Churchill, Winston S.; (Rhodes, Col. F. (Ed.))
Two volumes complete - Volume One - [7], viii-xxii, [3], 2-462pp and Volume Two - [5], vi-x, [5], 2-499pp, [1]. Original gilt decorated cloth. Usual rubbing to gilt, extremities lightly rubbed, volume one has been recased, with a repair towards the foot of the spine, with resultant small amount of loss to publisher's name, both volumes with light foxing to text block edges, and occasional light foxing to margins and text, but generally fairly clean. Volume one with four photogravure portraits, one other full page illustration, eleven folding maps, and six full page maps; Volume two with three photogravure portraits, two other full page illustrations, nine folding maps, and five full page maps (as called for). Now housed in a cloth slipcase. Woods A2 (a) Size: 8vo
[Walpole, Horace]; Muralto, Onuphrio; Marshal, William (Trans.)
[7], ii-xxxii, [1], 2-245pp, [1]. Full contemporary calf by Edwards of Halifax, raised double bands, spine in six panels, title label to second panel, remaining panels with central urn, with fleuron corner pieces, with gilt rule either side of bands, covers with central panel of tree calf, with greek key border, within a double frame of Etruscanesque blind tool and gilt roll, with a thick and thin double fillet border, gilt line to edges, and a rope roll border to inner edges, watered silk doublures and pastedowns, a.e.g. with a fore-edge painting of Countess Weir Bridge on the River Exe. Gilt to spine rubbed and a little indistinct, joints repaired with Japanese tissue, rubbed to extremities, corners very slightly bumped. Internally some occasional light foxing, but fairly bright and clean. Red ruled throughout, with two engraved frontispiece's (Hazen's A and B plates, with B being a new plate and not just A with added detail), bound either side of the half-title. The engraver was Barlow according to Hazen, probably John Barlow (c.1759-1817 or later), see Alexander, 'A Biographical Dictionary of British and Irish Engravers, 1714-1820', pages 76-77. The title is the usual second state cancel, dated 1791. Housed in a modern cloth drop back box with leather title label to spine. The 'author' 'Onuphrio Muralto' is a near anagram of Horatio Walpole (with an M replacing the W). First printed in 1764, this seminal work by Walpole is widely regarded as the first Gothic novel. Edwards of Halifax were amongst the most successful and innovative bookbinders, booksellers, and publishers for about seventy-five years (1749-1826) (see Bentley, 'The Edwardses of Halifax', passim), and were largely responsible for reviving the fore-edge painting in England. The firm was started by William Edwards, and continued by his sons James and Richard. James Edwards was a friend of Horace Walpole, and published this volume, printed by Giambattista Bodoni in Parma, in an edition of three hundred copies on paper and five (though actually six) on vellum (Bentley, page 57). Bentley notes that there are at least three copies of this work known to have been produced with a fore-edge painting (Ibid, page 36). The Huntington Library has a copy with Lulworth Castle as a fore-edge (see Weber, 'Annotated Dictionary of Fore-Edge Painting Artists and Binders', page 113-4), and Weber goes on to note that 'Castle of Otranto' is one of the books "frequently . specially bound and often have fore-edge paintings from Edwards" (Ibid, page 123), and a similar copy is included in Thomas Edwards' 1815 catalogue, "1351 Walpole's 'Castle of Otranto', elegant in Etruscan calf, gold borders to the plates, and an elegant drawing on the leaves" (Ibid, page 129). Hazen, pages 56-63; Summers, page 264; Rothschild 2492 (noting six copies on vellum) Size: 8vo
Thomson, James; Murdoch, Patrick (Life of the Author) ; Corney, Bolton (Ed)
[7], viii-xlviii, [5], 6-320pp. Later full morocco by Thomas or John Fazakerley of Liverpool, with their name stamped to foot of front turn in, raised bands, spine in six panels, title lettered directly to second panel, and author to third, remaining panels with double fillet border in gilt, red morocco frame, single fillet inner border, with central heart tool and four dots, upper cover with double fillet border in gilt, red morocco frame with single fillet inner border, hearts and dots surrounding another red morocco inner frame, with central oval red morocco frame encompassing the title and author, surrounded by fauna and flora in gilt, lower cover with similar frames and heart and dot border, single line to edges, inner edges again with red morocco border and watered silk doublures and endpapers, top and bottom edges gilt with gauffering, fore edge gilt and gauffered, with