Kokoschka, Oskar
No. 92 of 275 copies issued in 1917. The book was actually printed in 1911 but only a few of copies were then distributed, and the 1917 issue, by a different publisher, was of the same printing, with the one change, a new cover, and of course, a pasted label on the rear endpaper reflecting the later distribution by Kurt Wolff and stating the limitation. Oblong, 24.5 by 30 cm. Unpaginated. 10 leaves with content, all of which, but for the first with the dedication to Gustav Klimt, on the rectos. Following dedication, half title with black and white line drawing that has a resemblance to the best of much later graffiti art, of all things. The title page and the following seven rectos are dominated by very color color printed illustrations, with text printed in a narrow column on the right. Drawings have fanciful, curious juxtapositions that can be like collage. Kokoschka's art captures the oddity and a certain chaos mixed with loose coherence of dreams. Condition: light, trivial soiling of the cloth boards. String of binding somewhat loosened. Leaves within clean and crisp -- clearly this copy was tenderly and carefully handled. In our view, a remarkable copy of this most uncommon, and special, children's book. Cloth boards. Stab binding with string securing.
Acme White Lead and Color Works
Rare, unusual paint company promotional and customer aid tool with 22 color plates which one can scroll up or down with two side roller handles. Houses are generally rather grand shingle houses such as one finds still in old upscale (and formerly upscale) suburban communities or old-time seaside resorts such as line the New Jersey shore. The houses today are widely known by the over-general label of Victorian, or just slightly more specificet also somewhat inaccurately, as Queen Anne-style homes, but regardless, have sprawl, a charming assymmetry, large windows promising sun-drenched rooms, and expansive porches or verandahs typically. N.d., circa 1890s. The oak box measures about 40 cm in height, 46 cm wide, and about 13 cm deep. The window, which reveals the scroll's panels in the front, is an oblong 29 by 37 cm, and of course, these are the dimensions of the individual panels. The Acme company was incorporated in 1884. The paints being promoted here became popular; they were appreciated for their fast drying properties. The company later became known as Acme Quality Paints. It was acquired, or absorbed, by Sherwin-Williams in the 1920s or 30s. This contraption is a rare survivor. The only institutional copy of which we are aware is at the Athenaeum in Philadelphia, but this copy has only 15 of the 22 plates that we have here. We believe that the same plates may have been issued in book form, and in that form may reside also at the University of Pennsylvania. Condition: some side chipping or tearing of the scroll. The scroll turning becomes somewhat sticky around plate 15 -- this we believe can be ameliorated. And any user should operate the turning with great prudence and care
Howitt, S.; Atkinson; Clark; Manskirch; etc.
4to. 28 by 22 cm. Unpaginated. 110 hand-colored plates. 107 of these are aquatints, two are line engravings, and one, a stipple and line engraving. Second title page for the New South Wales section. Each plate accompanied by one to four pages of explanatory text -- most are one or two pages long, though. The plates and the stories they tell are immensely varied in both the geographic location of the scenes and the type of hunting depicted. Not only are all continents represented, but also, such activities as whalehunting are included. Animals are shown in their own hunts, and even pursuing humans as well. One such plate, for instance, shows men desperately climbing a tree to escape a rhinoceros and as their horses panic. These plates were justly celebrated for their exciting drama and dynamism. A small sampling of other scenes: South American peons capturing bulls, then horses; Russians fishing in winter; Mamalukes wielding the sabre; sailors shooting wild deer; elephants in a pitfall; a Hindu elephant trap; shooting a leopard; wild boar shooting in Germany; hunting antelopes with a panther; taking vipers; seal catching in Greenland; and on and on. The New South Wales plates concern aborigines, and they show aborigines as warriors as well as hunting and fishing. Binding: contemporary diced Russia calf. Tooled in gilt. Edges marbled. Condition: rebacked, with original spine pasted on -- binding comes off as original throughout. Heavy rubbing along edges. Still attractive full calf. Tissue guards are heavily foxed. Some scattered light foxing and soiling on the text and plate leaves, but overall, these read as clean.
