(Poe, Edgar Allan)Biblio.com
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1845309122New York: George H. Colton 118 Nassau Street. Wiley and Putnam 6 Waterloo Place Regent St. London 1845. 668pp. 8vo. Half contemporary black calf and marbled boards. Fine. 668pp. 8vo. Contains first printings of Poe's "Eulalie.-A Song" "The American Drama;" and "The Facts of M. Valdemar's Case." This last was also published in the December 1845 issue of the "Broadway Journal" with the title "The Facts in the of M. Valdemar." There is also a review of Poe's "Tales" the poem "Orpheus" by J. R. Lowell and some contributions by W. G. Simms. Robertson "Bibliography. Edgar A. Poe" pp. 24-5 George H. Colton, 118 Nassau Street. Wiley and Putnam, 6 Waterloo Place, Regent St., London unknown
24687Phil.: Carey & Hart 1845. 1st edition. 1st issue with 8 plates. 1st appearances of these important pieces by significant American authors. Published four years before Poe�s death. Pages 300 pp.8vo. Original gilt decorated red leather. Expertly rebacked using the original binding material. All edges gilt. 1st edition. 1st issue with 8 plates. 1st appearances of these important pieces by significant American authors. Published four years before Poe�s death. Illustrated with eight engraved plates with tissue guards. BAL #16143. Expertly restored using original binding leather. Original spine material about half missing remains laid down over new material. New end papers. Some foxing throughout especially to engravings. Very scarce in any condition. Phil.: Carey & Hart 1845. hardcover
1842022443Philadelphia: George R. Graham 1842. First Edition. Hardcover. Light to moderate foxing less than usually found; rubbing and edgewear with some darkening to the front cover; covers firm. Very Good. Full gilt-decorated red morocco leather gilt dentelles and marbled endpapers all edges gilt. Illustrated with numerous steel engravings and 6 color plates 4 fashion plates. First appearance in print of these five Poe works: The Mask of The Red Death; Life in Death; An Appendix of Autographs; A Few Words About Brainard; and To One Departed. Also with contributions by Charles Dickens James Fenimore Cooper Henry Longfellow James Russell Lowell and others. <br/><br/> George R. Graham hardcover
1843101067Boston: Leland and Whiting 1843. 4to. 3 engraved plates in no. 2 plates to nos. 1 & 3 in facsimile. 1-48; 49-96; 97-144 pp. Later 19th-century half red morocco and marbled boards no. 1 rear wrapper and no. 2 wrappers bound-in upper portion of no. 2 front wrapper filled in no. 1 front wrapper in facsimile; covers lightly rubbed and faded a few small tape repairs light staining to margins of no. 2 foxing and toning to no. 3. The complete run of this short-lived periodical edited by James Russell Lowell with contributions by Poe in each volume including the first printings of "The Tell-Tale Heart" no. 1 pp. 29-31 and "Notes Upon English Verse" no. 3 p. 102-112. Other contributions include short stories by Nathaniel Hawthorne "The Hall of Fantasy" and "The Birthmark" and poems by Jones Very John Greenleaf Whittier Elizabeth Barrett Browning and James Russell Lowell. "The Tell-Tale Heart" was first rejected by the Boston Miscellany with the editor's request that "if Mr. Poe would condescend to furnish more quiet articles he would be a most desirable correspondent." Lowell accepted the story for the first number of The Pioneer. "Before its demise Poe had contributed at Lowell's invitation to each number. For these contributions he was never paid" Heartman & Canny. PROVENANCE: Richardson book-plate ms notes on comparable copies 1900-05 on front pastedownREFERENCE: Heartman & Canny p. 240 Leland and Whiting hardcover
1901614073Portland Maine: Thomas B. Mosher 1901. Softcover. Very Good. First edition. With an essay by Andrew Lang. 12mo. Printed stiff wrappers with extended foredges folded to protect the textblock. Wraps toned and rubbed most notably along the spine foredges a bit bumped small blue pencil note on the inside front cover very good. One of 925 copies. Thomas B. Mosher unknown
