279 résultats
19193590London: George G. Harrap & Co 1919. First Thus. First Harry Clarke trade edition. Quarto 10 1/2 x 8 1/8 inches; 268 x 206 mm. Original sage-green buckram over boards. Front cover pictorially stamped and lettered in black spine pictorially stamped in black and lettered in gilt top edge gilt others uncut. Extremities very slightly rubbed otherwise a fine copy. Collating 381 2 1 blank with twenty- four black and white plates and ten decorative tail-pieces and vignettes repeated throughout the text two of which were used several times in Fairy Tales by Hans Christian Andersen.<br/><br/>"Mr. Harry Clarke has allowed himself full liberty in attempting to express the features of Poe's Tales which differentiate them from others. In his drawings the morbid imaginings of Poe's extraordinary genius are depicted without any attempt to soften their weird effects upon most readers. At the same time the drawings are extremely beautiful. They exhibit a wealth of delicate and intricate design such as few other if any living artists can command" Harrap's.<br/><br/>Bowe 149 no. 3. Steenson A2.b. George G. Harrap & Co unknown books
183937562Philadelphia: William E. Burton 1839. 8vo pp. iv 334; 6 steel engraveds plates and illustrations in text; full calf gilt-stamped spine shelf wear; ex-Hill Library with usual markings; foxing and discoloration. This volume includes numerous stories and poems by Poe including "To Ianthe in Heaven" "The Man that was Used Up: A tale of the late Bugaboo and Kickapoo Campaign" "The Fall of the House of Usher" "William Wilson: A tale" "Morella: A tale" and "The Conversation of Eiros and Charmion". Also includes extensive pieces on archery gymnastics and cricket. <br/><br/> William E. Burton unknown books
193518677New York: Tudor Publishing Company 1935. Decorative Cloth. Near Fine/Very Good . Harry Clarke. A sharp very well-preserved example of the masterful Harry Clarke-illustrated edition of Poe's "Tales of Mystery and Imagination". Clean and Near Fine in its dark cloth with lovely pasted-on pictorial to the front panel. And in an unusually crisp VG to Near Fine dustjacket with several very small closed tears --and just a touch of light creasing-- along the panel edges. The breathtaking design of the dustjacket remains especially bright and vibrant. And housed in a clean sturdy very attractive pictorial box which clearly has protected the book and dustjacket very well. <br/><br/> Tudor Publishing Company hardcover books
18401609036Haswell Barrington and Haswell Philadelphia 1840. 2nd Edition. Hardcover. Very Good. 8vo pp. 166 12 lithographic plates. Bound in original green printed boards very good general wear rebacked with leather spine. A very good copy of this fragile book. BAL 16132; Heartman & Canny p. 44; Tucker "Natural History in America 1609-1860" 1754 calling the book a piracy; Yale Gimbel Collection 38. Poe was accused of pirating this little book from Thomas Wyatt's "A Manual of Conchology" when he was putting this out in response to Wyatt's wishes and at his suggestion. This is the only one of Poe's American imprints to be reprinted in his lifetime. Second Edition corrected and enlarged from the first edition issued only six months earlier with a new preface by Poe on which he comments on the success of the publication. Haswell, Barrington and Haswell, Philadelphia hardcover books
1839406589Philadelphia: Published for the Author by Haswell Barrington and Haswell 1839. Joints split but threads holding leather dry; some occasional pale foxing. 12mo 17 x 10.5 cm. 156 pages. 12 lithographed plates after P. S. Duval. Original red roan-backed printed boards dated 1840. FIRST EDITION in boards unrecorded by BAL or Heartman & Canny. The upper board on this copy notes that it is for the second edition and is dated 1840. BAL 16131; Heartman & Canny pp. 41-44; Norman 1720. <br/><br/> Published for the Author by Haswell, Barrington, and Haswell hardcover books
193321032106New York: Tudor Publishing Co 1933. First Edition. Hardcover. Fine/near fine. Clarke Harry. First Tudor edition quarto size 412 pp. with original publisher's dust jacket and box. Edgar Allan Poe 1809-1849 needs no introduction as the master of the macabre. He gained a reputation as a popular writer and became a household name by 1845 although he continued to struggle financially for the rest of his life. One of the first writers to attempt to make a living solely off his work Poe's work greatly affected the burgeoning genres of horror and science fiction and much of his work explores the tumultuous depths of the human psyche. <br/><br/>The tales are perfectly complemented by the artwork of Harry Henry Patrick Clarke 1890-1931 who would become a leading figure in the arts and crafts movement. Clarke was