A charming depiction of rural Chinese life, depicting the communal or group efforts cultivating rice in all its labor-intensive phases. The depiction romanticizes the activity, with the setting a bucolic paradise by a river and none of the workers showing the least sign of discomfort or strain. The group of paintings mounted onto the sixteen panel concertina are each surrounded by brocade fabric, as typical of such "albums", and a different brocade fabric, one with a more pronounced pattern and two colors as opposed to one, serve on the front and rear cover, with the backs of the panels a blank tan-ish paperof some thickness. The concertina was undoubtedly made with the tourist market in mind. We are aware of the challenges of dating Chinese antiques, given the aptitude of Chinese artisans to "antique" objects recently made, but knowing that this concertina had come from an American source and was in a residence for an indefinitely long duration, we are inclined to date this to the early 20th century, and the fabric wear and toning would certainly suggest this amount of age. Closed, the concertina or leporello measures 34 by 13.5 cm. Each of the mounted fabric pieces, with text covering the top third, the painting, the bottom two-thirds, more or less, is 29 by 22 cm. The painted portions are 20.5 by 22 cm. The paintings have some light scattered foxing, none of which is bothersome or conspicuous, as these marks more or less blend into the brown-ish color of the fabric. The brocade borders are discolored or browned along their edges. A considerable amount of fraying of fabric also has occurred around the edges, including of the cover. Paper pastedown title strip with tear and some wrinkling or blistering.
Gruner, Erich, artist. Text by Carl Chun
A processional book, in the tradition of such pictorial souvenirs popular in the Teutonic world, this one without the visual elegance, perhaps, of its forbears, but nonetheless lively, in celebration of one of the great early universities, and a bargain for such. Oblong, 22 by 29 cm. Title leaf, Einleitung page/leaf (Introduction), then 25 color plates, each numbered, each accompanied by a separate leaf with textual description. Moderate wear to binding. Leaves clean. Hardcover. Cloth spine. Paper pastedown on boards. Stap binding. String tie.
Large fabric swatches that are suggestive that the pared down, more abstract aethetics associated with Art Deco are actually ones that significantly pre-date, by more than a decade, what is understood as the Art Deco era. The swatches are also fairly large, measuring 16.5 by 8.5 cm. The swatches' purpose, of course, was to show the variety and richness of the company's dyes, which heightened the blues, indigos, reds and crimsons, among other colors. Especially eye-catching are the swatches with paisley designs and thosewith Middle Eastern or Asian roots, such as one might find on a Turkish or Persian rug. These swatches offer a feast of juxtaposed rich colors. N.d. but circa 1910. There is a single listing of a booklet similar to this one, same source, on OCLC First Search, with no ownership given, with the date of 1910, but the description is such as to distinguish it from this. However, the 1910 dating fits well with all the attributes of this catalogue or company promotion. From OCLC First Search, we know this is also scarce, with no copies found there at all, and only a few issued by this company that are mostly quite different. 4to. 26 by 19 cm. Title, blank, [4-list of plates and text pages], two fold-out color plates of equipment, followed by 14 numbered cotton fabric swatches. Rongalit, or Rongalite, is a salt compound used by the dye and printing industry. Condition: minor dog earing and a chip of wrap covers. Moderate wear evident. First leaf foxed, with less of this on the subsequent leaves. Still VG.
Back, Rabbin. Translated into French by Edmond Fleg. Illustrated by Janine Aghion
No. 729 of 1,786 copies. 4to. 28 by 19.5 cm. Unpaginated, 156 pages. Four color plates. Original wraps bound in. A beautiful French Haggadah, printed on better paper, and surprisingly uncommon in commerce -- we could find no copies in commerce on the date of this listing, but no shortage of institutionally-owned copied listed on OCLC. Text is presented in both French and Hebrew. The artwork has the quality of Folk Art and perhaps a Modernist Primitivist influence. Wrap cover withcorner repairs, and light soiling, much of which can be erased, and some stains which can't be erased. Scattered stains on other leaves, but mostly clean.
