Browse the latest catalogs, newsletters, and e-lists of rare books, fine bindings, incunabula, print ephemera, and much more from the members of the ABAA below. (Also includes podcasts, blog posts, and other digital formats.)
*New* indicates any catalogs brought to our attention since late-December 2024.
NEW YORK: Dodd, Mead & Company, 1898. FIRST EDITION. Hardcover. 8vo. Lovely, paper-covered boards, brilliantly colored -- Bertram Goodhue's genius dances off the late nineteenth-century page, and still pops -- powerfully -- into our 21st century consciousness -- 125+ years later! 1-1/2-inch spot (spilled turquoise ink) to top left of rear board, and a repaired 1 1/2 in. x 1/2 in. closed tear to paper over spine.
A play with characters from the Carroll classic,including of course Alice in Wonderland, The White Rabbit, The Queen of Hearts, The Knave, Humpty Dumpty, Tweedledum and Tweedledee, The Cat, The Mad Hatter, etc., Gorgeous color Illustrations to both covers by the legendary typeographer and font-inventor Bertram Goodhue include The Knave (Frontispiece); The White Rabbit, Alice, and the Queen of Hearts. Twenty-panel decorative endpapers in orange and red with various Carroll characters within each grid. Printed by D.B. Updike at the Merrymount Press in Boston. Scarce. Very Good.
L’Assiette au Beurre. Satirique, humoristique, hebdomadaire. A group of 80 issues, from No. 1 (4 April 1901) to No. 450 (13 November 1909). Prof. illus. (substantially in color). Lrg. 4to. Orig. dec. illus. wraps. Intermittent light wear and chipping; on the whole, a well-preserved selection, unbound, in the original wrappers. Paris (S. Schwarz/ E. Victor), 1901-1909.
Boston: James Fisher, 71 Court Street, c.1841. Broadside, laid down on a stiff backing sheet, slightly trimmed to 30 x 25 cm., taking the "Pr. by Chas. Thomas & Co." statement in the lower margin. Engraved by D. Kimberly. Entered according to Act of Congress, in the year 1841, by the Franklin Print Co. The lettering by J.B. Bolton. A printing of The Declaration of Independence, with fac-similes of the signatures and likenesses of the signers, the arms of the states, and of the United States, and portraits of the presidents. Engraved script, with text below a reproduction of Trumbull’s painting and above Durand’s key and facsimile signatures. The whole within an ornamental border featuring medallion portraits of Presidents Washington through W.H. Harrison, and the seals of 26 states. An American eagle, holding a banner carrying the U.S. motto tops the border. Some overall toning to sheet. OCLC: NY Historical, Univ. of VA, MA Historical.
London: T. Fisher Unwin, 1892. First Edition. Hardcover. 1st edition in English, issued as a volume in the publisher’s “The Children’s Library” (our London issue precedes the nearly identical looking New York issue). Spine faded half a shade, gift inscription to the front blank, a bit cocked (as is typical), else a near fine copy, seldom seen so beautiful.
Influential? When Pinocchio was published dozens of different Italian dialects permeated Italy, but Collodi was a lord of grammar, and the book was so popular and widely read that it unified the Italian vernacular into a single common language.
Paris [&] London: Publié par V. Morlot [&] Mc.Léan, [n.d., ca. 1830]. First edition. Oblong folio (10 5/8 x 13 7/8 inches; 270 x 352 mm.). Twelve numbered hand-colored lithographed plates. Plates lithographed by Bernard. Each plate with the publisher's oval blind-stamp in lower blank margin. Bound without the printed titlepage. Mid-nineteenth century quarter red calf over marbled boards, smooth spine ruled and lettered in gilt. A superb example with fne contemporary hand-coloring.
The plates are captioned: “L’Écrou;” “Chambre du détenu malheureux;” “Chambre du détenu philosophe;” “Les Élections;” “Le Cabinet de lecture;” “Le Cabaret;“ “Le Café;” “Le Repas dans la cour;” “Les Jeux dans la cour;” “Le Bain du créancier;” “Le Paye;” and “Sortie du débiteur;.”