a triptych of small fore edge paintings (visible) of country scenes. Small repair to head of upper joint, very slightly rubbed to extremities. Internally the text is lightly browned, but clean. Illustrated throughout by several artists including John Bell, C. W. Cope, J. P. Knight, Frank Stone, C. Stonhouse and Thomas Webster. Book plate of Randall Moskovitz loosely laid in (Weber notes that Randall Moskovitz owned other Fazakerley bindings). Thomas Fazakerley and his son John, bookbinders in Liverpool were well known for their 'reliure de luxe' bindings. Weber notes that "a lot of fore-edge paintings came out of Fazakerley's bindery . Many of the Fazakerley bindings with fore-edge paintings are done on the flat or closed surface [as here], especially those bindings that feature a triptych . It might be added that the style of paintings does not clearly appear to differ. Carl J. Weber surmised there may have been several artists working for Fazakerley and this may be true, though unproven" (Weber, 'Annotated Dictionary of Fore-Edge Painting Artists and Binders', page 141) Size: 8vo
Wood, Robert
[9], 2-80pp, plates. Contemporary half morocco and cloth, raised bands, spine in six panels, title lettered direct to second panel, t.e.g. Bumped and rubbed to extremities, upper joint is slightly split at head but holding well. Internally some browning, foxing, and off setting to the inscription plates within text, a few plates with foxing, generally to margins, one plate torn along bottom edge of plate mark, one with a closed tear to margin, and one slightly worn to fore edge, one plate bound in upside down, some minor marginal marking and foxing, but generally fairly clean. With six plates of inscriptions to text, sixty plates on sixty-two sheets (Palmyra) and forty-six plates (Balbec), including eleven double page or folding, by Fourdrinier, Muller and Major after drawings by Borra. The first edition in one volume of Wood's Palmyra (1753) and Balbec (1757). Edward Lear's copy, inscribed at the head of the title page, 'Edward Lear December 1859'. Lear visited Baalbek on his way back from Egypt in 1858, so presumably purchased this work as a reminder of that visit. For Wood, see Howgego W55. Chahine 5254 Size: Folio
Melville, Herman
[5], vi-xxiii, [2], 2-634pp, [8]. Original blue-green cloth, title, author and publisher in gilt to spine with publisher's circular blind stamp to centre of covers, orange endpapers. Rebacked, with original back strip laid down, gilt to spine has largely been retouched (ie. bands to head, title, and author). Back strip lightly stained. Internally lightly browned and lightly foxed throughout, but nothing too obtrusive. Housed in a very good morocco backed drop back box, made by Asprey & Garrard. BAL 13664 (noting a variety of cloth and endpaper colours) Size: 8vo
Orwell, George
[6], 313pp, [1]. Original cloth in DJ. Reverse of DJ with old paper reinforcing to edges and spine, tear to head of spine, catching the word 'Homage', now closed with Japanese tissue paper, one or two other closed tears, small amount of loss to head of lower panel, some very minor chips to edges, spine browned, lower panel lightly browned, price-clipped. Some browning to endpapers, text lightly browned but clean. Old bookseller's ticket to foot of front pastedown. DJ illustrated by 'K'. Now housed in a morocco backed drop back box by Temple Bookbinders, with raised bands and the spine in six panels, with the title to second panel, the author to fourth, and the date to foot. Orwell's experience of the Spanish Civil War, where he enlisted in the POUM militia, and was shot in the throat. Gollancz declined to publish the work, according to Orwell because Gollancz was "part of the communist- racket, and as soon as he heard I had been associated with the POUM and Anarchists and had seen the inside of the May riots in Barcelona, he said he did not think he would be able to publish my book, though not a word of it was written yet" (Fenwick, page 63). Fenwick A6a Size: 8vo
Mitford, Mary Russell; Ritchie, Anne Thackeray (Introduction)