A spectacular, and scarce, festival processional or parade book. Only copy showing on OCLC First Search located in Berlin. There are two copies of what seems a somewhat similar Bamberg procesional from four years later, but not only does this other work memorialize a different year's festivities, but also it is of a different size and format. Oblong, 22 by 24.5 cm. 28 hand-colored lithographic plates, eleven of which are double paged. The plates are here not in numerical order, but all are present, most importantly. And the coloring is especially rich and appealing. Among the participants in this procession depicted here are a band compreised of both men and women, all on horseback, the women, side saddle, with elements of costume added to the band member's conventional dress (their regular clothing), and curiously including two black men; the mandatory Harlequin, here also on a bedizened horse rearing up; preposterously dressed riders supposedly representing a traveler, with a crosswalk sign, and a London horse master with all sorts of absurd gear piled up; a commander of the Kraehwinkler, a word we are uncertain how to translate, but possibly, Crow Merchants; a Sunday rider dressed as an effiminate dandy; etc. etc. There are men in drag, women with giant pipes, and endless silliness. The characters being played are obviously meant to be absurd. Condition: film of soiling, and some scratches on paper pastedown cover and cloth spine. Corners and edges rubbed. Leaves within with light age toning evident along their edges, and some occasional light foxing, but overall, the imagery is bright, and the paper reads as mostly clean. Hardcover. Paper pastedown on boards. Cloth spine. Modern cloth clamshell box.
Attractive trade catalogue for suit cases, attache cases, kit bags, Gladstone bags, cash bags, ladies' and gentlemen's dressing bags, belts, wallets, etc. N.d., circa 1910s. 4to. 25.5 by 19 cm. [80] pages. Unusual pagination, with title page, followed by two un-paginated pages, then numbered 1 to 38, with each number assigned to two pages, with the same number applied to the pages facing one another. Images of the products mostly a single item per page, but with smaller items there can be four or six items on the plate. The images are photo engraved in brown and white. Text furnished in English, French and Spanish, undoubtedly reflecting the company's international clientele. Jabez, Cliff was a firm going back to 1873 whose original and it would appear most successful business was manufacturing saddles. Indeed, the only trade catalogue of the company we could locate on OCLC First Search was its 1927 English Saddlery Catalogue held by the U.S. Patent Office, of all places. The company remained in business until relatively recent times. It went under in 2014, when it had a different name -- Barnsby Equestrian. Its line of saddles, though, are still being made. In any case, it is a natural progression for an equestrian tack company to branch out into other leather goods, as most famously did Hermes. Light wear.
A magnificent "Folk Art" antiphonal manuscript, the Latin words written in a calligraphic hand beneath the bars of music, with letters, words, etc. throughout highlighted in red ink to contrast with the predominant black ink used, and with touches of Folk Art ormentation in key locations. But the beauty of this antiphonal isn't conveyed by a mere recitation of its features, in our view, and we also believe as a manuscript antiphonal, it is quite unusual because of its smaller size, and the likelihood it was done by an amateur hand, but by a most meticulous and assured amateur hand, which allows it to transcend its genre. 8vo. 18.5 by 13 cm. [3]. 322, xlviii pp. Up to nine lines of music per page -- as the pieces are short in length, there are many titles which cuts down on the number of music lines on the page. Frontis and behind title are two mounted or pasted prints, both 18th century, to which the artist of this manuscript added border ink ornamentation, with some touches of red to his contributions. The music rendered here is comprised mainly of that serving winter services, whether for the Sabbath or Vespers. (Pars Hiemalis is a subtitle of the main body of the manuscript, and this translates as "part of Winter".) The smaller second section, paginated with Roman numerals, is entitled "Commune Sanctorum", which we are assuming presents music that is less specific to the time of year when it is prescribed. Decoration includes a floral band and small decorative vignette or illuminated letter at the start of the music on the first page, a few other rusticated illuminated letter devices scattered through the body of the work, and a number of Folk Art vignettes at the base of pages where a section ends, among them, bouquets, birds, a God or Gorgon head, and a few other floral friezes. Condition: Calf has a considerable amount of craquelature or crack lines, with some abrasion and rub spots. A large repair, with the laying on or replacement with calf at a later date, is glaringly obvious on lower right rear cover and lower part of spine. This is a very old, awkwardly executed repair, as the newer calf looks 18th century as well and is worn similarly to the rest of the calf. The repair is conspicuous, nonetheless, because the shade of brown is lighter than the rest, and the newer calf is raised over the rest at its boundaries. Also a small crater rear cover. Best to look at photos to get a sense. And despite this issue, we still consider the contemporary binding worth keeping and would recommend no further action. Interior-wise, some marginal soil early blanks, frontis, less on early leaves following, and otherwise, mostly clean. Rear blank with extensive ink marks from probably testing a nib. Overall, this is easily Very Good, with a still attractive contemporary binding and internally, no loss and appealing to the eye, even if one doesn't read music!
