•  Bibliography of the Fine Books Published by the Limited Editions Club, 396.   Binding as above, in original glassine dust wrapper and publisher's slipcase; volume clean and fresh, wrapper with small chips to spine extremities, slipcase gently sunned and with a little soiling, one corner bumped.  (30120)

This is numbered copy 972 of 1500 printed.

•  Bibliography of the Fine Books Published by the Limited Editions Club, 452.   Binding as above, spine with gilt-stamped title, in original glassine dust jacket and original slipcase; volume very clean and fresh, glassine wrapper with spine gently sunned and small chips at foot, slipcase label slightly darkened and slipcase otherwise all but unworn. A very nice copy.  (30114)

This is numbered copy 972 of 2000 printed, signed at the colophon by the illustrator; the appropriate LEC newsletter and prospectus, in an unstamped and unmailed LEC envelope, are laid in.

•  Bibliography of the Fine Books Published by the Limited Editions Club, 479; BAL 4068; Williams & Starrett 1.   Binding as above, in original glassine dust wrapper and publisher's slipcase; binding very clean and fresh, wrapper with spine chipped, slipcase showing very minor shelfwear only. A nice copy.  (30127)

Click the interior image for an enlargement.

The binding is full blue linen stamped in gold on the spine and front cover, with additional ornamentation to both covers in deep pink. Top edges are gilt, others deckle; one leaf is left unopened.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 49.   Binding as above; spine sunned and with thumbnail sized dark patch at head and foot. Some cracking along the top edges and spine of the slipcase, which is still sturdy; spine of case sunned, paper label a little soiled. Pages clean; no ownership markings or labels. A very good, clean copy.  (22313)

Richard Ellis handled the design for this edition (limited to 1500 copies), using a linotype Caledonia font and an assortment of other fonts — Fournier, Waverley, Perpetua — printed by The Beck Engraving Company in Philadelphia. The binding is full natural buckram, gold-stamped on the spine, and printed on all sides with a four-color panorama of Boston's Beacon Street. Mimi Korach, who has signed the colophon, created the cover illustration as well as the 15 full-page and the numerous in-text color paintings; she also created the frontispiece illustration of a four-horse carriage leaving the premises of Lapham's Vermont-based paint company.

The monthly newsletter and mailing card are included with this offering.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 324. Spine a little darkened; in the slipcase, which is sunned but sound.

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The LEC illustrations consist of 8 full-page and 41 in-text color drawings by Everett Gee Jackson (no relation to the author), who also signed the colophon. Saul Marks designed the book, selecting a monotype Bembo font with the chapter titles printed in red ink, and the printing was done by Saul and Lillian Marks at The Plantin Press, Los Angeles.

Binding:  In an attractive full woven fabric derived from a striated Native American design, with a colorful paper spine label.

This is numbered copy 972 of 1500 printed; the appropriate LEC newsletter is laid in.

•  Bibliography of the Fine Books Published by The Limited Editions Club, 298.   Binding as above in original slipcase, volume spine label slightly darkened, slipcase showing only minimal wear and with a spot or two of darkening to front panel. A very nice copy.  (30117)

Binding: Also designed by Angelo, this is accomplished in red- and blue-stamped tan cloth and incorporates a “wallet-like flap” following traditional Arabic Qu'ran binding style. Volume housed in publisher's blue cloth-covered clamshell slipcase (with a drop-down front element), box bearing a rectangular stencilled label of gilt applied on the cloth so “The Koran” is left set forth in the underlying blue.

This is numbered copy 972 of 1500 printed by A. Colish, signed at the colophon by Angelo. The appropriate LEC newsletter is laid in.

•  Bibliography of the Fine Books Published by the Limited Editions Club, 284.   Binding and box as above; volume pristine, slipcase showing mild shelfwear with small scuff to gilt title. A lovely copy.  (30158)

This example is numbered copy 972 of 1500 printed, signed at the colophon by the illustrator; the appropriate LEC newsletter is laid in.

•  Bibliography of the Fine Books Published by the Limited Editions Club, 269.   Binding as above, in publisher's original slipcase; spine leather dried and chipping, slipcase with small scratches and mild shelfwear. Quite sound, and internally very clean and crisp; in fact, depending on taste, the look of the spine can suggest survivorship of a sort that Marcus Aurelius would have appreciated!  (30121)

•  Bibliography of the Fine Books Published by the Limited Editions Club 260.   Publisher's quarter leather over printed paper-covered sides; spine extremities slightly rubbed, in slipcase showing a bit of scraping and refurbished at top fore-edge. Very nice.  (13276)

The binding is full rusty-brown Nigerian goat, stamped in gold on the spine. The etchings are by Leonard Baskin, a series of five portraits tracing the downward spiral of Willy Loman — a powerful complement to Miller's portrait of a salesman at the end of his career and at the end of his rope! The plates, printed by Bruce Chandler, are each protected by a brown paper tissue guard. The book is designed by Benjamin Schiff, who chose a Bulmer font for the text.

This offering includes the monthly newsletter but not the mailing notice.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 540.   Binding as above. One of the tissue guards is loose but otherwise undamaged. Fine, in the original slipcase. A handsome production of one of the most performed plays in the world!  (21754)

The illustrations consist of six full-page watercolors by Edmund Dulac. The LEC bibliography says they were “printed in process offset,” but this is in error: The mailing notice (not present with this offering) asserts they were “reproduced in six printings by the Sun Engraving Company,” and a member of the family that owned that enterprise observes to us that it did not in fact have offset presses — while it was noted for its color letterpress productions, including the original (1940) Szyk Haggadah. The design is by John Dreyfus, who chose a monotype Bembo font printed by the University of Cambridge Press; the engraving of the music was done by G.T. Friend.

The binding is quarter gold-stamped vellum with marbled paper sides; top edges are gilt.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 250.   Binding with a light, small stain on back cover. Clean inside; bookseller's small label on rear pastedown. Original slipcase, with light scuff marks and minor paper loss at head and foot of mouth. A fine book, in a very good slipcase.  (23002)