1845021443Philadelphia: Carey and Hart 1845. First Edition. Hardcover. Internally mostly clean but for staining to the title page occasional foxing mostly to pages near the engravings as often the case with this title; 1908 owner name on front endpaper. Covers fairly tight though there is a two-inch split at the bottom of the front joint; large chip at the top of the spine. Still Very Good. Original highly gilt-decorated polished calf a lovely publisher's gift binding. BAL 4024 & 16143. The first appearance in print of this classic Poe piece collected the same year in his TALES. Other first appearances include Longfellow BAL 12074 and Emerson BAL 5202. Illustrated with 8 engravings mostly by J. Cheney and J. I. Pease including one titled "Washington Crossing the Alleghany" by R. W. Dodson. <br/><br/> Carey and Hart hardcover
1939559963Sioux City Iowa: Wetmore Declamation Bureau 1939. Softcover. Near Fine. First edition. Stapled printed wrappers. Spine slightly tanned near fine. A dramatization of Edgar Allan Poe's story. Wetmore Declamation Bureau unknown
1851588191New York: Kettell & Moorse 1851. Hardcover. Very Good. Six monthly issues in one volume. Octavo. 572pp. Illustrated with engraved plates. Contemporary half leather and marbled paper boards. Frontispiece foxed and toned a little rubbing on the boards a nice otherwise near fine copy. Contains the last two parts of a three part assessment of the life and career of Edgar Allan Poe by John Savage as well as other articles. Kettell & Moorse hardcover
1910103487A. & C. Black London. nd 1910. A. & C. Black. No date given 1910. Four volumes. Hardback NO DW's. Maroon cloth gilt. Volumes I and II Tales Volume III Poems and Volume IV Criticisms. All volumes: Spines are sunned and boards very slightly marked. Internally no ownership inscriptions contents are clean and sound. A nice set. hardcover
1941365271New York: National Broadcast Company 1941. Unbound. Near Fine. Typescript. 2 24pp. Photo mechanically reproduced quarto sheets with printed rectos only attached by a staple at one corner. Very good with a horizontal fold some light wear to the first sheet with oxidation at the staple and with some light toning with spots on the final sheet. An original radio script for the NBC program World's Best Literature which each week adapted a great work of literature with two small correction changing the episode number. This episode featured Edgar Allan Poe's short story "William Willson" adapted by Raynald R. MacDougall and broadcast August 4 1941. National Broadcast Company unknown
1839021066Philadelphia: Carey & Hart 1839. First Edition. Hardcover. Foxing to plates; text fairly clean; 1840 pencil ownership inscription on front endpaper. But for the missing plate a close to Fine copy and uncommon as such. Original embossed black morocco with gilt lettering on the spine. Illustrated title page and 7 of 8 steel engravings with tissue guards by various artists. BAL 992 and 16130. The first appearance in print of this important story by Poe. <br/><br/> Carey & Hart hardcover
20158469Barcelona Spain: Play Attitude 2015. First Edition. Hardcover. Near Fine. David G. Fores. 6 3/4 X 9 3/4 Inches. 80 PP. Signed by illustrator David G. Fores on FFEP. Includes promotional postcards and four sticker sheets as issued. This "Eureka" edition is #53 of only 560 copies. Includes the original Certificate of Authenticity. This is one of the original Kickstarter books that led to a few printings featuring Fores' illustrations of Poe's work. Play Attitude hardcover
193552272London: George G. Harrap & Co. 1935. First trade edition. 4to. 318 pp. Publisher's black cloth gilt lettering and decoration to the spine and upper board that to the latter featuring an illustration of a skeleton colour illustrated dust jacket. 12 colour plates with captioned tissues and 17 black and white illustrations in the text. Red stain to the lower half of the rear panel of the jacket occasional edge wear very good overall. Latimore & Haskell p. 72. Riall p. 189. London: George G. Harrap & Co. unknown