An exceptionally rare album depicting various scenes at the Parisian prison of Sainte-Pélagie. Tis prison, once located in the 5th arrondissement, was active from 1790-1899 and housed many renowned prisoners during and after the French Revolution, including the Marquis de Sade. In this series, Adam conveys in various scenes of prison life the dignifed squalor to which its inhabitants were reduced. We have only seen this book once before - a copy with modern hand-coloring which we sold in 2003. OCLC locates just one copy - BCU Dorigny (Lausanne, Switzerland).
London: Peter Davies Ltd., 1956. First U.K. Edition. Sharp copy of this early novel by Armstrong, set in a small southern California college, where an absent-minded professor misplaces a container of poison, which involves a score of unrelated people in a frantic search. Winner of the Edgar Award for Best Novel in 1957.
First Impression. Octavo (19cm); turquoise cloth, with titles stamped in gilt on spine; dustjacket; [4],5-220,[4]pp. Small contemporary owner's ink name and date at upper margin of title page, else Fine in a Near Fine dustjacket, unclipped (priced 12s.6d. net), with a hint of sunning to spine, a few pinpoint rubbed spots to spine ends, and two spots of dust-soil to front joint.
Offered by Captain Ahab's Rare Books and found in "Holiday Catalog."
Manuscript on paper. Ingolstadt et al., l'an 7 (22 September 1798-21 September 1799). A genuinely peculiar visual diary, created by an anonymous French soldier captured by the forces of the Habsburg Monarchy during a battle of the Wars of the Second Coalition. The soldier, incarcerated in an Ingolstadt fortress, apparently had substantive freedom—and access to artists' supplies—and produced a rather whimsical manuscript through which a martial darkness runs. Our artist/author chose to include in his album a disparate record of his incarceration, with birds-eye views of the gardens surrounding the Ingolstadt fortress and the two prison structures (complete with tunnels, latrines, and exercise yards); a sentimental portrait of an unknown female prisoner; two forbidding children in Teutonic garb (one smoking); a brace of battle-hardened Habsburg soldiers loading weapons; an imaginary scene of the family of the incarcerated soldier writhing in anguish at the thought of their relative in the hands of the enemy. The author gives many tantalizing clues to his identity, including a monogram—A.D.—and two self portraits: one in a cell, with a broken arm, where he is confronted by a jailer bearing chains; and the other a tiny representation as a paysageur, painting the town of Furstenburg. But so far our artist remains anonymous, leaving as the sole witness to his life this odd album of some thirty drawings.
This small, square manuscript presents far more questions than it answers, but in its way has something for everyone: innocent silhouettes, a binary scene of corpulent putti dancing against a carbon-black background (an illustration called "love in the shadows"); naked sirens embracing in the sea; landscapes of lonesome, forbidding citadels atop steep promontories. All is interspersed with rather prosaic exercises in perspective, shading, and the calligraphic art of monogramming. The second-to-last drawing is a folding map of Western Europe, centered on France, with her pays du coutume hand-colored according to province. A most engaging and unusual witness to a solitary soldier's experience in the Coalition Wars during the seventh year of the French First Republic.
Offered by W.S. Cotter Rare Books and found in "Fall List 2024."
Oil on canvasboard, signed “Bemelmans” (lower right). 26 x 20 in. Framed.
This artwork exemplifies Bemelmans' extraordinary ability to merge reality and imagination, capturing a serene nocturnal view of a Venetian church bathed in moonlight. A composition of both elegance and subtlety, the painting renders an intimate portrayal of the city's architecture and its romantic charm.
The scene, delicately wrought in oil, is dominated by the majestic church, its silhouetted shape standing in bold relief against the ethereal silver-blue of the moonlit night. The church's intricate features, while abstracted, are recognisable in Bemelmans' playful style, that balances on the edge of realism and whimsy. Softly illuminated windows suggest the mystery and warmth of life within.