[7]-lx, [3], 4-256pp. Contemporary full morocco by Riviere, raised bands, spine in six panels, title and author lettered directly to second panel, remaining panels with central lozenge volute tool and volute corner pieces, covers with central arabesque surrounded by elaborate roll, a double fillet frame, a circle and star roll, another double fillet frame and a dotted roll border, edges with double fillet roll, inner edges with a volute roll border, a double fillet frame with dotted roll between the lines and a rope roll to inner edge, marbled endpapers, t.e.g. Slightly rubbed to extremities, small patch of discolouring to upper and lower covers, internally quite bright and clean. One of four hundred and seventy large paper copies, with twelve full page illustrations. Bound by Riviere and Son in 1894, for L.S. Montague (or Montagu), 2nd Baron Swaythling (1869-1927), financier and co-founder of the anti-Zionist League of British Jews. A unique copy of this large paper edition, signed by Thomson to head of title, with the original cloth, the upper panel of the original dust jacket, the spine and upper panel of the original gilt cloth of the standard octavo edition, and the spine and upper panel of the dust jacket for that standard octavo edition, all bound in at the rear Size: 4to
Carter, Howard and Mace, A.C
Three volumes complete, 1923-1933 - Volume One, xxiii, [1], 231pp, [1]; Volume Two - xxxiv, 277pp, [1]; and Volume Three - xvi, 247pp, [1]. Original decorative cloth in DJ's, decorative endpapers to volumes two and three. Title, author, volume number, and publisher in gilt to spine, with title, author, and central gilt scarab to upper cover. DJ's slightly worn and very lightly soiled, minor chipping to edges with tiny amounts of loss, a few small tape repairs to reverse, but generally complete. Light stain to upper cover of volume one. Internally a previous owner's name to half-titles, some very minor browning, some light foxing and dust staining to top and fore edges, otherwise quite bright and clean. Laid in loosely are a couple of newspaper cuttings, and some handwritten notes on a lecture given by Carter at University College in 1931. Volume one with a frontispiece and seventy-nine photographic plates and one plan, volume two with a frontispiece and eighty-eight photographic plates and volume three with a frontispiece and eighty photographic plates. Now housed in a leather entry slipcase by Temple Bookbinders. An attractive set, uncommon in the dust jackets, especially so complete. Carter, Howard (1874-1939), artist and archaeologist. "In the summer of 1922 Carter persuaded Carnarvon to allow him to conduct one more campaign in the valley. Starting work earlier than usual Howard Carter opened up the stairway to the tomb of Tutankhamun on 4 November 1922. Carnarvon hurried to Luxor and the tomb was entered on 26 November. The discovery astounded the world: a royal tomb, mostly undisturbed, full of spectacular objects. Carter recruited a team of expert assistants to help him in the clearance of the tomb, and the conservation and recording of its remarkable contents. On 16 February 1923 the blocking to the burial chamber was removed, to reveal the unplundered body and funerary equipment of the dead king. Unhappily, the death of Lord Carnarvon on 5 April seriously affected the subsequent progress of Carter's work. In spite of considerable and repeated bureaucratic interference, not easily managed by the short-tempered excavator, work on the clearance of the tomb proceeded slowly, but was not completed until 1932. Carter handled the technical processes of clearance, conservation, and recording with exemplary skill and care. A popular account of the work was published in three volumes, The Tomb of Tut.ankh.Amen (1923-33), the first of which was substantially written by his principal assistant, Arthur C. Mace" (ODNB) Size: 8vo
Wilde, Oscar
[12], xiii-xviii, [8], 65pp, [5]. Original gilt decorated cloth, title and author in gilt to spine, t.e.g. Slightly rubbed to extremities, lower cover very slightly soiled. Some browning to endpapers, occasional light marking to margins, but generally fairly bright and clean. Bookplate of previous owner (M. A. Gouldsmith) to front pastedown. With sixteen designs by Beardsley on Japanese vellum. Housed in a cloth slipcase. Mason 355 Size: 8vo
Commission Des Sciences et Arts dEgypte
21 vols bound in 20 (9 volumes quarto text, 1 volume elephant folio text [bound with Antiquities vol I], 11 elephant folio plate volumes), the complete set of 894 plates of which 40 are wholly or partly printed in colours and or hand-coloured, and 2 printed in bistre, many double-page, and or, folding, plate DD in Etat Moderne II with fore-margin sometime renewed, scattered light foxing, contemporary calf gilt with marbled paper panels to covers (moiré cloth panels to natural history vols.), text volumes rebacked to style, spine gilt lettered and ruled, 1809-1830. ANTIQUITIES - 5 vols: (I) Engraved frontispiece, map, 99 plates numbered 1-97 (plates 79 and 87 each in two states) + 1 unnumbered plate; Bound with folio text; (II). 92 plates numbered 1-92; (III). 69 plates numbered 1-69 ; (IV). 72 plates numbered 1-72 + 2 plates lettered e & f ; (V). 89 plates numbered 1-89. ETAT MODERNE - 2 vols. (I). Engraved map, 83 plates numbered 1-83; (II). 