1935ST19567-050London: George G. Harrap & Co 1935. No. 36 OF 460 COPIES SIGNED BY THE ILLUSTRATOR 450 of which were for sale. 272 x 197 mm. 10 5/8 x 7 3/4". 317 1 pp. <br/> Publisher's special binding of gilt-decorated vellum over boards top edge gilt other edges untrimmed and about one-third UNOPENED. In the original somewhat scuffed and worn blue paperboard slipcase with paper title label to spine. Half title and title vignettes in gold 11 illustrations in the text and 29 plates 12 in color and mounted by Arthur Rackham. Latimore & Haskell pp. 72-73; Houfe p. 424; Hudson p. 172. ◆One corner rather bumped otherwise A LOVELY COPY--clean fresh and bright internally in a binding remarkably free of the soiling and splaying that usually affects vellum books like this one.<br/> <br/> While Rackham did illustrations for a great many books Houfe observes that he concentrated "particularly on those of a mystical magic or legendary background" a fact that makes his work on Poe's "Tales of Mystery and Imagination" a good fit. Arthur Rackham 1867-1939 studied art at Lambeth School where the work of his fellow student Charles Ricketts influenced his development. As Houfe says soon after Rackham joined the staff of "The Westminster Budget" in 1892 he began concentrating "on the illustration of books and . . . very soon established himself as one of the foremost Edwardian illustrators being triumphant in the early 1900s when color printing first enabled him to use subtle tints and muted tones to represent age and timelessness. Rackham's imaginative eye saw all forms with the eyes of childhood and created a world that was half reassuring and half frightening. His sources were primarily Victorian and among them are evidently the works of Cruikshank Doyle Houghton and Beardsley but also the prints of Dürer and Altdorfer." The plates here illustrate some of Poe's best-known stories in a delightfully macabre fashion--including "Masque of the Red Death" "Fall of the House of Usher" and "Murders in the Rue Morgue.". George G. Harrap & Co unknown
19639344New York: Lancer Books 1963. First Thus. Original wraps. Near Fine. 4 1/8 X 7 1/8 Inches. 127 1. First printing of the official 1963 movie tie-in starring Vincent Price Peter Lorre and Boris Karloff. SIGNED BY RICHARD MATHESON AUTHOR OF THE SCREENPLAY DIRECTLY ON THE TITLE-PAGE. A true rarity for the tie-in collector. NOTE: One PO stamp to inside rear cover. Lancer Books unknown
1892390811Princeton: Princeton University 1892. Hardcover. Near Fine. Quarto. White and green cloth gilt with embossed tiger in black and orange. Unpaginated illustrated ads. Contemporary owner's signature modest soiling else near fine. Yearbook of the Class of '91 and listing all classes. Includes photos of the sports teams including the captain and quarterback of the football team and overall BMOC Edgar Allan Poe nephew of the famous one. Curiously the first person pictured in the book is the junior faculty member Woodrow Wilson the famous one who joined the faculty in 1890. Princeton University hardcover
196753422Middleton CT: Xerox 1967. 12mo. 63 1 pp. Colour-illustrated softcovers cover art illust. of African-American runner in the snow minor scuffing shelfwear still VG copy from the library of Bertha C. Baugh former chairperson of Vancouver WA NAACP David Baugh local Area President and Civil Rights Activists w/ ownership signature inside front cover. First edition early printing of this volume in Xerox’s “The Way It Is†series which intended as a series of booklets showing the overcoming of adversity. Gregory 1932-2017 was one of the first African-American comedians to satirize issues of race and politics in the 1960s paving the way for Richard Pryor Red Foxx and Chris Rock. This anthology includes an excerpt from his 1964 autobiography -- “nigger†which was published the year after he participated in the historic “March on Washington†in 1963. Xerox, paperback
19109870Munchen and Leipzig: Georg Muller 1910. First Edition 120/1000. Parchment backed black paper boards. Gilt stamped. In likely original laid paper jacket from publisher. Inscribed on ffep by former owner. Black and white illustrations throughout. Numbered edition no. 120 of 1000. Original green ribbon bookmark. Cover corners very slightly bumped and pages very lightly browned. Very good condition. Georg Muller unknown