Swiss Watch Chamber of Commerce. La Chaux-de-Fonds, Switzerland. 1950s. A 1950s booklet die-cut into the shape of a watch, promoting Swiss watches. Printed in Switzerland for the Swiss Watch Chamber of Commerce to court the American market. The organization was founded in 1876, and was dedicated to promoting the Swiss watch trade abroad. This publication is notable for its clever bit of book design: when the first leaf is turned, the mechanism under the watch’s dial is revealed, making the viewer feel as if they are uncovering the inner works of a real watch. Includes detailed descriptions of how watch mechanisms work with diagrams inside. Aims to show how finely produced Swiss manufactured watches are and that they are a “safe investment”. Single vol. (3.75” by 5.75”), pp. 12, illus., die-cut.
London: John Murray, 1871. 2 volumes octavo (20 cm). Original green cloth. Spine cocked somewhat on volume 1. Both volumes well-read, but quite good. Owner's name in pencil on title page of volume 1. References: Norman 599; Garrison-Morton 170. Corrections to the text in volume 1 mark this printing as the second issue of the first edition. Volume 2 is the first restriking (“seventh thousand.”) It is noted that the word "evolution" occurs here on page 2 of volume 1 for the first time in any of Darwin’s works.
Offered by Rodger Friedman Rare Book Studio and found in "Darwin."
New York: Women’s Liberation Center of New York, 1973. Offset. Single leaf folded to form [4]pp. 8 1/2 x 11 in. Three small tears to edges, slight loss to bottom right corner; very good.
Early flyer from The Women’s Liberation Center, published just a year after its founding by Lesbian Feminist Liberation and the Lesbian Switchboard.
The Women’s Liberation Center was a key node in the New York women’s and gay liberation movement, housing the offices and meeting space of several important organizations of the period, including Lesbian Feminist Liberation, Women’s Abortion Project, the Lesbian Lifespace Project, Older Women’s Liberation, the Lesbian Switchborad, Radicalesbians Health Collective, and several others over its 15 years in the firehouse. Additionally, the Center hosted frequent programming, including concerts, screenings, workshops, community dinners, and many other public events.
A year before the publication of this newsletter, The Women’s Liberation Center was evicted from a loft on 22nd Street and moved into the firehouse, which housed the Center until 1987. This newsletter details the history of the firehouse, the precarious legal status of the Center’s use of it, the process the Center would have to successfully navigate in order to formalize its use of the firehouse, and an ultimately successful political strategy to win a lease. The newsletter also includes an article on the prevalence of rape in New York City and movement efforts to combat it and support survivors, along with a comic by Carol Sanders.
A scarce document from an important early node of the women’s liberation movement and movement for abortion rights.
OCCASIONAL LIST 22: A Miscellany: Original Art Work; Small Archive of Major English Watercolourist; Interesting Theatrical Pieces; Manuscript Material, Etc., Etc. -- available on request from fgrare@fgrarebooks.com...
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Antwerpen: Guy Schraenen, 1977. Audio cassette in original housing with stapled booklet (8 pages) as liner. The first published collection of Ulises Carrión's conceptual audioworks; a number of which were created specifically for this Schraenen recording. As per the artist's statement printed to the liner: "Each piece is a series of vocal units that unfolds according to simple rules. Their beginning and end are arbitrary—they could go on infinitely. They should go on. They go on." Tracklist for Side 1: Hamlet, for two voices (15'36, with Martha Hawley) and Aritmética (5'19); Side 2: Three Spanish Pieces (7'21), Poema (1'57), First Spanish Lesson (7'13), and 45 Revoluciones por Minuto (3'59). (Hill 38; Dear Reader, p. 128). This copy fine. Scarce, with a single OCLC record discovered.
1860. Six sheets, all woodblock-printed on one side, each sheet measuring ca. 1785 x 570 mm., forming two sets of three sheets each, the sets showing the world in two hemispheres. Each set with four large spandrels in corners, with text. Woodcut illus. of animals in the southern polar landmass, a multi-masted trading ship, etc. [Seoul]: colophon dated 1860.