apprenticed as a glass-maker to his father the head of a large firm of stained glass artists in 1906. An accomplished glass artist whose work can be seen in both secular and religious settings Clarke's illustrations can be compared to that of Aubrey Beardsley Kay Nielson and Edmund Dulac taken up during the tail end of what was considered the Golden Age of Illustration; his work is often imbued with a sinister atmosphere also exemplified by Beardsley and which come to full force in this work. <br/><br/>A stunning example the volume incredibly clean and fresh in a dust jacket that is clean and bright and with the original box: Poe's "Tales" with Clarke's illustrations as they were meant to be. <br/><br/>___DESCRIPTION: Bound in full black cloth over boards gilt decoration and lettering on the spine paper label mounted onto front board with an illustration by Clarke in black and white over a half-gold ground above black lettering and decorations top edge stained black black endpapers tipped-in colour frontispiece title page with small illustration by Clarke seven additional full-colour plates by Clarke bound in throughout plus twenty-four pages of black and white illustrations two of the pages constitute a single double-spread illustration chapter tailpieces by Clarke throughout; quarto size 10 5/8" by 8 1/4" pagination: 1-8 9-412 followed by a half-page Clark vignette. With the publisher's dust jacket Clark illustrations on front and spine in black white and yellow black lettering on front and spine on a yellow ground the rest of the jacket coal-black other than the inner portions of the flaps which are plain white free of lettering or ornamentation. Contained within the publisher's box the sides covered with black paper the bottom with plain white paper the top with a mounted white page with blue ruled borders enclosing one of the full-colour illustrations with black lettering both above and below. <br/><br/>___CONDITION: Volume fine overall the binding clean and unworn the paper label on the front clean and without any wear straight corners without rubbing a strong square text block with solid hinges the interior is clean and bright and entirely free of prior owner markings; the colour frontis slightly creased at the bottom gutter corner from catching when the book was closed as it was tipped in at the top not mounted else fine; clean crisp and almost as new. The dust jacket is unclipped although without a printed price clean the colours deep and bright utterly unfaded with a minimum of light scattered overall wear the most noticeable to the two front corners with very small loss to the lower front corner. The publisher's box a solid very good with minor overall soiling the lid with two seams just beginning to break and a bit of wear to the black paper the bottom with a bit more wear and two seams partially split however still sturdy. <br/><br/>___POSTAGE: International customers please note that additional postage may apply as the standard does not always cover costs; please inquire for details.<br/><br/>___Swan's Fine Books is pleased to be a member of the ABAA ILAB and IOBA and we stand behind every book we sell. Please contact us with any questions you may have we are here to help. Tudor Publishing Co hardcover books
18422102108Philadelphia: Graham's 1842. First appearance of this story. hardcover. Very good. A very good copy in original decorated covers with new leather matching spine. the first appearance of this Poe classic tale. Graham's unknown books
19852635New York: Limited Editions Club/Anthoensen Press 1985. First Edition Thus. Loose Signatures. Fine. Bright and unmarred. fo. 32pp. Illus. color and b/w plates. Signed by Neel and Soyer. Unnumbered. <br/><br/>This is a set of loose signatures of Poe's classic tale printed by the Anthoensen Press on mould-made paper designed by Ben Shiff and hand-set by Michael and Winifred Bixler. The bound copies were bound by John Isakovics in hand-marbled paper by Faith Harrison. Alice Neel died shortly before the publication of this volume and the images are dark and exceptional and include her stunning skull "self-portrait" the last not present in the loose signatures. The printer brought blank pages to Neel to sign and she signed approximately 400 of them before she passed away. This copy is additionally interesting as it was a printer's proof from Anthoensen Press and is unnumbered. Signed by Neel and Soyer. Limited Editions Club/Anthoensen Press unknown books