177New Jersey or New York: Al Capp 1930. UNIQUE. Framed. Very Good. Al Capp. Oil painting framed 15 1/2" H by 18 5/8" W; image: 13 7/16" x 16 7/16" signed by Al Capp with facial caricature of a man with bulbous eyes & two teeth plus initials; with the Edgar Allen Poe-based caption "Nevermore" in gold with black highlighting and double underlining above a cartoon of a drunken black raven with orange beak passed out upside down in a martini glass while still holding an olive with pimento. On the tattered brown paper backing there is the ink inscription: "PRESENT from MR. ACE" / The One and Only 1981" and an old browned newspaper cut-out of an Edgar Allen Poe caricature see below. Panel beneath the brown paper reads: Visit our Grecian Art Pavilion Ltd. Home of the "Hellenic Art Festival" Exquisite Oil Paintings Watercolors and select Handicrafts by Greek Artists 95-42 Queens Blvd. Rego Park N.Y. 11374 212 275-1745 Opposite Alexanders with auction tag Stamp faded on brown paper reads: Hellenic Art Center Ltd. 2804 Stenway Street Astoria N.Y. 1805 210-545-5093 Original Oil Paintings Framing & Frames in Stock. "Nevermore" is Al Capp's amusing painted parody of Edgar Allen Poe's famous croaking Raven adapted to point the negative moral of drunkenness for alcoholics. This remarkable and unique framed oil is in a somewhat worn wooden frame; executed on board ; and signed with Capp's unusual early caricature face & initials. Al Capp 1909-79 has been called--correctly I believe--the "Mark Twain of cartoonists." Other comparisons have likenened his work to that of Charles Dickens who also used social satire lampoons reformist topicality and memorable names for his unforgettable characters. Thus Capp observed that Dickens might have written comics if he had been alive today. As Capp also liked to emphasize: "No artist who can write should avoid words; no author who can draw should avoid drawing." From his boyhood on Al Capp was an enthusiastic reader of "literary classics" to name a few: adventure novels Dickens Thackeray Conrad Trollope G.B. Shaw and Edgar Allen Poe. During the late '40's and '50's when public fears mounted about violence and horror in comics having negative effects on children Capp used the example of Poe to illustrate that great authors and their works were not deemed to have such negatives. In this remarkable use of a major Poe image--that of the Raven who croaked "Nevermore"--Al only slightly twists it humorously to point a moral against alcoholism. Of course Poe himself suffered from alcoholism . . . and more while Capp was always a teetotaller though he too suffered in later life from a "cocktail" of drugs he took to cope with manic-depressive tendencies and chronic pain caused by the early amputation of most of his right leg. No doubt in part because of the mysterious alchemy created by the interaction of his comedic genius with his physical and emotional problems Capp's comic-based social satire was brilliant inventive frequently controversial enormously influential and topical--having persisted for 40 or more years through the middle of the 20th century with numerous repercussions to this day. Capp's characters and related creations have become part of American folklore; among them Dogpatch and its folksy denizens: Mammy and Pappy Yokum; Li'l Abner and a bevy of busty-and-leggy femmes fatals: Daisy Mae Stupifying Jones Wolf Gal Lena the Hyena and Available Jones. For many the depressed region of "Slobbovia" still resonates. Capp's inventive genius led to other memorable creations such as "Sadie Hawkins' Day" from 1937 and the mass merchandising of "Shmoos" 1948ff. "Kigme's" and "Kickapoo Joy Juice." Several of Capp's memorable phrases have also entered everyday use such as "amoozin and confoozin" or during the Cold War the name "Nogoodnik." Likewise musicals and movies have been made of "Li'l Abner" while an Arkansas' theme park named "Dogpatch" opened in 1968. A high school dropout Al Caplin took a succession of art courses from several distinguished art schools before he invariably dropped out. Accordingly his brilliant gifts as a cartoonist were honed on the job after constant practice. Highly relevant to the dating of our oil "Nevermore" during Al Capp's school-and-early apprentice years he sometimes worked in oils. Because this rare--but undated--cartoon has been executed in oils we can delimit its creation to Capp's early creative years. For a brief time Capp was active as a boardwalk caricaturist around Asbery Park New Jersey. At that time--about 1931-32--he hung out with an alcoholic portrait sketcher named Anderson. That Capp strongly rejected having a similarly depressed tawdry and boozy life as a starving artist suggests the milieu in which this memorable piece may have been created. Instead as a lifelong teetotaller Al soon took his