This volume for connoisseurs offers two distinct parts: first, the text printed and all the illustrations present as fully colored, delicately washed in shades of pink, blue, purple, grey, white, and earth tones; and second, a set of the illustrations in proofs uncolored and without text. Most of the illustrations in both suites areinitialed by Caruchet.

Jean Emmanuel Charles Nodier (1780–1844) was a French author and librarian, appointed to the Bibliothèque de l'Arsenal in 1824. His literary stylemuch influenced the Romantics, including Victor Hugo and Alfred de Musset. This legend, first published in La Revue de Paris (1838), is representative of his fantastical oeuvre. It was later adapted into a French opera (Béatrice, 1914) and a film (1923).

Signed Binding: Crushed half milk chocolate morocco over marbled paper boards signed “V. Champs,” gilt author, title, and date to spine; patterned marbled endpapers (different from the covers). Original gilt and hand-colored stiff cream wrappers bound in, showing Béatrix full-figure on the front, her hands extended outward beneath the gilt title.

Provenance:  An initialed ink inscription beneath the Justification du tirage states this copy was “Offert à Madame Conquet” — who must have been related toM.L. Conquet, “the great Paris publisher of works of the romantic school,” whose publications were famous for being very limited editions and for the “high artistic quality of their illustrations” (“Books and Authors,” The New York Times, 26 March 1898).

•  Carteret, V, 141; Vicaire, VI, 179.   Binding as above. One small nick on the front leather near the spine, and board extremities (paper and leather) lightly rubbed. The publisher's authentication embossed stamp below the limitation statement. Text clean, unblemished. Simply, excellent.  (30135)

For the present edition, limited to 2,000 copies of which this is number 1496, artist Leonard Baskin (1922–2000) designed the text using monotype Janson font and created nine full-page black and white drawings of O'Neill's characters, reproduced by Meriden Gravure Company, and one sanguine lithograph pulled on Arches paper by Fox-Graphics Editions. In her introductory essay, “O'Neill and Baskin: The Iconography of a Double Exposure,” art historian Irma Jaffe analyzes the illustrations and traces the parallels in the art and lives of the playwright (1888–1953) and Baskin, who has signed this below the colophon.

Binding:  The play was printed and bound at the Stinehour Press in Lunenburg, VT, in full Curtis gray 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.  (30747)

This is one of 130 copies printed and wassigned by the author. The colophon features Hamady's distinctive pressmark, calligraphed by Sheikh Nasib Makarem.

•  Two Decades of Hamady & the Perishable Press, 10.   Publisher's mushroom-colored paper wrappers; outer edge of front wrapper creased, otherwise unworn and clean.  (30787)

•  Contemporary blind-stamped black cloth, covers with central gilt-stamped cross and Virgin-with-Infant vignettes, spine with gilt-stamped title; edges, extremities, and back cover rubbed; cloth wrinkled at spine and split at front joint with small bubbles on covers. Front covers lacking clasp hardware (straps present on back cover), spine with inked shelving number; hinges (inside) tender. Front pastedown with New York bookseller's small ticket. Half-title, title-page, and several others institutionally pressure-stamped. Some mild foxing, most pages clean. All edges speckled red.  (25894)

•  Publisher's quarter red cloth and textured tan cloth–covered sides, spine with gilt-stamped title, signed binding by Kaufman of Silverton; inoriginal plain paper dust jacket stamped “This is a Book Jacket . . . It is not intended to be decorative . . .”  The whole clean and fresh save for two spots (a dot and a short “slash”) to front wrapper which, clearly, did its announced job! (29054)

Provenance:  Front pastedown with calligraphic bookplate of Norman J. Sondheim, the American collector of press books.

•  NCBEL, III, 701; Harrop, Gregynog Press, 12.   Publisher's cobalt blue and black patterned cloth with violet buckram shelfback, spine with gilt-stamped title; spine gently sunned, upper front corners bumped. Front pastedown with bookplate as above. Clean. A pleasing bit of Arthuriana, and of Welsh history.  (30595)

•  Fine copy.  (30791)

The work was printed at theRampant Lions Press for the Primrose Academy (a.k.a. Primrose Hill Press) on Zerkall mould-made paper, and bound by the Fine Bindery, Wellingborough. This is numbered copy 49 of 135 printed, signed at the colophon by the artist.

•  Publisher's mulberry paper–covered boards with black cloth shelfback, covers with pictorial title stamped in black; spine with gilt-stamped title. In original matching slipcase, the whole clean and crisp. A beautiful copy of this scarce work.  (30582)

Provenance:  Each front fly-leaf with early inked inscription of Henry Moore, Worcester College, Oxford; front pastedowns with bookplate of H.M., presumably also Moore.