19857598New York: Limited Editions Club/Anthoensen Press 1985. First Edition. Hardcover. Fine in Near Fine Clamshell Case. Tight bright and unmarred. Clamshell case shows minimal shelfwear else bright and clean. Two lithographs and an etching by Alice Neel. Quarterbound with matching fore-edge in red goatskin leather gilt lettering hand-marbled boards. fo. 32pp. Illus. color and b/w plates. Letterpress Limited Edition Club Letter laid in. Two additional color plates laid in. Signed by Neel. <br/><br/>This wonderful copy of Poe's classic tale was printed by the Anthoensen Press on mould-made paper designed by Ben Shiff and hand-set by Michael and Winifred Bixler and bound by John Isakovics in hand-marbled paper by Faith Harrison. Alice Neel died shortly before the publication of this volume and the images are dark and exceptional and include her stunning skull "self-portrait." The printer brought blank pages to Neel to sign and she signed approximately 400 of them before she passed away though this copy lacks her signature. There are two extra Neel plates laid in. <br /> <br />Also included is a set of loose signatures of Poe's classic tale printed by the Anthoensen Press on mould-made paper signed by Neel but missing the "self portrait". This copy is additionally interesting as it was a printer's proof from Anthoensen Press and is unnumbered. Signed by Neel and Soyer. Limited Editions Club/Anthoensen Press hardcover books
19353741London: George G. Harrap and Co 1935. First trade edition. First Trade Edition. Quarto 9 3/4 x 7 1/2 in; 248 x 190 mm. Complete. Publisher's russet morocco front cover decoratively tooled and lettered in gilt spine lettered in gilt. Top edge gilt pictorial endpapers. Twelve color plates with captioned tissue guards seventeen full page line drawings. A very Fine copy in the publisher's glassine and cardboard box.<br/><br/>According to Rackham the illustrations he provided for Poe's Tales of Mystery and Imagination in 1935 frightened even him and "whilst this might only be expected when a fine illustrator meets a fine and frightening text.The best plates are.indicative of a grandeur and vision one might not so far have perceived in Rackham.Perhaps not a book or set of illustrations for a night's reading in bed alone" Gettings 163-164.<br/><br/>Latimore and Haskell 72-73. Riall 189. George G. Harrap and Co unknown books
184237513New York: William W. Snowden 1842. 2 volumes in one large 8vo; 35 steel engraved plates and fashion lithographs; contemporary three-quarter calf over marble boards gilt lettering on spine begining to detach shelf wear; ex-Hill Library with usual markings; foxing otherwise good interior. Contains the first printings of Edgar Allan Poe's "The Landscape Garden" and his famous short story "The Mystery of Marie Roget" in three parts. "The Mystery of Marie Roget" is arguably one of the first murder mysteries to be based on a true crime that of the murder of Mary Cecilia Rogers the "Beautiful Cigar Girl" who was found drowned in the Hudson River in 1841. Poe chose to situate the narrative in Paris as a sequal to his "The Murders in the Rue Morgue". BAL 16149A Sova p. 164. <br/><br/> William W. Snowden hardcover books
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 books
200216243Vienna: Wolfgang Buchta 2002. Near Fine. Lovely 2002 self-published fine press edition of Poe's "The Tell-Tale Heart" with 24 aquatint etchings by Austrian artist Wolfgand Buchta who also published this edition. LIMITED TO ONLY 43 COPIES THIS BEING #18 EACH SIGNED AND NUMBERED BY THE ARTIST AT THE LIMITATION. A clean crisp easily Near Fine copy in its patterned dark-chocolate boards with just the slightest hint of light spotting-- and very faint occasional scuffing-- at the panels. Tall thin folio Poe's immortal text very artfully accompanied by Buchta's evocative etchings along each margin. An impressive early 20th century Fine Press editon of one of Poe's classic tales. <br/><br/> Wolfgang Buchta hardcover books
18455525First edition. Octavo. 13 steel engraved illustrations including frontispiece and title. Full contemporary gilt stamped tan leather gilt stamped black morocco spine label a.e.g. Good light foxing. <br />BAL #4024 #16143.<br /><br />Heartman & Canny 1943 88-89. Carey and Hart hardcover books
18391503609Gentleman's Monthly 1839. 1st Edition. Hardcover. Good/No Jacket. This is the first appearance of Edgar Allan Poes classic tale The Fall of the House of Usher. William E. Burton Philadelphia 1839. First edition. Two volumes bound as one. Vol. V from July to December 1839 and Vol. VI January to July 1840. Contains many important contributions by editor Edgar Allan Poe including The Fall of the House of Usher William Wilson The Journal of Julius Rodman The Man That Was Used Up and many reviews etc. Pages with usual foxing and some age staining. Original tissue paper for plates browned. Good condition. Housed in a custom-made collectors slipcase. $1500. Gentleman's Monthly hardcover books