portfolio of drawings to New York City where he began his strenuous climb toward recognition and prominence. Also about this time though he was still signing his work as "A. G. Caplin" in the early 1930s he formally changed his name to "Al Capp" after he turned 22 in early 1931. We can thus place the creation of this piece to around this period. Comparison of Al Capp's signatures over his career--especially this caricature & initial--indicates that this example is from earlier in his career. Most famous for "Li'l Abner" he began his famous strip on August 8 1934 while his first full color Sunday strip came out on February 24 1934. The beloved strip achieved an enormous circulation of 25-million by 1946. And between 1937 and 1947 it is estimated that each day about 70 million people read his "Li'l Abner" comic strip. Artist-writer Capp often remarked: "I think of myself as a novelist and of 'Abner' as a novel a page of which is pulled every day. At the end of the year I've written 365 pages fully illustrated." The remarkable period of the Thirties also saw the birth of Chester Gould's "Dick Tracy" 1931 and "Terry and the Pirates" 1934; while "Superman" Action Comics came into being in 1938. Capp created the comic strip of "Abbie an' Slats" in 1937. During World War II because he had lost most of his right leg in a trolley-car accident Capp was 4-F. He actively participated in creating promotions for war bonds and regularly visited wounded vets for whom he regularly drew pictures. The tone of our piece doesn't seem appropriate though for a possible hospital visit. During the war and through most of the later 1940's however Capp also created devastating pre-Mad magazine parodies. Among them he lampooned Milt Caniff's "Steve Canyon" with his own "Milton Goniff's 'Steve Cantor'"; John Steinbeck's Grapes of Wrath the Ford film of 1940; and his friend Chett Gould's "Dick Tracy" in contrast to Capp's ridiculous detective "Fearless Fosdick" 1942ff. Al overstepped contemporary legal boundaries with a strip parody of "Gone wif the Wind" starring "Wreck Butler" and "Scallop O'Hara" in late 1942. As a result Margaret Mitchell threatened to sue his publisher for $76-million thereby causing Capp to drop the spoof and formally apologize in another cartoon. Stylistically our "Nevermore" is a take-off or parody of Poe's very well-known ominous raven. During the early 1940s several cartoonists created similar crows and ravens. Capp's raven resembles Chuck Jones' "Mynah bird" that he created for Warner Brothers from 1939-41. Likewise Cliff Edwards' "Jim Crow" appeared in Disney's "Dumbo" in 1941. One also notes nose art that WWII pilots used to decorate their warbirds "Old Crow Express" being one such; as well as Paul Terry's very popular "Heckle & Jeckle"--actually two Magpies not ravens--that he created in 1946 for Terrytoons. Because of this ravenesque flocking I would put a terminus a quem date on Capp's fine piece of the mid-1940s. The above date spread circa 1929-1946 is reinforced by a survey of Al Capp's other bird sketches--not just ravens or crows. This too suggests that the simplicity and humor of his raven in "Nevermore" dates from an earlier phase of his long career. Examination of other birds--particularly parrots--indicates that his "bird-style" became more elaborate and decorative over time e.g. "The Parrots of Wimpole Street" Oct. 1959 drawn by Capp &/or Frazee lot 582 in Nate D. Sanders' 2013 catalog; a flamboyant and wildly colored parrot drawn by Capp in 1974 lot 710 in Sanders. We thus provisionally date our Edgar Allen Poe parody to between the late 1920's through the mid-1940's; and cartoon styles he used--in keeping with other cartoonists--during the 1940's as reflected by the cartoon of Capp's raven. Accordingly "Nevermore" fits within the period late 1920's through the immediate post-WWII period say 1946. The possible reverberation of Capp's antagonism to alcoholism pronounced in 1931-32; his use of paint as medium as during his student and impoverished apprentice days; coupled with the slight wear to the finish of the paint however suggest a date closer to the 1930's than the 1940's. We conjecture that this piece was possibly executed in New Jersey and taken with the cartoonist to New York as part of his portfolio in the early 1930's. One notes that Al Capp once