Publishers Binding (16 results)

8vo, (180x110mm), [6],xii,372; [6],360p. frontispiece portrait, lacking the plates by George Cruikshank. Original buff moire patterned calico, gilt lettered on black paper back-labels which are very slightly degraded. A pair from the publisher's 'Novelist's library' and alas lacking Cruikshank's engravings, although there is no evidence of their every being present making one wonder if this is a remainder issue or just an example of lack of care by the binder. We therefore offer this set as an early example of a publisher's cloth binding.

First Edition. First printing. 12mo. Publisher's sage-green cloth, stamped in gilt on spine and front cover; top edge gilt; 339,[5]pp. Occasional mild foxing, else a tight, square copy, easily Very Good. Early ownership signature in ink to front endpaper, "Jennie E. Stone," dated 1896. An early-career novel by Goodwin (1856-1935), a New York-born writer who was a prolific author of historical fiction in the two decades before and after the turn of the 20th century. She was the sister-in-law of utopian novelist Edward Bellamy. The binding is signed "J.A.S." below the gilt decoration on front cover; these initials are attributed to J.A. Schweinwurth by the UNCG American Trade Binding Collection. WRIGHT III, 2312.

Hardcover. Condition: Near fine. Kimball, Alonzo (illustrator). First Edition. First printing of the Toronto imprint, duodecimo size, 412 pp. The designs of Margaret Armstrong (1867-1944), utilising the Art Nouveau style and floral patterns, were a sensation in the publishing business; Armstrong created over 270 book designs, often for the works of well-known authors such as Charles Dickens, Robert Louis Stevenson, and George Washington Cable. In addition to designing books, Armstrong wrote books as well, including a comprehensive guide to wildflowers in the American West, which she also illustrated. This novel by George Washington Cable (1844-1925) tells of a romance set in New Orleans during the American Civil War; Cable, considered the "first modern southern writer", used his fiction to highlight the injustices of racism in the South, and he is considered a precursor to William Faulkner. This volume is a scarce Toronto imprint, and has a vintage bookseller's ticket on the rear paste-down endpaper from a book shop in Vancouver, B. C. ___DESCRIPTION: Full red cloth, decorative pattern in black, light blue, and gilt by Margaret Armstrong (unsigned) with title in gilt on the front board, gilt lettering and ornament in black and gilt on the spine, frontispiece illustration by Alonzo Kimball with tissue guard, title page with black ruled borders, black-and-white illustrations by Kimball throughout; duodecimo size (7.5" by 5.25"), pagination: [i-vi] vii-x [xi-xii] 1-396 [397-400]. Vintage bookseller's ticket on the rear paste-down endpaper from "G. S. Forsyth & Co. / Booksellers & Stationers, / Vancouver, B. C." ___CONDITION: Volume is near fine, with clean boards, straight corners, a strong, square text block with solid hinges, and the interior is clean and bright; some rubbing to the head and tail of the spine and to the corners, spine is lightly sunned, and there is a faded prior owner name on both paste-down endpapers. ___CITATION: Gullans and Espey, no. 58. ___POSTAGE: International customers, please note that additional postage may apply as the standard does not always cover costs; please inquire for details. ___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.

Map endpapers; 16 black-line illustrations; [vii] and 295 pp. Large 8vo, bright red clogth, front cover pictorial and highly gilt, showing two Malaysians and a straw-roofed cabin on a body of water, with large-sailed boat and palm trees in the background. Some minor foxing. Top edge yellow FIRST AMERICAN EDITION.