1900WRCLIT68113Philadelphia: George Barrie & Son 1900. Six volumes. Small quarto. Somewhat later unsigned full green pebbled morocco gilt labels a.e.g. Plates. Extremities a bit rubbed but a good sound set internally about fine. A deluxe issue of this offshoot of the illustrated edition published by Nimmo in London in 1884 with a biographical essay by John H. Ingram and illustrations. That edition marked the first appearance in book form of the "Journal of Julius Rodman" see BAL 16166. This is set #100 of the "Large Paper Library Edition" of 250 sets printed on Japan vellum with the "Twenty Original Etchings Five Photogravures and a New Etched Portrait" present in two states. The illustrations are signed in the plates by Wogel Ferrat Herpin et al and are related to those executed for the 1884 edition published in Paris by Quantin. This set was subscribed for by Livingston Ludlow Biddle the prominent Philadelphian and has his name imprinted on the colophon. George Barrie & Son hardcover books
18451610316George R.Graham 1845. 1st Edition. Hardcover. Very Good. First edition. Large thick quarto. Publisher's full roan with gilt decoration to boards. Spine with gilt decoration in compartments. Marbled end papers and all edges marbled. Light splits at the spine tips and light to moderate foxing internally front gutter paper open. Famous engraving of Poe after p. 48. A very good copy. Housed in a custom-made slipcase. George R.Graham hardcover books
18401503136Richard Bentley 1840. 1st Edition. Hardcover. Very Good/No Jacket. This bound collection of magazines contains the first UK appearances of four stories by Edgar Allan Poe including The Fall of the House of Usher the Irish Gentleman and the Little Frenchman and two others. Contemporary 3/4 tan calf and embossed floral cloth. Covers reattached with show of cloth. Calf worn and repaired. Contents recased. Plates foxed remaining contents slightly foxed. Otherwise very good clean and tight copy. iv. 643 pages. Plates by George Cruikshank Alfred Crowquill and John Leech. All the Poe stories were pirated and were printed without Poe's name or permission. The Usher story first came out in the US the prior year 1839. Housed in a custom-made collector's slipcase. Richard Bentley hardcover books
1914WM0977New York: Charles Scribner's Sons 1914. Original dark green morocco 5 raised bands with gilt lettering and rules and light blue paper covered boards. TEG other edges untrimmed. Each volume with tissue guarded frontispiece. Green and black title pages. The volume "Poems" is chipped at bottom of spine with some loss of leather. Otherwise set is generally very good with only shelfwear and wear on joints with some blotches on paper covered boards. First Thus. Three Quarter Leather. Very Good/No Jacket. 8vo - over 7¾" - 9¾" tall. Trade. Charles Scribner's Sons Hardcover books
1864WRCLIT85064Baltimore: Cushings & Bailey 1864. xi2001pp. Quarto. Polished plum-colored cloth stamped in gilt and blind. Lithographed manuscript facsimiles and illustrations. Spine a shade sunned with shallow chips at crown and toe slight edge-wear a bit of foxing early and late old French bookseller's description in corner of verso of front free endsheet offset through tissue to upper blank portion of title old offset from an ancient and absent floral specimen in gutters of pages 42-3 generally a very good copy. First edition of this considerable undertaking to raise funds contemporary with the Baltimore Sanitary Fair to support relief for the aid of soldiers and their families. Includes faithful facsimiles of the contributors' works and includes the first facsimile of Lincoln's handwritten Address Delivered at the Dedication of the Cemetery at Gettysburg. Other facsimiles of works by other important 19th Century authors include: Francis Scott Key Edward Everett Washington Irving Harriet Beecher Stowe Nathaniel Hawthorne John Audubon Oliver Wendell Holmes Henry Wadsworth Longfellow Herman Melville Ralph Waldo Emerson Henry David Thoreau William G. Simms J.J. Audubon and many many others. Melville's "Inscription to the Slain at Fredericksburg" was not collected in book form until 1947. BAL 2418 13672 etc. Cushings & Bailey hardcover books
18945131London: Printed in Paris by .douard Nelumbo for George Routledge & Sons 1894. pp. vii 123 24mo. Magnificently bound by G.T. Bagguley of Newcastle-under-Lyme signed lower dentelle in highly stylized gilt Art Nouveau design work on both covers full green crushed morocco gilt spine with single long stem and blossom titling. Illustrations by Mittis GuillaumeÃs Nelumbos series. Paris printing with engraved frontispiece and further engraved illustrations throughout many full-page tiny spot to fore-margin of fly-title Some trivial rubbing to extremities and the backstrip slightly sunned t.e.g. others untrimmed with a few faint spots marbled endpapers near fine. Bagguley was a Staffordshire bookseller and binder active from the end of the nineteenth- century through to the middle of the next. This is an attractive binding quite understated in comparison to the more elaborate work he sometimes produced. It was hitherto kept in the family by descent. [Printed in Paris by ...douard Nelumbo for] George Routledge & Sons unknown books