The very rare Korean edition of the famous Verbiest map, first printed in Beijing in 1674 by the Jesuit Ferdinand Verbiest (1623-88). His map, one of the largest woodblock-printed maps, was probably based on the 1648 world map by Blaeu. In 1856, a new issue of the Verbiest map was made in Guangdong, probably from new blocks, presumably to refamiliarize the Chinese with European geography. From a copy of this map, a Korean edition was printed in Seoul, by order of King Cheoljong (1831-64, r. 1849-64), in 1860.
The Chosŏn government’s renewed interest in world maps from China was kindled by a series of military crises in China caused by Western imperial powers in the mid-19th century. In this period, fearing that the Korean peninsula would be next to suffer Western incursions, the Chosŏn government made efforts to introduce new world geographical treatises from China as sources to learn about the situation in China and the ways to cope with Western threats. This period also witnessed a renewed Korean interest in the old Jesuit world maps, as shown in the 1860 official reproduction of Verbiest’s world map, Kun yu quan tu.
The orientation of Verbiest’s map in both the Chinese and Korean editions presents an entirely Sino-centric view of the world, with the prime meridian running through Beijing. The eight spandrels contain text within borders. These texts discuss trade winds, currents and tides, distances, astronomical and geographical matters, landforms, mineral wealth (gold and silver), the indigenous peoples of each region, suitability of lands for farming, climates, types of trade ships and their routes, and brief histories of the different parts of the world, their governments, etc.
The maps themselves depict landmasses, mountain ranges, and rivers. California is shown as an island. We find a note stating there are vast forests and ample farming land in Canada. Many of the islands of Indonesia and the greater region are also shown.
The illustrations are quite charming, with depictions of sea creatures such as whales, flying fish, sea horses, etc. We also see a four-masted trading ship making its way west in the rough Atlantic, and exotic animals such as an alligator, a rhinoceros, a lion, and a unicorn frolicking in the waters of the unknown south.
Fine and fresh copies, preserved in a box. Several of the woodblocks survive today at the Kyujanggak Institute for Korean Studies.
London: Longmans, Green & Co., 1905. Hardcover. First Edition. RARE PRESENTATION COPY. Edith Nesbit (1858-1924) was an English author and poet who is best known today for her children’s books. Publishing under E. Nesbit, she wrote or collaborated on over sixty books for children. She was a follower of William Morris and one of the founders of the Fabian Society, the British socialist movement. This book is inscribed: “To Olindo Malagodi from E. Nesbit July 1905.” Malagodi (1870-1934) was a prominent Italian liberal journalist and writer. He trained as a journalist in Britain, became the London correspondent for several newspapers, and eventually became the editor of La Tribuna in Rome. He was a close friend of Nesbit and her husband, Hubert Bland, eventually living near them as he raised his family. His son, Giovanni became an important Italian politician.
Bound in the original green cloth with lovely floral and fleur-de-lis design in gilt on front cover along with author and title. Light bumping and small light stain to top of rear cover; otherwise in beautiful condition. Front and rear endpapers are foxed but interior pages are bright and clean. Each section is preceded by a blank page with a flower illustration. Each flower is a different color. Nesbit’s books of verse are uncommon and nearly impossible to find signed. 143 pages plus 4 pages of advertisements for Nesbit’s books.
Sauk City: Arkham House: Publishers, 1958. Octavo, cloth. First edition. Cthulhu Mythos stories which all but one first appeared in Weird Tales. [Reference: Bleiler, The Guide to Supernatural Fiction. 521. Tymn (ed), Horror Literature 4-94]. Some toning to end papers, a fine copy in a fine dust jacket.
Phila., Pa.: Pride Publications, 1968. 11” x 8½”. Stapled wrappers. pp. 32. Very good: rear wrapper and last leaf with some creasing and dings. This is an issue of a short-lived and handsomely produced magazine by a Philadelphia journalist and public relations expert, Robert Lee “Bob” Lockett. We learn from Lockett's obituary in the Philadelphia Daily News that he grew up in Aliquippa, Pennsylvania and served in the Pacific with the army during World War II. He thereafter took journalism classes under the G.I. Bill and started his journalism career working in public relations for Frankford Arsenal. He was later the public relations director for the Opportunities Industrialization Center and in 1981 he retired as the manager of consumer relations for the FDA's Philadelphia branch office. Lockett's freelance writing appeared in Reader's Digest as well as the Philadelphia Inquirer. That obituary stated that Lockett founded Pride Publications in 1965 for the purpose of creating this magazine. The obituary also stated the magazine was issued through the 1970s, mentions a January-February 1970 issue and we offer the May-June 1970 issue below. The obituary also contains a quote from an unnamed Black writer that PRIDE was “the first Philadelphia magazine devoted to highlighting the positive contributions of the African-American community here in the Delaware Valley.”