Tall thick 8vo. xxxi, [1], 789, [1] pp., decorated title in red & black. Steel-engraved frontisp., woodcut engraved plates, woodcut borders throughout. Publisher's deluxe embossed & decorated brown morocco, raised bands on spine, gilt lettering front cover & spine, embossed borders, gilt inner & outer dentelles, marbled endpapers, a.e.g. (very slight shelfwear, ever-so-slight bumping to couple corners), still an exceptional NF fresh copy, from the library of Caroline Augusta Gray Kamm (1840-1932), noted socialite and philanthropist in Portland, built home for poor women & girls with the YWCA, and was daughter of PNW pioneer William H. Gray (1810-1889) who traveled to the Lapwai Mission in Lewiston, ID in 1836 where he was the Nez Perce secular agent, and she subsequently later married Jacob Kamm (1823-1912), pioneering Oregon industrialist and entrepreneur, w/ chromolithograph trade cards for Griffin & Reed of Astoria, OR, Clarke Bros., Portland, OR, and the Allen & Gilbert-Ramaker Co. Chromolithograph bookmark souvenir for the Lewis & Clark Centennial Exposition. Revised & expanded one-volume edition of this excellent treasury, with a comprehensive index of titles, first lines, and quotations, and drawing from the works of Emerson, Holmes, Longfellow, Florence Percy, Harriet Beecher Stowe, Whittier, and others.

Second edition. Second edition. Illustrated with 8 tinted plates. 353, [1] pp. 1 vols. 8vo. Original publisher's green pebbled morocco extra, a.e.g. Gift to Edward Ross Divell on leaving Eton 1856 from Constantine H. Hamilton Illustrated with 8 tinted plates. 353, [1] pp. 1 vols. 8vo.

[xvi] and 380 pp. 12mo, dark green flexible cloth boards, heavily gilt, signed BS (Bertha Stuart), lower left; a.e.g.; minute wear to corners; pictorial endpapers; dealer's rubberstamp on foot of front pastedown An absolutely stunning copy of this anthology.

No Place (Budapest ?), Typis Joannis Tichy, 1819. Small 8vo. Original silk-printed boards. All edges gilt. Light wear to spine and edges of covers. (1-31) 32-118,(4) pp. Internally clean, printed on good paper. A very unusual binding.

Fourth Edition with these Illustrations. 280 x 190 mm. (11 x 7 1/2"). 2 p.l., 24 leaves. Publisher's tan buckram over bevelled boards, boards with blind-stamped frames, upper cover with large gilt ornament containing title at center, lower cover with ornament stamped in blind, smooth spine with blind-stamped decoration and gilt lettering, all edges gilt. With tondo portrait of Milton on title page and 29 quite attractive steel engraved vignettes with tissue guards by Myles Birket Foster. Printed in red and black on rectos only. Front free endpaper with pencilled inscription: "S. S. Hocton / From C For Oct 27th '60." Wickenheiser 361; Lowndes II, 1564; Graesse IV, 532. Minor fraying to head and tail of spine, half-inch split to bottom of rear joint, back cover with two superficial scrapes, spine evenly a shade darker than the boards, first two leaves with trivial foxing and small, faint dampstain, but still quite an attractive copy of a book normally seen in poor condition, the binding unusually clean and fresh. This is a charming Victorian illustrated edition of two of Milton's most celebrated poems, offered here in its elaborately blindstamped and extremely well-preserved original publisher's binding, Written about 1630 when Milton was still a student at Cambridge, these two early poetical efforts have had an enduring appeal for readers and critics. Written in octosyllabic rhyming couplets, the poems show that Milton's skill in crafting verse is already highly developed in the poet's early twenties, being equally successful in conveying moods of lighthearted delight and pensive meditation. "L'Allegro" summons the spirit of joyousness and basks in the charms of sunny fields and woodlands, towns, and books, while "Il Penseroso" is serious (without being melancholy), evoking the spirit of philosophical meditation against moonlit backdrops. First issued by David Bogue in 1855, the present version of the poems includes romantic and lyrical engraved vignettes by Myles Birket Foster (1825-99). The illustrations shift from jovial, bucolic scenes to melancholy nocturnes, providing an appropriate accompaniment to the two contrasting texts. Foster first made a name for himself with his charming vignettes for Longfellow's "Evangeline" in 1850, and thereafter he was in high demand as an illustrator. Houfe calls his artistry "gentle and subtle"--adjectives that perfectly characterize the present work.