22plates numbered 84-105 + 31 plates numbered I-XXXI + 11 plates lettered A-K + 9 plates lettered AA-II + 4 plates lettered KK-NN + 9 plates lettered a-i + 1 plate lettered k (JJ and j not used). HISTOIRE NATURELLE - 2 vols bound in 3: (I). 62 plates; (II). 105 plates; (II bis). 77 plates. Amongst the artists who contributed to this section are Barraband, Bessa, Redoute, and Turpin. CARTES GEORAPHIQUE ET TOPOGRAPHIQUE - engraved title & 52 engraved plates. Provenance: Bookplate of Algernon Percy, 4th Duke of Northumberland (1792-1865). Volumes with either the Garter Crest or Ducal bookplate. Percy, the second son of Hugh, the second Duke, was a distinguished naval officer and a man of science and learning, who rose to the rank of Admiral, and was First Lord of the Admiralty in 1852. Percy became Duke of Northumberland in 1847, and a Knight of the Garter in 1852. FIRST EDITION OF ONE OF THE MOST AMBITIOUS SCIENTIFIC, HISTORICAL, ARTISTIC AND PUBLISHING PROJECTS - A COMPLETE SET WITH FINE ENGLISH PROVENANCE. THE FIRST COMPREHENSIVE DESCRIPTION OF ANCIENTAND MODERN EGYPT, THE OUTSTANDING ACHIEVEMENT OF THE SAVANTS WHO ACCOMPANIED NAPOLEON'S EXPEDITION TO EGYPT (1798-1801). THE WORK IS THE GREATEST OF A NUMBER OF OUTSTANDING SCIENTIFIC PUBLICATIONS BY THE FRENCH GOVERNMENT DETAILING THE RESULTSOF EXPLORATION, UNEQUALLEDBY ANY OTHER NATION DURING THE SAME PERIOD. The only flaw in Napoleons preparations for the invasion of Egypt was a miscalculation when it came to Turkeys reaction to Frances unsolicited help in dealing with its mostly unruly vassals, the Mamluks of Egypt. Had it not been for this, Napoleons plan for following up military conquest by revolutionising the economy and institutions of Egypt might well have created a modern European-style state, controlled by France, at the axis of all the trade routes between Europe, India and the East. Plans to this end involved nearly 500 civilians, the cream of whom were about 150 men drawn from the Institut de France. Once in Egypt their first task was to make a thorough survey of every aspect of the country to assist the planning of its future shape, and this was extended to include Antiquities. The work was co-ordinated by LInstitut de lEgypte (later replaced by the Commission des Sciences et Arts d'Egypte), founded in the appropriated house of Hassan Kachef (illustrated in the plates to the Etat Moderne), with Gaspar Monge as president.As early as October 1798 Fourier was entrusted with the task of uniting the reports of the various disciplines with a view to publication. Following the capitulation of the army to Egypt under General Menou (a convert to Islam), the savants returned to France where a commission was set up for the editing and supervision of the work. The first volumes were published by Napoleons government, and it is a measure of how important this work was considered to be that publication continued following the Bourbon restoration. . never before or since has a study of such scope and thoroughness been accomplished
[7], viii-ix, [4], 14-58pp, [2]. Slightly later full morocco by Charles Meunier. Raised bands, spine in six panels, author and title lettered directly to second panel, upper cover with inlaid flowers in tan, brown, and green morocco and tooled in gilt, gilt roll to edges and inner edges, blue silk moire doublures and fly leaves, and gold veined marbled fly leaves, a.e.g., original wrappers bound in, signed to foot of upper turn in 'Ch. Meunier 97'. Slightly rubbed to extremities, especially to upper joint, but generally quite bright and clean. Signed and inscribed by the author to the Comtesse de Lagnes to the half title. For Charles Meunier (1866-1948), bookbinder, see Flety, pages 128-129 Size: 16mo
[17], ii-vii, [2], 2-250, *251-*254, 251-314pp, [20]. Slightly later half calf and marbled paper over boards, smooth back, divided into seven panels by gilt rules, title label to second panel. Outer joints slightly split and repaired with coloured Japanese tissue, inner joints also strengthened with Japanese tissue, slightly rubbed to extremities. Internally some light browning and occasional foxing throughout, map and several plates with off-setting, couple of small nicks to page edges, small tear to map. Complete with double-page map and thirty, (actually thirty-one, with two copies of plate 23), full-page uncoloured engravings, twenty-two of which are botanical, by G. D. Ehret (For Ehret, see Alexander, page 321) and G. Bickham (for Bickham, see Alexander, pages 115-116). Alexander, in his piece on Ehret, notes that only thirteen of the plates were designed by him, and only ten were actually engraved by him, with five being engraved by James Mynde, (see Alexandere, pages 640-641), four by Bickham, and one by William Austin (see Alexander, pages 62-64). The map is by Thomas Jeffreys, (see Worms and Baynton-Williams, pages 347-351). Hunt notes that this book "is one to place beside Catesby's 'Natural History', which also gave some account of West Indian names, with similar local names. Hughes had an advantage over Catesby in that a majority of the Barbados plates were drawn by Ehret . It is the model work by the colonial parson who knows his poets and would know all he can of the flora and fauna among which he has come to dwell". Nissen BBI:950; Sitwell / Blunt, page 104 Size: Folio