again used oils near the end of his life when he had an exhibition of large paintings of notable "Li'l Abner" characters at the New York Cultural Center April 15-May 11 1975. At this time neither the finish subject backing nor size of our parody fit his late spurt of productivity in oils. The matter of dating is somewhat complicated by the brown paper backing writing stamp and framer's ad beneath it. The brown paper backing of the painting has become tattered but one can still read "For MR. ACE / "The One and Only" as well as next to it the clear date "1981." Given the early suggested dates for the creation of Capp's artwork we assume that this painting was given after Capp's death in 1979 to "Mr. ACE / The One and Only" whomever that was in "1981." Also on the paper backing there was previously a taped & now removed for safe-keeping small ~ 3" newspaper clippling depicting a caricature of Edgar Allen Poe with his famous raven not by Capp with a date of "1967" appearing on its verso. We cannot be certain who cut out this clipping but the "1967" date provides a terminus after which the clipping was cut. One can also identify the Greek framer see above. Given the convergence of likely dates around the late 1920's/early 1930s-early 1940s however these later indications of framing suggest that the painting was gifted--perhaps more than once--sometime between 1967 and 1981. For additional references see especially a recent catalog of Al Capp cartoons issued by Nate D. Silver Inc. in September 2013; as well as Michael Schumacher & Denis Kitchen Al Capp: A Life to the Contrary Bloomsbury 2013--especially pages 20 on Al's early reading; 34 on the alcoholic caricaturist Anderson; 81 112-13 136 on Poe; 162 on Stenbeck's plaudits; & pages 251-52: where Capp observed that when he took up oils in the 1970's he hadn't used that medium since art school. Al Capp unknown
9284San Francisco: Arion Press 2022. Full Leather. Fine binding. Large quartos. 171 1; 27 pp. illus. Limited edition number 52 of 250 "Fine Press" copies 50 Deluxe copies were also issued. Both volumes finely bound by American design binder Robin Brandes. Phantasia in black straight-grained goatskin with crimson doublures and gray suede flyleaves; onlays of distressed mirror mylar composed with image transfers and exotic leathers. The Raven is inversely bound in crimson straight-grained goatskin with black doublures and gray suede flyleaves. Striking raven wing spans from fore-edge of the front board around the spine to midway on the rear board—"feathers" composed of textured fabric with a suede finish and distressed mirror mylar. Fine copies each in crimson cloth clamshell. Prospectus laid in. <br /> <br /> A remarkable production from the Arion Press presenting some of Poe's most recognizable tales and poems here illustrated by American artist Natalie Frank—color as well as black and white; both full page and in-text illustrations printed in offset lithography and overprinted by letterpress. Brandes's restrained bindings are perfectly suited to these books rendering visually the same experience one feels when reading Poe and navigating the uncertain terrain he creates—clear enough that one recognizes the landscape but subtly disquieting. The binder writes in her artist's statement: "In his short lifetime Edgar Allan Poe became the pre-eminent chronicler of the unquiet mind. A mixture of unusual materials and striking color palette were used to emanate an enigmatic yet dramatic presentation. The haunting cover portrait I created for Poe's Phantasia is a mosaic suggesting shapes of 2 ravens. Image transfers of Poe's eyes on distressed mirror mylar and onlays of exotic leathers evoke Poe's unquiet disturbed mind filled with illusions and wishing for the return of lost love. For the covers of The Raven I designed the raven wing feathers to be a bold presentation for one of the most translated poems in history." <br /> <br /> Brandes has been binding for nearly a decade and already has a notable resume having been exhibited at Arion Press The American Bookbinders Museum The Book Club of California Guild of Book Workers San Francisco Center for the Book and more. Brandes's binding of 2020 Vision was the First Place Winner of the Rocky Mountain Guild of Book Workers 2023 Traveling Exhibition. Arion Press unknown