Fourth Edition. 430 x 315 mm. (16 3/4 x 12 1/4"). Two volumes. Translated into German by Dr. Joseph Franz Allioli. PUBLISHER'S SPLENDID RED CLOTH VERY ELABORATELY STAMPED IN GILT AND BLIND, covers with bevelled edges, thick and thin gilt-rule border enclosing ornate blind-stamped frame, large central oval containing a lobed gilt frame with gilt lettering inside, spine divided into blind-stamped panels by decorative and plain gilt rules, two large panels with gilt lettering and volume number, original cloth hinges, white moiré paper endpapers, all edges gilt. IN THE ORIGINAL PRINTED GRAY DUST JACKETS (jacket of second volume with small, very expert repairs at bottom) and the original black cardboard clamshell boxes (solidly reinforced with black tape). WITH 230 DRAMATIC PLATES BY GUSTAVE DORÉ. Volume I with four leaves for recording family members, marriages, births, and deaths, each with a decorative frame, all unused. Malan, "Doré," p. 85. Isolated spots of minor foxing (due to paper content), one cover of the (very rarely seen) dust jackets with red offsetting from the frame on the cover, but AN UNSURPASSABLE COPY--clean, fresh, and bright internally, the bindings and jackets IN SPARKLING CONDITION. This is a time-capsule copy of perhaps the most popular illustrated Bible ever issued, and one of the very few Bibles which has always been known by the name of its illustrator. According to his biographer, the artist was excited by the "almost endless series of intensely dramatic events" he would get to portray; the results, originally created for the 1866 Grand Bible of Tours, are so evocative that the critic Bouchot called them "the terror of frail readers." Doré (1832-83) makes remarkable use of light, shadow, and composition to convey the full range of splendor, horror, pathos, and ecstasy contained in the Scriptures. Because he was so prolific (it is estimated that he made more than 100,000 designs in his lifetime), Doré inevitably had his detractors, but Ray says simply that he was "one of the greatest of all illustrators." Taine says that "every imagination appeared languid in comparison with his. For energy, force, superabundance, originality, sparkle, and gloomy grandeur, I know of only one equal to his--that of Tintoretto." The Doré Bible was translated into at least 24 languages; ours is the German version by Catholic theologian Joseph Franz Allioli (1793-1873). According to Malan, "The Roman Catholic Church has never diminished its praise of these illustrations." And these illustrations endured in many Catholic and Protestant Bibles, especially during the last third of the 19th century, but actually until the present. The Bible was such a cultural phenomenon that Mark Twain even mentioned it in "Tom Sawyer" as a motivating prize for students to learn Scripture. The Bible's success prompted Doré to reinterpret his illustrations in huge paintings that were displayed at Doré Gallery in London. Malan says that the exhibition "was considered the greatest collection of religious paintings in the world." The boxes that were issued with our set have clearly weathered some blows over the years, but they did their job perfectly, as the volumes they protected hardly seem to have been opened in their lifetime, and their dust jackets (even considering the minor repair) are also in a breathtaking state of preservation.

