The binding is full grey paper–covered boards with printed paper labels on the spine and front cover. It is rather bleak-looking — which is perfectly appropriate given the nihilistic theme of the play.

This offering includes the monthly newsletter.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 525.   Binding as above. Fine, in a fine slipcase.  (21758)

Asa Cheffetz illustrated the book with idyllic wood engravings of rural life. Lester Douglas designed the text using an intertype Egmont Medium; it was printed by Judd & Detweiler. The binding is full spring-green linen with the title stamped on the spine in gold; the tree design on the front cover is stamped in black and the signs of the zodiac, which circle around the tree, are stamped in gold.

Limited to 1500 copies, this edition is signed on the colophon page by Asa Cheffetz.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 100. A very good copy with the slipcase. A bookplate may once have been present inside front cover; the small gilt label of bookseller Philip Duchnes appears inside the back cover.

For a few GARDENING books,  click here.
Or for NATURAL HISTORY,  click here.

The binding is full marbled sheep (pasta española) with gilt-stamped red spine-labels and raised bands accented with gilt rules.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 275. Original red slipcase; rubbed, chipped and splitting along edges, with some paper loss at corners; case spine sunned. Spine leather a bit darkened, bottom of front joint starting. A very good copy, in a good slipcase.

For SOUTH AMERICANA,  click here.

Edmund Dulac created the book's enchanting illustrations, consisting of 10 full-page and six in-text watercolors, a two-color decorative title-page, and decorative head- and tailpieces, and initials, also in two colors. Ernest Ingham designed the book using a monotype Poliphilus font.

The binding is full Russian-red cloth with apolished brass design of a cockerel set in the front cover and a gilt-lettered title on the spine. This edition is limited to 1500 copies and this offering includes the monthly mailing notice.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 205.   Binding as above. In a glassine wrapper with shallow edge tears and chips, contained within a chemise covered with Russian-red paper with gilt cockerel design with gilt-lettered spine; spine sunned and paper chipped. The whole in an unevenly sunned slipcase, with slight loss of paper to top edge at mouth and spine. A fine book, in a good+ slipcase.  (22314)

Paul Hogarth illustrated the book with black-and-white vignettes which open and close each chapter, and eight full-page color wash drawings. John Lewis designed the book choosing a monotype Walbaum font. The binding is quarter red calf over light-brown buckram sides, gilt-lettered on the spine, and gilt-stamped on the front cover with a design of various fox-hunting implements; tucked away at the lower edge of the back cover is a gilt design of a sly-looking fox in full trot.

This edition is limited to 1600 copies and is signed by the artist on the colophon.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 506.   Binding as above, in original glassine wrapper and slipcase; wrapper with tears at bottom edge. Slipcase with slight bumping at inner front edge. A fine copy, in a near fine slipcase.  (22104)

Paul Hogarth's eight full-page watercolors and over a dozen black-and-white vignettes vividly illustrate the bomb-churned landscape of no-man's land, the explosions of rifle and gunfire, and the irony of well-fed generals enjoying life behind the lines. Dennis J. Grastorf designed the book using a 12-point Baskerville font with two points leading space in between the lines. The binding is a natural-tone rough linen, stamped in black on each cover with a bugle design. David Daiches wrote the introduction.

This edition is limited to 2,000 copies and this offering includes the monthly newsletter. The colophon is signed by the artist.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 519.   Binding as above; slipcase with two short scratches on back. Fine, in a fine slipcase.  (22078)

•  Bibliography of the Fine Books Published by the Limited Editions Club 1929–1985, 211. Bindings as above; printed spine labels a bit rubbed, otherwise clean and unworn in the original slipcase, with inner edges of slipcase showing minor wear only.

George Him both illustrated and designed the book, and also signed the colophon. The book is heavily illustrated with a considerable number of black-and-white line-and-wash drawings and 14 full-page color illustrations which were hand-colored by the pochoir process at the studio of Walter Fischer. These drawings are both beautiful and witty. In one color plate, for example, we see a line of picketing Egyptian soldiers carrying placards reading, “Egypt for the Egyptians,” and “Caesar Go Home,” the latter appearing in “Egyptian Hieroglyphs”; in another plate, we are treated to a breathtaking scene of the library at Alexandria being consumed by fire; in yet another drawing, we see an amusing little rendering of Belzanor's description of a seven-armed wife-eating Roman soldier!

Him chose a monotype Plantin font for the text which was printed in Bloomfield, Connecticut, at the Sign of the Stone Book. The binding is full bright red “vellum book-cloth” stamped on the front with a double-eagle (one American, one Roman) design in gold, and stamped on the spine in black and gold leaf with a design of a Roman legionary standard bearing the title and the author's initials. The endpapers are “nugget-gold” Tweedweave.