[5]-vi, [1], 8-320pp, [16]. Rebound in full morocco, raised bands, spine in six panels, leather title label to second panel, author label to fourth, single line border to covers, triple line to inner edges, a.e.g. with marbled endpapers. Externally bright and clean. Text with a hint of browning, very occasional light spotting, but generally quite bright and clean. Closed tear to map frontispiece, with small tear to central fold, browned to reverse. The first edition, with the textual misprints and the correctly dated advertisements to rear. Sadleir 1089; Wolff 2863; Bleiler, page 137; Allen 31; Scott 4 Size: 8vo
[60]p, original red Hermitage calf, title blocked in black to spine and upper cover, bevelled edges, top edge sprinkled. Rubbed to extremities, spine very slightly faded and slightly rubbed, internally quite bright and clean. In the original card slipcase, with extensive repairs. Printed in Benbo type, with Perpetua titling on Japanese vellum, printed in Tyrian red and black, the first three words of the title on the title-page are wood engraved, and with forty-one wood engravings by Blair Hughes-Stanton. One of two hundred and thirty copies, priced at six guineas, with another eighteen in special bindings at twelve guineas. See Harrop, page 197. Harrop 24 Size: Folio
[5], vi-xxiv, [1], 2-444pp. Full contemporary straight grain morocco, a masonic binding, almost certainly by John Lovejoy, though without his ticket, smooth back, divided into six panels by gilt rules and Greek key bands, each panel with a separate masonic device, upper cover replicates the plate found in the book, a Greek key frame, with compass point letters, surrounding a variety of masonic symbols and devices, lower cover with a Greek key border surrounding a thin rolled rope line with masonic symbols as corner pieces, gilt roll to inner edges, a.e.g., shell pattern marbled endpapers. Slightly rubbed to extremities, corners gently bumped. Internally some light browning, title browned, light stain to top corner starting around signature O and running to the end, previous owners name to ffep. The twelfth edition, with an engraved portrait frontispiece of the author, engraved portraits of the Earl of Moira and the Duke of Sussex, and a double page engraving of the Freemason's Tavern, as well as a full page engraving of various masonic symbols replicated on the upper cover. With the bookseller's label of Asperne to lower pastedown. John Lovejoy (1749-1818), bookbinder and freemason, whose uncompromising approach to his workers and trade unions led him to receiving the nickname of 'the Tyrant', see Howe, 'The London Bookbinders 1780-1806'. For Lovejoy's masonic bindings, see Maggs 1075 Part II, items 260 and 261; Hobson, 'English Bindings in the Library of J.R. Abbey', page 246; and Foot, 'Henry Davis Gift, Volume II', item 207 (page 250), for a binding that exactly matches this one Size: 12mo
[10]p, original goat by the Doves Bindery, raised bands, spine in six panels, author in gilt to second panel, a.e.g. Very slightly rubbed to extremities, but generally bright externally. Inscription erased to foot of colophon page leaving a light stain, otherwise internally bright and clean. One of two hundred and fifty copies on paper, with another twelve on vellum. Printed in red and black throughout, alternately in English and Italian. Actually published in January 1911. Tidcombe DP23; Tomkinson 25; Franklin, page 273 Size: 16mo