Garden City, NY: Garden City Publishing Company, Inc., [1932]. xi, 386 pp. Illustrated. Hardcover cloth, light shelfwear, faint dampstaining to bottom edge of boards, in lightly edgeworn and moderately soiled dust jacket. Faint dampstaining to bottom edge of first 15 pp., internally clean. Owner inscription of John Knox dated November 15, 1934 and note in the same hand (recording Holmes's death, dated March 6, 1935) to front pastedown, photo of Holmes and Knox laid in (formerly tipped onto front free endpaper, small piece of tape adhered to photo), annotation (a quotation from "The Soldier's Faith" by Holmes) to rear pastedown, unrelated notecard laid in. $500. * This was the first biography of Holmes. John Frush Knox [1907-1997], a correspondent of Holmes, clerked for Supreme Court associate justice James McReynolds from 1936-1937. He was an avid diarist and produced a 978-page manuscript documenting his time with Reynolds, one of the earliest memoirs of a Supreme Court clerk. The work was published posthumously as The Forgotten Memoir of John Knox: A Year in the Life of a Supreme Court Clerk in FDR's Washington (2002).
(NY), Bernard Geis, (1962). "The Unmarried Woman's Guide to Men, Careers, the Apartment, Diet, Fashion, Money and Men." (Yes, "Men" twice.) Advice from the long-time editor-in-chief of Cosmopolitan (1965-1997), published three years after she became a married woman, at age 37. The book became a bestseller and the basis for a 1964 film with a screenplay by Joseph Heller. It dared to separate sex from marriage and (two years after FDA approval of the pill) from motherhood, while still remaining enthralled by subservience to male desire. This copy is inscribed by Brown: "For Wayne Thomas/ I can't think of anyone I'd rather be taken off the air with! Thank you for such a happy interview/ Love/ Helen Brown." Thomas was the off-camera announcer for the Hollywood edition of The Million Dollar Movie on KHJ TV; decades prior, Brown's first job was answering fan mail for the radio station KHJ. A fine copy in a very good, lightly rubbed dust jacket with modest edge wear. The epitome of second wave feminism. Uncommon in the first printing, let alone signed and with a good association.
MEXICAN ILLUSTRATED BOOKS. 50 YEARS OF ILLUSTRATED BOOKS PUBLISHED IN MEXICO -- catalog available to institutional buyers by request from mmbooks@comcast.net
Illustrated Catalog on Carlos Merida (1891–1984) -- Mexican painter, sculptor, writer and graphic designer -- available by request from mmbooks@comcast.net
Catalog 53 -- featuring Fine Books and Manuscripts from 1641 to 1930, with special emphasis on High Spots in English and American Literature, Fine Bindings, Illustrated Books, 1890’s, Press Books and early, scarce children’s books.
Paris: L. Conquest and L. Carteret, 1905. 8vo, 8 1/2 x 5 1/2 inches. Finely bound by Captain Gladstone in full green crushed morocco with exquisite all-over gilt design on both covers, four large triangular inlaid blue morocco pieces to each corner with half-moon gilt-tooled patterning, center with blossom and vine motifs, with two circular blue morocco inlaid pieces. Wide dentelles with similar patterning and two inlaid pieces, blue silk moiré doublures. TEG, signed CEG in gilt, front dentelle. Colored engraved title and illustrations by Leon Lebegue, with added duplicate uncolored plates bound in. This copy issued to ‘Monsieur le Dr Rivet’ signed ‘L C’ [ L. Carteret, the publisher], red card paper wrappers bound-in, in place. Near fine, with slight even sunning to spine.