193268209First Photoplay Edition With Black-and-White Film Stills POE Edgar Allan. The Murders in the Rue Morgue. and Other Tales of Mystery. New York: Grosset & Dunlap n.d. c.a. 1932. First photoplay edition. In publisher's dust jacket. Octavo 8 x 5 3/8 inches; 202 x 136 mm. 4 315 1 publisher's ads pp. "Illustrated with scenes from the Universal Photoplay presented by Carl Laemmle." With photographic endpapers frontispiece and six additional movie still black-and-white plates one of which is double paged. These film stills are from the Universal motion picture of "The Murders in the Rue Morgue" starring Bela Lugosi. Full publisher's red cloth. Front board and spine lettered in black. Top edge green. Black-and-white photographic endpapers. The smallest amount of shelfwear to head and tail of cloth spine. In publisher's full color illustrated dust jacket. Some chipping along top and bottom edge of jacket. A few small chips at head and tail of jacket spine. Overall an about fine book in a very good and exceptionally bright dust jacket. The Murders in the Rue Morgue is the holy grail of mystery and detective fiction and one of the cornerstones of that genre. Poe wrote it during the height of his literary powers and it remains to this day the standard by which all mystery fiction if compared. BAL. Heartman and Canny. HBS 68209. $1850 Grosset & Dunlap hardcover books
1839006294Philadelphia: William E. Burton 1839. Very Good Plus and handsomely bound in later red cloth with gilt titles and rules top edge gilt marbled end pages 332 pp.with six tissue-guarded plates. gilt initials P.L. front board. complete with all illustrations lacking only the tissue guard for the month of September. Bound without the original wrappers. Cloth rubbed at corners and spine ends. Contains the First Printing of Poe's classic story "The Fall of the House of Usher" basis for several movies and TV shows including the 1960 classic "House of Usher" starring Vincent Price and with the screenplay by Richard Matheson. Also includes several other Poe stories and poems including "To Ianthe in Heaven" "The Man that was Used Up: A Tale of the Late Bugaboo and Kickapoo Campaign" "William Wilson: A tale" basis for several TV episodes "Morella: A tale" also filmed 1999 and "The Conversation of Eiros and Charmion". . First Edition. Cloth. Very Good Plus/No Jacket As Issued. 8vo - over 7¾" - 9¾" tall. William E. Burton, Hardcover books
198610300Easthampton MA: Cheloniidae Press 1986. Artist's Proof copy one of a few such bound as the state proof edition in full red morocco with an additional two suites of working proofs 21 prints total: 17 woodengravings and 3 states of the frontispiece etching from a total issue of 225 copies: 150 regular edition; 50 deluxe with extra suite of prints bound in quarter morocco by Claudia Cohen; 25 state proof copies with two extra suites and an original drawing full morocco binding; all copies on Magnani Letterpress paper and all signed and numbered by Alan James Robinson. Page size: 6 7/16 x 9 3/8 inches. This is an all new original edition in which the artist re-visits the text of the first book of the press. The text is letterpress by Dan Keliher at Wild Carrot Letterpress; the 9 original woodengravings and one original etching frontispiece portrait of E. A. Poe printed by Harold McGrath. The full red morocco binding is by Daniel Kelm and Sarah Pringle at the Wide Awake Garage the front panel blind-stamped with one of Robinson's woodengravings of a raven. The two additional suites are housed in a grey cloth-over-boards folder with white label printed in black on front "The Raven / Prints" and both housed in grey cloth-over-boards clamshell box red morocco label on spine blind stamped with title author and the turtle logo of Cheloniidae Press; box a bit worn book and prints fine. Cheloniidae Press unknown books
1912157830London: Hodder & Stoughton 1912. Limited. hardcover. very good. Dulac Edmund. Illustrated throughout with 11 small vignettes including the one on the title page; and 28 mounted color plates by Edmund Dulac. Thick 4to original ornate gilt-stamped vellum with silk ties vellum covers are somewhat bowed as usual; uncut edges t.e.g. London: Hodder and Stoughton 1912. A very good clean copy.<br/><br/> Edition de Luxe. Number 386 of 750 copies signed by the artist on the limitation page.<br/><br/> Hodder & Stoughton unknown books