380 x 275 mm. (15 x 10 3/4"). Three volumes. IMPOSING RED PEBBLE-GRAIN CLOTH BY MICHEL ENGEL (stamp-signed on front cover), decorated in gilt and black TO A DESIGN BY PAUL SOUZE, front cover with elegant gilt and black frame with caduceus cornerpieces, central panel with two aerial views of the Exposition, these separated by a title banner topped with gilt heraldic design, smooth spine with three compartments, that at top with a winged herald, the center one with gilt lettering, lower compartment with Mercury's winged hat and caduceus flanked by palm fronds. With an extra chromolithographed title pages by J. Minot after Luigi Loir, crest of Paris on title page, LAVISHLY ILLUSTRATED, with black wood engravings on every page of text (frequently more than one per page), 102 of these full-page, one of them in colors, 116 DOUBLE PAGE PLATES, 34 of these in color, and FOUR LARGE FOLDING PANORAMAS. With book label of the Publishers' Bookbindings collection of Ellen K. Morris and Edward S. Levin laid in at front. Isolated smudges or corner creases (from printing process), light offsetting from illustrations, or trivial foxing, but AN ESPECIALLY FINE COPY with none of the wear typical of picture books that see avid use, the text clean and fresh, the color plates pleasing, and THE BINDINGS IN SPARKLING CONDITION. From a major American collection, this oversized account of the 1900 Paris Exposition is replete with historic illustrations and retains its eye-catching original publisher's binding in virtually immaculate condition. Held from April to November, the Paris Exposition presented its nearly 50 million attendees with a wide array of attractions, including dazzling demonstrations of new technologies, impressive architectural achievements, Art Nouveau design, and performing arts, all nestled along the Seine in the vicinity of the Trocadero and Eiffel Tower. The present text handles each of these spectacles in turn, detailing the construction of each of the structures and the specifics of the art and performances, with an abundance of illustrations detailing every aspect of the world extravaganza. The impressive bindings were executed by the Engel company, which Flety tells us was a pioneer in the industrialization of book binding. It was founded by Jean Engel (1811-92), who is sometimes known as "the father of industrial binding" because of his development and implementation of mechanical methods of bookbinding. Our binding was produced through the collaboration of Michel with engraver and designer Auguste Souze (fl. 1857-92), who produced many dies for publisher's bindings in France during this period, including a sizable number for Engel. This striking example cleverly uses black and gilt to emphasize light and shadow: for example, the lower vignette depicting the Palace of Electricity shines with gilt, imitating how the pavilion's 5,000 incandescent lights lit up the Parisian night. Our copy comes from the splendid library of publisher's bindings assembled over three decades by Ellen K. Morris and Edward S. Levin, a collection represented in an exhibition at the Grolier Club in 2000. In a review of the sumptuous catalogue for the exhibition, written for the Papers of the Bibliographical Society of America, Andrea Krupp praises the "pristine condition" of this "glittering and opulent collection." This set is a particularly remarkable example of unlooked-for preservation--books this large and heavy and inviting the kind of avid viewing that its many illustrations encourage would virtually never be found in genuinely fine condition.

First Edition Thus. 260 x 195 mm. (10 x 7 3/4"). xvi, 211 pp.Translated by Alexander Teixeira de Mattos. Charming sky blue publisher's cloth, upper cover with floral frame in gilt, pink, and green populated by blue birds, central panel with gilt lettering, smooth spine with gilt lettering, top edge gilt. In its original (slightly torn) glassine and original (somewhat faded and slightly rubbed) blue cardboard box with printed paper label on lid (the box perhaps repaired, but, if so, done with great skill). With 25 color plates by F. Cayley Robinson, tipped onto heavy stock. Three plates with corner creases, otherwise A NEAR-PRISTINE COPY. This copy of Maeterlinck's iconic work of Symbolist drama is offered here in its immaculate publisher's binding, and retains its original fragile dust jacket and cardboard box. Our author, Belgian poet, dramatist, and essayist Maurice Maeterlinck (1862-1949) won the Nobel Prize for Literature 1911, the year the present edition was released. First performed in 1908, "The Blue Bird" is the story of two young siblings, Mytyl and Tyltyl, who are sent on a search for the Blue Bird of Happiness by the fairy Bérylune. The two learn the meaning and importance of true happiness through a journey populated by allegorical characters and a final act of joy-bringing generosity close to home. The play was a massive international success and was translated into English the year after its initial French publication by Maeterlinck's friend, Dutch-British journalist and intellectual Alexander Teixeira de Mattos (1865-1921). Teixeira de Mattos writes in the introduction to the present "Edition De Luxe" that this translation includes the "latest alterations and additions made by the author in view of the Paris edition of the play," although it includes the "Forest Scene" which had been cut from that production, ensuring that this edition is "complete at all points . . . and the fullest edition published." The enchanting plates that accompany this edition are the work of painter, set designer, and book illustrator F. Cayley Robinson (1862-1927), who studied art in London, Paris, and Florence, and was much influenced by Edward Burne-Jones and other Pre-Raphaelites. Robinson had created the London stage sets for the play the previous year at the Haymarket Theatre; DNB tells us that these sets were "his triumph in this field." These illustrations are dreamlike, with swaths of pastel colors suffusing the fairy-tale scenes that are in turn ethereal and gently comical. This book is rarely seen in such fine condition as here, and very infrequently retains the fragile original box and glassine.