Peppiatt, Michael; Lorenzo Trucchi; Martin Harrison; etc. etc.
A magnificent auction catalogue or promotion, and an uncommonly elaborate one, with a triptych that folds out as you open the front cover. Folio, 36.5 by 27 cm. 198, [4] pp. Plus the leaves that fold out and the cover. Richly illustrated throughout with photos of the two modern masters and of their artwork, with the artwork shown in color. Many other photos of the artists, other well-known artists such as Miro and Matisse, of the significant people in their lives, and the like. Also other artworks shown. At auction was a single work, but given the significance of the work, it was given a treatment seldom lavished on a single work, let alone, a collection of works. This is a superlative copy of a superlative retrospective treatment of the subject.
Oblong brochure, 8by 15 cm. 24 pages, including front and rear cover (cover pages not paginated). Scarce, with no copies found on OCLC First Search. A somewhat similar brochure -- we assume, similar -- may be in possession of Miami Dade Library, but this brochure, also published by Poole, was issued in 1933, has fewer pages, and is only 20 pages. With schedule for Winter Seasaon, 1923-1924, for a train that traveled between Chicago and Miami and stopped in Cincinnati, Columbus, Louisville, Atlanta, etc. etc. Pictures, about two-thirds of a page, of the dining car, the observation car, the rear platform, but most importantly, the cities it serviced, as this was also a promotion for the State of Florida as a winter promotion. Its trains served both the ocean and gulf coasts of Florida. The final photo is of Havana, which was a comparatively short boat trip from Key West. Light wear. On cover is a small stamp from a Cincinnati business. Wraps. (Same glossy paper used for other leaves.) Stapled.
Unterberger, Franz
Beautiful ethereal painting of Tyrolean couple, a hunter and his wife, at a small kitchen table, the wife standing a drinking wine presumably to the health of her husband, both in traditional dress. Based on a painting by the German (Bavarian) painter, Rudolf Epp (1834 - 1910) entitled "Dein Wohl", based on a penciled inscribed caption in the lower corner of the matting. This painting, whose present location we do not as yet know, served as the basis for other adaptations, such as the image on a beer stein, and so the painting surely was well-known and highly regarded in its day as a masterful bit of sentimentalism and nostalgia. This is rendered on material woven from actual cobweb. Exquisite, and scarce, with supposedly fewer than 100 paintings of this type (cobweb) paintings ever done. N.d., circa 1870s. This particular cobweb painting is particularly large for the genre. The artwork is about 11.5 by 8.5 cm, the full cobweb, including the border, as exposed by the matting's window, 13 by 10 cm, the full matting, 24 by 20 cm, and finally, the outer folder is 24.5 by 10.5 cm. Also contained in the small folio is a sample of cobweb material. The painter, Franz Unterberger (1838-1902), was a well-known Austrian painter known for his traditional Tyrolean genre artwork. He retained local artisans to render his image on to the cobweb material. Condition: cobweb with a few fine pinprick-sized holes, not seriously compromising the overall picture, as the holes are mostly in the margin. The folder housing the cobweb, and the cobweb's matting or frame, are both quite soiled though. The inside cover, in contrast, is mostly clean. Missing is a small specimen of un-processed cobweb thread which would have originally been housed under a small flap, inside front cover. That flap is still present. The flaps to hold down the artwork itself have some closed tears along folds joining them to the binding. The most important element of this item, though, is the cobweb painting, and given its larger than typical size, we think even with the cavils one could plausibly grade it as Near Fine. Cloth. Paper pastedown on buckram.
The signs and/or markings for Chinese businesses here are quite distinct from the signs represented in the 1931 classic color plate book, "The Shop Signs of Peking", suggesting, among other things, that the signs in that book might have somewhat less generic than one is first led to believe. Unlike that book, the illustrations on these cards are entirely painted, not merely hand-colored. We would assume that these were created for the tourist market, but given their diminutive size and ephemeral nature, combined with our never having seen such cards before, we have to believe they are quite scarce With the pictorial element on all the cards entirely on the left side of the cards, the thought was surely that these would be used as place cards, a common appurtenance to the more formal dining of an earlier era. N.d., early 20th century probably. Short captions indicating the business whose signage is displayed are written in small block letters at the base of the flip side of each card. Businesses represented a fan shop, a Manchu hat button shop, a shoe maker, a hatter, a yellow wine business of some sort, a rug shop, a curio store (which shows other signifying objects presumably placed by an entrance in addition to a sign), a dealer in pearls, a second-hand clothing store, a pipe store (tobaccanist?), a restaurant, and a ginseng herb store. The cards are generally clean, with the most minor of occasional marks.