Offered by Nudelman Rare Books and found in "Catalog 53."
New Orleans, Louisiana, March 4, 1808. Letterpress funeral invitation, 9 1/2 x 7 in. (24 x 18 cm). English and French text in parallel columns, surrounded by decorative frame. Woodcut devices in margins around frame. Old folds, some ink smudging, docketed on verso. About fine.
John Ward Gurley was struck dead in New Orleans on March 3, 1808, at the tender age of twenty-nine. At the time of his death, he was serving as attorney-general for the newly established Territory of Orleans, as registrar of the land office, and as aide-de-camp to the governor, William C. C. Claiborne, who had appointed the young man--holding a degree from Yale--attorney general four years earlier. By most measures, Gurley’s future in frontier politics, and perhaps even at the national level, seemed preordained. Yet to his constituents in New Orleans, among whom he was as well known for his hot temper and quickness to duel as for his political acumen, it must have come as no surprise when pistol and ball sent him to his grave. Early the next day, his parents and friends issued a hastily printed notice in English and French, inviting guests to the funeral at four that afternoon, adding that “The corpse is deposited at the house of Wm. Simpson, Esq., Dauphin street [son Corps sera exposé chez M. Wm Simpson, rue Dauphine].” This remarkable imprint is surely among the most haunting such notices in the genre, especially for its time and place. It also appears to be the earliest surviving specimen of New Orleans job printing.
Offered by Primary Sources, Uncharted Americana and found in "Catalogue 8" (item #4).
London: Published by His Majesty's Royal License and Authority. For John Fielding...and John Jarvis, 1785-1786.Stock Code: 58704
One of the basic contemporary histories of the American Revolution, this detailed narrative was compiled largely from newspaper articles and the proceedings of the House of Commons. It is illustrated with portraits of principals such as Washington, Clinton, Greene, Cornwallis, Burgoyne, Lafayette, Captain Asgill, and Count D'Estaing. The maps show the North American colonies as far west as the Great Lakes and the Mississippi River, the English Channel, the West Indies, and other hot spots of the time in Europe and elsewhere. This set bears the contemporary ownership signature of John Parkinson, dated 1786, on the front flyleaf of each volume. Though he owned this set contemporaneously with its publication, Parkinson is not listed among the original subscribers.
Four volumes. [2],448; [2],449 [i.e. 447]; [2],445; [2],416,[59],[v]-xiv pp., plus twenty-four plates, six folding maps, and one single-page map (maps partially handcolored). Engraved titlepages. Contemporary tree calf, gilt-tooled border, spines gilt, gilt inner dentelles, marbled endpapers. Each volume lacking its leather labels. Boards lightly rubbed, worn at spine ends and corners, rear board of first volume detached but present; front hinge of third and fourth volumes loosening. Contemporary ownership signature on the front fly leaf of each volume. Clean internally. Very good overall. Each volume in a folding paper chemise, the whole set in a green cloth slipcase, gilt leather label.
New York: Daniel Wilson Productions, [1989]. Vintage original film script, 11 x 8 1⁄2" (28 x 22 cm), 102 pp. The name of Cynthia Greenhill is written on the title page. She worked on a couple of other films in this era, but is not included in this film’s credits. The front page notes that this draft includes revisions from 1/17/[89] on pink paper and revisions from 1/24/[89] on blue paper. This example of the script does incorporate those dated revisions, but the entire script is printed on white paper. Printed wrappers, brad bound, a few pages with light marginal spotting, overall near fine.
The completed film does not represent screenwriter Harold Pinter’s original vision for this adaptation of Margaret Atwood’s dystopian novel. When director Volker Schlöndorff took over the film’s direction (which had originally been assigned to Karel Reisz) and requested rewrites, Pinter suggested he enlist the original author and she, among several other people, were responsible for the final shooting script. However, only Pinter received screen credit for the script in the released film. Thus, this original Harold Pinter screenplay draft—never published—Is of tremendous value to scholars or fans of Pinter and his work. And, of course, any adaptation of Atwood’s feminist classic is of enduring interest.