[7], 8-94pp, [2]. Contemporary full vellum by Frieda Thiersch at the Bremen Binderei, raised bands, spine in six panels, title lettered direct in gilt to second panel, date to foot, single line gilt border to covers, overlapping fore edges, t.e.g. Boards slightly splayed, otherwise quite bright and clean. Bookplate of Elly Bach to front pastedown. Number forty-eight of two hundred and seventy copies. German text. Printed in 16 point Antiqua on Van Gelder paper. Frieda Thiersch (1889-1947), was a student of Charles McLeish, and bound books for the Bremer Presse "some in richly gold tooling, but many in the restrained style of the Doves Bindery" (Oxford Companion to the Book, page 1201), and later bound books for prominent Nazis. The Bremer Presse was founded in 1911 by Willy Wiegand and Ludwig Wolde in Bremen. It moved to Tolz in Upper Bavaria in 1918, and again to Munich in 1919, producing "excellent contemporary German works as well as classical texts . The 'queen of German private presses' was closed in 1935" ('The Oxford Companion to the Book', page 563). The workshop, tools, writings, and library were destroyed in a bombing raid in 1944 (see Lehnacker passim). Lehnacker 3 Size: 4to
Three volumes complete - Volume One - [3]-vi, [3], 2-400pp; Volume Two - [5], 2-406pp; and Volume Three - [5], 2-404pp. Contemporary half calf and marbled paper over boards, raised bands, spines in five panels, title label to second panel, volume label to fourth. Very slightly rubbed to extremities, otherwise externally very good. Internally some light foxing to portraits, endpapers, and occasionally to text, especially to the first volume, but generally fairly clean. With portrait frontispieces to each volume, and another two portraits to third volume, bound without half-titles. Book plate of Horatio Noble Pym to front pastedowns. Now housed in a leather entry slipcase. The first edition of Mackay's extraordinarily popular work on human delusions, which included economic bubbles (South Sea bubble, Mississippi Company bubble, and tulip mania), alchemy, prophecies, thievery, beards, duelling, and price riots. Kress C5560 Size: 8vo
Two volumes complete - Volume One - [5], vi-xvi, [1], 2-148; [7], 2-164pp; and Volume Two - [7], 2-155; [10], 2-199pp, [1]. Contemporary full calf covers, later rebacked to style, endpapers probably replaced, raised bands, spines in six panels, red leather title label to second panel, volume number in gilt to fourth, gilt double line frame to covers, edges lightly sprinkled red. Volume one with some minor marginal staining, small piece missing from fore edge of B7, a small light stain to fore edge margin of signatures E and F, and a light stain to corners of signatures K and L; in volume two the bottom corner of K3 is missing, but generally quite bright and clean. The engraved portrait frontispiece, by Sturt after Sheppard, is the second state (as often), with the vertical chain lines, the lettering around the frame, and the Latin quotation beneath. Teerink's 'A' edition, with all variant points distinguishing it from the 'AA' edition. With five engraved maps and an engraved plan, a couple with some light ink offsetting. An attractive copy of Swift's masterpiece, giving Swift "an immortality beyond temporary fame" (PMM). Teerink-Scouten 289; Rothschild 2104; PMM 185 Size: 8vo
[9], 2-341pp, [7]. Contemporary crushed morocco with inlaid morocco doublures in the Jansenist style, by Charles Meunier. Two raised bands to spine, author and title in gilt to central panel, with gilt stems and blind flower heads emanating from bands, gilt roll to board edges, a.e.g., with inlaid morocco doublures of citron morocco forming a frame around four panels of turqoise morocco edged in crimson, the whole inlaid with large daisies of cream, citron, beige and olive morocco, with gilt stems, and signed 'Ch. Meunier 98' in gilt to foot, silk brocade flyleaves, and combed and curled marbled endpapers, original wrappers bound in. Corners lightly bumped, small bump to head of upper panel, upper joint slightly split and a little weak but holding well, lower joint very slightly weak. Internally fairly bright and clean. Number eighteen of one hundred and thirty-eight copies, with wood engravings by August Lepere. For Charles Meunier (1866-1948), bookbinder, see Flety, pages 128-129 Size: 8vo
[2], 363pp, [1]. Full original pigskin by the W. H. Smith bindery, raised bands, spine in six panels, author and title to first panel, translator's name to second, publisher and date to foot. Spine slightly soiled, patch of discolouring to fore edge of lower cover, one or two small marks, page edges lightly browned, but generally internally quite bright and clean. Now housed in a cloth slipcase made by Temple Bookbinders. One of two hundred and eighty copies (with twenty on vellum), printed in Ptolemy type, with red side-notes in Blado italic, and red initials from the alphabet designed by Eric Gill for 'Utopia'), on Ashendene knight-in-armour paper. The opening line of each of the eight books was designed by Graily Hewitt, and is also printed in red. Franklin, 'The Ashendene Press', page 242; 'A Descriptive Bibliography of the Books Printed at The Ashendene Press', XXXVII Size: Folio