1846325143Philadelphia: George R. Graham 1846. 1st edition 1st printing. Leather. Good. 284p; 320p. Ex-library; REBOUND. A hardcover book that has been rebound in 1/4 brown cloth with tan cloth boards. Exterior faintly soiled. Stamps on edges and endpapers. No plates at beginning of October issue. Main pages foxed but text otherwise unmarked and binding tight. A good sturdy reading copy. Bound volume of GRAHAM'S AMERICAN MONTHLY MAGAZINE a mid-19th century literary digest for which Edgar Allan Poe served as editor for a time. Volumes 28 and 29 in a single book with issues spanning January through December 1846. Illustrated with numerous black and white engravings including color fashion plates. This issue contains three installments of the column "Marginalia" by Edgar Allan Poe dealing with the use of rhyme in poetry "The Mysteries of Paris" translated by C.H. Town and Fouque's "Thiodolf the Icelander"; a review of TYPEE by Herman Melville; installments of JACK TIER by James Fenimore Cooper under the title THE ISLETS OF THE GULF: OR ROSE BUDD; and a review of PICTURES FROM ITALY by Charles Dickens. George R. Graham unknown
1853624595Ticknor and Fields 1853. First Edition. Hardcover. Very Good. From the library of noted poet William Matchett with his signature and date on the ffep. vii 206pp. with 8 pages of ads at the front endpapers. Presentation binding in the original green cloth with blind stamping to the boards and a gilt decorated spine. Cloth faded to brown with some fraying to the tips of the spine else a Very Good copy. // A collection of American and British verse inspired by the sea; noted for the early appearance of Edgar Allan Poe’s “Annabel Lee†and Henry David Thoreau’s “My Life Is Like a Stroll Upon the Beach†BAL 1380. Ticknor and Fields hardcover
169400Lakewood CO: Centipede Press 2009. Limited Edition one of 200 unnumbered copies. <br /> <br /> A lavish volume devoted entirely to the life of Edgar Allan Poe. Includes over 100 pages of artwork a long essay on Poe by S.T. Joshi reproductions and transcriptions of Poe's correspondence multiple critical essays discussing Poe's influence on film and modern horror writing and more. <br /> <br /> Very Good plus slightly cocked with no dust jacket as issued. Scarce. Centipede Press unknown
18505161Boston: William C. Brown 1850. First Edition. Hardcover. Good. 8vo. Pp. 142 142. Illustrated with engravings tissue guards. Table of contents. Bound in embossed black cloth gilt stamped device front and back in blind stamped rules and decoration. Blind stamped rules and gilt stamped title on the spine. Edges trimmed. Endpaper ink manuscript "Josephine Judson from Sarah K. Cushing." Annotations partially erased. Spine ends chipped corners rubbed. Moral education in prose verse music and engravings. Includes an eleven-stanza poem by Sarah T. Bolton "On the Death of Edgar A. Poe" reprinted from the N. Y. Home Journal in the January 1950 issue. Cover preserved in a removable clear archival jacket. William C. Brown hardcover
202437391Toronto: George Walker 2024. Hardcover. Fine. Hardcover. One of 25 copies signed by the printer George Walker and Eva Seidner the author of the foreword and afterword. This is handsome and exciting production of Poe's classic story. The Cask of Amontillado is a chilling story that follows the narrator Montresor as he seeks revenge on his acquaintance Fortunato by luring him into the catacombs. The masterful storytelling by Poe explores themes of betrayal revenge and darkness that lie within the human psyche. The story first appeared in the November 1846 issue of Godey's Lady's Book. The text in this edition follow exactly that of the original printing. Hand bound with brown wood covers sewn with wine colored linen thread. it is a unique non-adhesive stitch that incorporates a wood spine into the structure. The text and the engravings are printed on 100% archival paper. Six of the engravings are printed on unpaginated sheets of Moriki Kozo paper. The endpapers are done with hand marbled paper donated by the Porcupine's Quill. The book is housed in a wooden box reminiscent of those used to present fine wines with the wood evoking the casks where the wine is aged. All the wood for this project was hand stained and sealed. In fine condition. Size 6 x 9 inches. 39 pages. ARTB/061724. George Walker hardcover
