THE STORY WITHOUT AN END. In a binding with an early use of what may be parkesine.. This item is unavailable.THE STORY WITHOUT AN END. In a binding with an early use of what may be parkesine.

First published in 1834 and frequently reprinted. Sampson & Low's 1868 was published in various states. Internally, however, this copy, like most, has 15 coloured illustrations with tissue guards. Pagination sequence: a monochrome frontispiece, tissue guard; vi; 40pp. There are also line drawings in the text. The illustrations, unlike the text, are glued along the thin material of the spine-side edge rather than sewn. Consequently, the frontis is detached and a couple of tissue guards of other illustrations are slightly loosening. Several illustrations and their neighbouring pages show foxing. Full dark green leather - probably a deluxe binding rather than the standard cloth. The upper cover is decorated with a floral design surrounding the gilt title, within a square section, 9x11cm, of cream lamination laid into the leather. The design is stamped into the this material lightly. The impression contains a floral design filled in green and red paint (or ink) edged in gilt. The material of which this is made looks most like a kind of veneer of bone or ivory owing to the faint grain - as can be seen in the handles of old bone table knives. But we are not certain that a veneer of bone capable of taking an impression is technically possible, so perhaps some imitation of that, though it is too early for modern plastic or even cassein. We cannot be sure but suspect it is most likely parkesine, known as "synthetic ivory", which was patented by Alexander Parkes and showcased at the 1862 International Exhibition in London, not long before the publication of this edition. It was advertised in the guide to the exhibition as "a substance hard as horn, but flexible as leather, capable of being cast or stamped, painted, dyed or carved". This would appear to be an early use of an early form of some kind of plastic, in the design of a book, and possibly of parkesine in particular, generally considered the earliest modern plastic. The extremities are moderately rubbed with loss of colour in those areas. All edges are gilt. Minor marks, otherwise very good. Acquired from Maud Lloyd, an admired leading dancer with Ballet Rambert in the 1930s. Later she wrote, with her husband, Nigel Gosling, influential dance books and reviews under the pseudonym, 'Alexander Bland'. When Rudolph Nureyev defected in 1961, they became his surrogate parents.…