This offering does not include the monthly newsletter or the mailing notice.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 381.   A fine copy with the slipcase, which is covered in “nugget-gold” paper and stamped in black and gold. Slipcase showing traces of rubbing at top and bottom. A great treat for a Shaw-lover!   (21756)

Harold Lamb wrote the introduction. Of the author's attention to the minutiae of daily life in the Rome of A.D. 63–66 he writes, “The city itself appears in exact historical detail. Praetorians idling at their posts pass the time with their favorite dice games; girl attendants at Petronius' bath finish their duties punctiliously and break away to their own diversions as soon as the door curtain falls behind the master. Sienkiewicz knows how the dishes, including blackbirds, were prepared for a nobleman's feast; he knows what the oriental dancers wore on their heads and what the priests of Cybele carried in their hands, and what you see when you round a corner of the Vicus Sceleratus.”

Salvatore Fiume created the 35 drawings which were reproduced in three-tone process and mounted by hand. Giovanni Madersteig designed this edition, which is limited to 1500 copies, choosing a monotype Old Face font; the composition and printing of the text and illustrations was done by Madersteing at the Officina Bodoni in Verona.

The binding is full natural linen printed, in grey-blue, with an overall pattern derived from an old wood engraving. The signatures of Salvatore Fiume and Giovanni Madersteig appear on the colophon.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 302.   In the original slipcase, spine sunned with a long closed crack to paper and paper cracked/chipped; case good overall. Book with spine lightly faded and rear pastedown with small gold bookseller's label; volume in the original dust jacket (spine sunned to darker than sides are); near fine.  (22293)

Illustrator Rafaello Busoni created the book’s numerous in-text and nine full-page lithographs in two colors, and signed the colophon. Designer George Macy chose a monotype Cochin font to be used at the Printing House of Leo Hart, and decreed a binding of imported cream linen stamped in brown, with French handmade marbled paper sides in various hues of brown.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 261. In original slipcase with a very faint crack to spine paper; exposed parts darkened and some soiling and spots generally, with shelf-scrape marks; still, sturdy and on shelf satisfactory. Of the well-protected book, a near-fine copy.

The book is profusely illustrated with pen drawings by Eric Palmquist, who has signed the colophon; of these, some are full-page, and some are spread across two pages with the text printed beneath. Most are smaller in-text drawings, including an extensive series of decorative tailpieces.

This edition was prepared under the supervision of Ragnar Svanström at the Royal Printing House in Stockholm, Sweden, and is limited to 1500 copies. Designer Karl-Erik Forsberg used a hand-set Berling Roman font which he himself designed; Forsberg also drew uncial letters, printed in red ink, for use on the title-page and for the canto-opening initials.

The binding is half natural Swedish linen stamped on the spine in red and black; the sides are covered with Swedish paper hand-grained to look like wood, and bear a small gold-stamped design of a warship, the Norse drakkar.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 232. Original slipcase, swith pine sunned, edges and bottom rubbed (with small loss of paper), and a few scratches; very good overall. A fine copy.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 252. The plate leaves (only) are a bit cockled (which seems to be usual); a very good set. Slipcase included, label with a spot or two.

Binding:  Publisher's green calf, done by the Tapley-Rutter Company, with marbled paper–covered sides, spine gilt extra, in original slipcase.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 502.   Fine, in a near fine slipcase (paper cracked along a small portion of one edge, and carefully laid back down).   (21808)

Parson Weems (1756–1825) is best known for this highly readable biography of Washington, the one which contains the famous story of the cherry-tree. Weems was a great storyteller whose technique was to use anecdotes as a window into the moral character of his subjects. He has since fallen into disfavor, especially among academic historians who dismiss his work as mere hagiography and question the accuracy of some of the incidents. Perhaps this work's most enduring legacy is how it reflects the nearly universal esteem and awe in which Washington was held during the 19th century.

Illustrator Robert Quackenbush, whose signature appears on the colophon page, created the book's seven full-page two-color plates (blue and white), 12 half-page woodcuts (mostly black and white, with at least one in red and white), and the two-page blue and white color spread of Washington crossing the Delaware. The monthly newsletter (included with this offering) states that these evoke “a combination of the formal style of the early Byzantine period of Constantine and the woodcuts of Dürer.”

Henry Steele Commager, author of numerous works of American intellectual, political, and cultural history, wrote the introduction. Richard Ellis designed the book choosing a 12-point Modern 8A font with three points leading-space between the lines. Encircling each chapter title is a wreath of 13 stars, with the initials “G W” printed above.

Binding:  Full American white cotton printed with a “colonial-style” pattern of eagles and stars in blue. Gilt-stamped leather spine label.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 475.   Binding as above. Slipcase covered in blue paper; title label on spine. Fine, in a fine slipcase.  (22081)