Cruikshank, George
Signed, lower left, with the number "35" handwritten, lower right. We think the "35" probably stands for the year the painting was done, but it could also be the number in an unknown series of paintings. The foppish costume would appear inspired by both Renaissance period courtly dress as well as Ottoman style, with the turban-like headwear. The man is standing in a somewhat dilapidated castle passageway, it would seem. As to the hand, its presence is a mystery to us. Was this an unfinished work, or a work re-thought? Is that hand intended to be just as it is? The exposed part of the watercolor measures 15.5 by 11.5 cm. With matting and frame, 36 by 28 cm. The painting has some light foxing, faiorly inconspicuous, as does the matting. On the matting the toning and foxing is more obvious and might lead someone to replace it The wooden frame is functional but unexciting.
Young, David
Quite rare, with the only institutional copy (of which we can be certain) located on OCLC First Search at the AAS. A few other institutions may have the same or similar from another publisher or in a Sammelbund, if you will, of early American almanacs, and one can find the same title for 1823, but being a different year, the contents would also be mostly different. 8vo. 16.5 by 10.5 cm. Unpaginated, 36 pages, including front and rear. One illustration, under the heading of "The Anatomy of a Man's Body", relates body parts to the constellations. Both bizarre and idiosyncratic to our sensibility. After the usual calendar and astronomical-related material, almost four pages devoted to cures of disease and techniques for getting rid of vermin. In this section, might there be forgotten, possibly effective, treatments balancing the absurdities such as the recommendation of tea as a cure for cancer in the space of three weeks? Then comes a long, anti-Semitic anecdote, meant to be amusing, playing into rancid stereotypes. Some verse follows, among them, a poem entited "The Origin of a Chimney Sweeper". Other curios. Finally a glossary of practical information relating to the two states -- lists of towns and cities, government official, distances, etc. etc. Some of this material would be of interest to history buffs, and as one simple example, the names of the now long-forgotten towns in the Borough of Queens, long before Queens became a part of New York City. Condition: considerable amount of soiling, front and rear page. Scattered soiling besides. Entirely readable, though. Small closed tear, rear page. This copy was bound in a volume with other similar brochures, clearly, and one can see the remnant of that probably calf binding on the spine.
Alken, Henry
Large Paper copy of what might be regarded as a Second Edition but is arguably a First Edition in the sense that the plates are entirely new. Some of Alken's most impressive work, here not just depicting equestrian sports -- foxhunting, coursing, racing -- but also cock fighting, dog fighting, bull baiting, badger baiting, boxing, fly fishing, various forms of shooting, and a few plates focused on just the animals used in shooting, such as pointers and setters. Folio, 38 by 27 cm. Frontis plate, title page, blank, iii-vi, List of Plates, blank, 10-no number, with text description of Frontis plate, and so 10 probably intended to be a "1"), followed by 49 plates, each with a blank back, and each plate accompanied by a text leaf, unpaginated, with text running one to two pages of description. Condition: fairly heavily rubbed along edges and by joints. Gilt border decoration on cover faded and/or darkened in spots. Within, mostly occasional foxing or smudges, sometimes more, but even when a page is more afflicted, we believe it doesn't disconcert, and generally it is the blank pages that happen to have the worst of it. It is also our assessment that plates and text are mostly clean, and most importantly, the plates are across the board very attractive, with rich and bright color and uncompromised. Full Contemporary Straight-Grained Morocco
Vercons (Jean Bruller), Brayer, Yves; Mac Avoy; Philippe Noyer;
Spectacular souvenir of annual ball just as Paris was rapidly regaining its footing following the hardships and scarcities of the Second World War. No. 2455 of unspecified number of copies in "Limitation". Contributors include a good number of t he most distinguished men of French letters of the day, including Camus, Jean Cocteau, 4to. 28 by 24 cm. Unpaginated, 192 pages. With four full color plates on a thicker card stock, as are a few other leaves. Many of the pages with color background, and some vignettes with full color illustration. Also many full page photographs, with the theme the children of France. The publication has full page advertisements from some of the leading French luxury brands of the day, such as designers Jeanne Lanvin, Schiaparelli, Pierre Balmain, furrier Revillon, parfumiers Matchabelli and Paquin (better known today as a couturier), jeweler Boucheron, Cartier, Hermes, etc. etc. Condition: Wraps spine chipped upper extremity, not quite a third of the way down, and elsewhere spine sunned and drained of color, and with crease in center -- this probably typical from just moderate use. Otherwise, light soiling, front and back, a small corner chip, moderate wear. Interior tight, generally clean, age toned.