FIRST EDITION. 344x 256 mm. (13 1/2 x 10"). 4 p.l., 639 pp. Publisher's tan morocco-grained cloth WITH ANIMATED DESIGN BY AUGUSTE D. SOUZE (stamp-signed on front cover) STAMPED IN GILT AND BLACK, covers with dolphin and wave frame, trident cornerpieces, central panel with heraldic emblems, including Venice's Lion of St. Mark, and banners bearing the names of the covered territories, flaming censer at foot of central panel, publisher's emblem below it, raised bands, matching tan morocco spine elaborately gilt, marbled endpapers, all edge gilt. With 254 wood-engraved illustrations, 75 of these full-page, and seven steel-engraved maps, two of them full-page. With book label of the Publishers' Bookbindings collection of Ellen K. Morris and Edward S. Levin laid in at front. Two-inch crease at bottom of rear joint (but the joint not cracked or otherwise weakened), a touch of rubbing to extremities, occasional faint offsetting from illustrations, other trivial imperfections, but A VERY FINE COPY--clean, fresh, and bright internally, with stately margins, in a shimmering binding showing almost no signs of use. In its striking--and strikingly well-preserved--publisher's binding, this grandly proportioned and thoroughly illustrated travelogue comes from a major American collection. Our author, French painter and writer Charles Yriarte (1832-98), had begun travelling around Italy and the Balkans as a reporter for the "Monde Illustré" magazine. In 1871, he left the magazine to begin travelling and writing on his own. The present work was composed during this new period, on a journey Yriarte took starting in Venice and along both coasts of the Adriatic Sea, including the inland portions of the eastern Adriatic countries, which he says in the introduction have been little-visited. His descriptions of landscapes, architecture, cultures, and costumes he encountered are accompanied by a wealth of illustrations after a variety of artists, which provide very romantic impressions of the scenery and peoples of the Adriatic coast. The binding is the work of engraver and designer Auguste Souze (fl. 1857-92), who produced many dies for publisher's bindings in France during the third quarter of the 19th century. Our binding is profusely decorated with the iconography of the Adriatic region, and the gilt and black are used very effectively to give depth and richness to the design. This volume comes from the splendid collection of publisher's bindings assembled over three decades by Ellen K. Morris and Edward S. Levin, and exhibited at the Grolier Club in 2000. In a review of the sumptuous catalogue for the exhibition, written for the Papers of the Bibliographical Society of America, Andrea Krupp praises the "pristine condition" of this "glittering and opulent collection.".

Nouvelle édition. Nouvelle édition. 360 wood engravings, full-page and in text. 4to. A pristine copy in the publisher's illustrated cloth. Publisher's illustrated green cloth, blocked in gilt and black, front cover illustration signed "A. Souze," a.e.g., fine 360 wood engravings, full-page and in text. 4to.

First edition. Ginain, Eugène. First edition. 17 engravings (4 colored) after Eugène Ginain and one colored map of the Savoie department. [ii], viii, 358, [2] pp. 8vo. A stunningly fine copy in publisher's binding, the gilt looking like it was stamped yesterday. "Le cartonnage spécial de l'éditeur est agréablement orné" (Carteret). Carteret III, p. 31 Publisher's blue cloth, blocked in gilt, front cover with filigree border surrounding center oval containing coat-of-arms in gilt and red, rear cover with elaborate cathedral medallion, spine blocked in gilt with title, imprint, and coat-of-arms, a.e.g. Fine 17 engravings (4 colored) after Eugène Ginain and one colored map of the Savoie department. [ii], viii, 358, [2] pp. 8vo.

Title-page with arms of Bishop Montale of Angers. [iv], 381, [1] pp. 8vo. Printed by a member of the famed French Catholic publishing family Mame. Presentation binding of full contemporary red continental straight-grained morocco, tooled in gold to a panel design with arms of Bishop Montault of Angers in center, gilt spine in five compartments with four raised bands, stamped with urn and Catholic tools, gilt edges and turn-ins, a.e.g., marbled endpapers, red silk page marker. Fine. Small bookplate "KLW" Title-page with arms of Bishop Montale of Angers. [iv], 381, [1] pp. 8vo.