Offered by Walter Reuben, Inc. and found in "Catalog 55."
2020. Limited Edition, #406/425. Certificate of Authenticity is included. In Very Good condition with minor wear to corners. Print measures 24 in. x 36 in.
New York: Criterion, [1934?]. Folio (40.5 cm). Yellow cellophane sheet + 22 ff, each illustrated with generous description and promotion text on bottom portion. Original black wrappers with silver-stamped front cover as well as die-cut center square showing the inside title. Overall, a very good copy.
A truly extraordinary, well-illustrated document—every leaf a virtual sales presentation or poster-- in which the Criterion Advertising and Merchandising Service describes how it can help a company reach the Heart of the American Market—which for Criterion was literally the Main Street of Anytown, USA [see this catalogue’s cover illustraton]. Much discussion on the Heart of this market—the Home Neighborhood— and on the key decision makers, especially the Housewife, the “Guardian of America’s Pocketbook” [see this catalogue’s front cover]. Much of Criterion’s sales thrust is through its own designed and printed Three-Sheet Posters, with many samples shown here (as well as a scene of its printing shop and lithographic presses. Overall, this is a truly bold production to be presented in the middle of the Great Depression. The layout of each sheet here act as subtle examples of Criterion’s skill in applying message and design. Of course, within ten years, the make-up of the market space (storefronts) as well as the customer-base would change forever. Ninety years later, the America of today—especially Main Street—looks nothing like the once vibrant commercial centers shown and discussed here, gutted by the Interstate Highway system, big-stores [eg. Walmart, Dollar General] located outside of the Center, the flight from urban neighborhoods... well, and other real factors! No copies located in OCLC, which however records another brochure from the firm, Criterion Service: a medium of reminder advertising (1926) at Duke.
Collection of 27 hand-colored steel engraved fashion plates from four early/ mid-19th century European women’s magazines. Plates vary in size, with an average of 27x20cm. Most plates appear to have been meticulously cut out of their original magazine page and then mounted on cream stock paper, with a hand drawn double-line border and handwritten date along the top and the name of the originating magazine along the bottom, all in black ink. Stock paper mounted on to brown loose scrapbook pages, about 30.5x25cm. The plates were taken from the following magazines: World of Fashion (20 plates), La Belle Assemblée (1 plate), and Lady’s Magazine (1 plate), which were published in London, and Petit Courier des Dames (5 plates) published in Paris. This collection contains plates from a variety of months and years ranging from November 1824 to June 1849, with nearly half from 1832. Light foxing and toning to several plates. One mounting cardstock with a tear along the bottom, not impacting the plate. Chips and tears to scrapbook pages, some more heavily chipped than others, but generally not affecting the plates or mounting cardstock. Better than Very Good.
Fashion plates became popular in the early to mid-19th century, Usually produced through etching, line engraving, or lithography and then colored by hand, the fashion plates showed the high fashion of the day; not the everyday style, but the aspiring style of the upper class. Beyond the latest fashion, the magazines also advertised the names of dressmakers, hair stylists, and jewelers that offered the featured designs.
While such plates are not uncommon, we have not previously seen a collection this large, this early, and preserved in this manner.
London: Hamish Hamilton, 1978. Tall 4to, [30]pp. Illustrated boards, slightly bumped, boards and contents a little age-toned, but without markings. § First edition of this wordless winter classic by Raymond Briggs, who was a two-time winner of the Kate Greenaway medal among many other awards. An animated version with music scored by Howard Blake has been a beloved fixture of British Christmas Eve television for over 40 years.
Originally published 1830, this was Benjamin’s fourth and vastly most popular work. This was the key book in introducing the Greek Revival to the New England countryside, as well as to the states in the mid-west. Hitchcock 130. 4to, modern (but not brand new) full cloth. 119 pp. with 64 engr. plates. With occasional scatered light foxing. Signed on front fly: “Thomas Lakey’s Bot 1 Mo 1854.”
Offered by Charles B. Wood, Bookseller and found in "Catalogue 201."
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