historical context. <br /> <br /> Text in Japanese and English.<br /> <br /> Portfolio with some light foxing to the label and on the interior. A few of the wrappers with minor rubbing to corners. Foxing to the edges of book blocks. Interiors with some sporadic minor to light foxing mostly to top margins with images almost entirely unaffected. Images clean bold and bright. Portfolio in very good wrappers in very good to near fine interiors in very good- to near fine. 芸艸堂 (Unsodo) unknown
190845130ABLondon, Offices of The Studio 1898-1908. 28 Bände. 4°. Zus. [192] Bll., 8734 [recte 8728 statt 8730] S. Original-Leinwand. Geringf. berieben. Die Endblätter etwas gebräunt. Bände 15 und 32 mit schwacher Stauchspur in einer Ecke. Band XXI fehlt ein Bl. (S. 131f.). Band XXVII S. 141f. hinter S. 152 gebunden. Band XLII 2 Bll. im weißen Rand verstärkt. (3 Bände mit offensichtlichem Paginierungs-Fehler. Zählung verspringt jeweils um ein Blatt. Text 'fließt' aber und die genauen Inhaltsverzeichnisse vermelden keinen Mangel).
1969014798Paris, New York, Genève, Milano, Roma, Madrid Alexander Iolas Gallery 1969 In-4 à l'italienne Reliure de l'éditeur Signé par l'illustrateur