Trade catalogue from cutlery company especially of interest for its many elaborate cases to house cutlery on offer. 4to. 29 by 21 cm. Title page, with oblong oval vignette illustration of the company's plant, followed by 4 page company history, and finally, 51 plates showcasing the company's products. Each of these plates is accompanied by a separate sheet with pricing information provided on its two pages. The illustrated plates are based on photos but photos subjected to a lithographic process and thus a hybrid of sorts, as typical of catalogue product images from the period. These plates are on glossy paper, as is the title page and the company history piece. The price date is on a thinner, onion skin-like paper. The catalogue is scarce. On OCLC First Search we could find only a single copy of a 1904 catalogue from the same company. The plates here are numbered up to 99, so obviously many numbers are skipped. But in this case, that doesn't mean the catalogue is incomplete, but rather plates were pulled as they applied at the particular moment, or perhaps, as germane to a customer. If one looks at the binding, which is secured by screw and bolt, it is also obvious that it could not house another 80 or so sheets. Condition: moderate wear to binding, with some lifting of fabric where two fabrics meet on rear cover. Soiling to first and last leaf, some of which is erasable. Other light wear. Stamped on some pages are the words, "Prices Cancelled". Generally clean.
Fitzgerald, Scott [F. Scott Fitzgerlad]
With signature of mid-20th century bestselling journalist and current affairs author John Gunther on FEP. 8vo. 449 pp. First issue points -- no publisher's seal on colophon page, no ads in back. Text block clean, with normal age toning of leaves. Pages 13 to 53 with upper right tiny dog-earing, which can be greatly ameliorated but we believe ot 100 percent cured, in the sense there will still remain a faint evidence of the creasing. Cloth abraded in lower right corner of front cover, similar fraying, wear, upper spine extremity. Lesser wear, lower spine extremity. Gilt lettering on spine has lost its lustre. Small edge dent, rear upper edge. A light film or distribution of soiling on cover. Best to look at photos with some care, or request photos, to judge these issues.
Masatake, Terauchi
Near Miniature Book, measuring 11 by 7.5 cm. 114 leaves, all of a very thin, wax-like paper stock, with printing on both sides of most, but not all, leaves. Illustrations, mostly line drawings of men doing various exercises, on 103 pages as well as on the ten folding plates. (The folding plates have printing on one side only.) Demonstrated in the illustrations are everything from marching to balance exercises, rope climbing, the use of the hobby horse, rings, pull up bar, ladder exercises, etc. etc. Also shown are more general calisthenics -- push ups, pull ups, and the like, and more theatrical acrobatics, such as building a pyramid. Text in Japanese. Simple though the illustrations are, they are pleasing and impart in and of themselves valuable content. The issue of the booklet coincides with the Western -- European and American -- embrace of physical culture, and obviously the rigorous physical training required of gymnastics is ideal for military conditioning, and some of the exercises might plausibly be things actually required of a soldier in a zone of combat, such as crossing a river by holding onto a rope as one progresses by alternating the forward hand. We would note that the booklet was issued less than a decade after the first Olympics, and gymnastics, such as propounded in this booklet, constituted a far greater portion of the Olympics in the early iterations than it does today. The credited author is an important figure in Japanese history. Masatake (1852 - 1919) was the Minister of the Army when this booklet was issued, and remained in that position during the Russo-Japanese War, which was decisively won by Japan. In 1916 he became the Prime Minister of Japan, and remained so until 1918. In his earlier adult years, he spent significant periods of time in Europe where he studied French weaponry and tactics. Surely this experience was instrumental in his promoting of the physical training imparted by this booklet. Moderate wear. Cover has soiling. Some leaves creased. Fold-outs have some roughness to their folds.