Binding:  Publisher's mottled crimson calf, covers framed in gilt beaded roll, spines with gilt-stamped title and compartment decorations, board edges with gilt roll.

•  ESTC T134377; Brunet, IV, 660; Dibden, II, 290; Gaskell 274; Schweiger, I, 236.   Bindings as above, edges and extremities rubbed, spine leather darkened and showing small cracks. Vol. I with occasional instances of early inked marginalia in Greek. Vol. II with paper flaw to one leaf that has torn slightly, affecting about three letters. Pages gently age-toned with a very few scattered light spots, otherwise clean. A nicely printed text in a pleasing small format.  (30208)

Binding:  Contemporary alum-tawed blind-embossed pigskin over bevelled boards, spine in four compartments separated by raised bands with early ink title written in the uppermost. Front board's center panel with embossed cameo portrait of John Frederick, Duke August of Saxony (r. 1553–86), standing with sword in elegant armor against a classical background identified below by two lines in German (“Augustus, by God’s Grace Duke of Saxony and Elector”); this is enclosed by a series of interlocking frames, one being a roll of diamonds filled with foliage. Rear board with same surrounding three helmets above a shield containing the Duke's elaborate arms, in eleven quarterings; volume with two spiral metal clasps and all edges red. Binding signed with the binder's initials “MR” on either side of the Duke's head on front cover and date 1583 blind-stamped and painted in black below.

Provenance:  Stamp of the Bibliothek der Fürsten- und Landesschule zu Grimma.

Evidence of readership: Sparse underlining in light early ink (pp. 137–51) and stray pencil marks.

•  De Bure 6079; Dibdin, II, 336 (“the most portable and convenient [edition]”); Hoffmann, III, 171; Moeckli 77; Renouard, 134, 2 (“supérieure aux [éditions] précédentes”); Schreiber, Estiennes, 179; Schweiger, I, 258 (“Erste u. schöne”); and Sandys, p. [105], who with Dibdin gives Paris as the printing place. On cameo bindings and for a similar example, see: C.J.H. Davenport, Cameo book-stamps, pp. 18–21.   Pigskin of rear board with natural flaw patched at time of binding, foliate roll pattern not interrupted across this, extremities rubbed, spine worn, scattered stains. Clasps fully intact. Top edge of some leaves at beginning and especially at end waterstained and lightly deteriorated; small marginal inkblots to a handful of leaves and one narrow, light in-text smear. Old institutional stamp as above and a neat shelf mark to title-page. Clean, interesting copy.  (29514)

•  Binding as above. Pristine in a mylar wrapper.  (30562)

Provenance:  Front pastedown with calligraphic bookplate of Norman J. Sondheim, the American collector of press books.

Binding:  Signed binding by Sangorski & Sutcliffe, stamped “S. & S.” on front pastedown: Quarter cream morocco and bright gold buckram–covered sides, spine with gilt-stamped title and cockerel decorations.

•  Binding as above, lower outer corners very slightly bumped, morocco with three small spots of staining and a bit of darkening associated with its gluing-down; cloth bright with a little soiling and with reddish spotting apparently associated not with “staining” but with something in the nature of the cloth itself. Pages clean. Overall a solid and attractive copy.  (30589)

Signed Binding: Contemporary red straight-grain morocco, covers framed in substantial gilt and blind-tooled rolls with gilt-stamped corner fleurons, surrounding central gilt-stamped medallions of the French imperial eagle. Spines gilt extra in arabesque and foliate motifs with additional blind-tooling; board edges gilt-stamped and turn-ins with wide gilt rolls. All edges gilt. Bindings signed by Charles Hering — one of the most prominent English binders of the early 19th century.

signed by the author at the colophon

•  Publisher's cream linen–covered boards, spine with printed paper label; boards very slightly sprung, board edges with faint spots of foxing. A clean, crisp, fresh copy.  (30614)

This edition was designed by the great American typographer (or “typster,” as he labeled himself) Bruce Rogers, and he left his mark on its final page; it was limited to 425 copies printed at the Riverside Press in Cambridge, MA. Bound in maroon paper–covered boards with a white paper spine label printed in black, this is copy 405 and is in its original dust wrapper and with its box, beingrare thus.  The spare label is tipped in at the back.

•  Work of Bruce Rogers, 101.   Bound and in its box as above; dust jacket and box label sunned, box edges rubbed. The pristine text is, which can be read with enjoyment by peeping, is unopened and uncut.  (30539)

This is numbered copy 57 of only 97 hand-printed on several different types of Japanese paper; it was,signed by the poet across from Marta Anderson's hand-colored drawing on the title-page. The poem is bound in Shadwell very light cream-grey wrappers printed with “Old Man Beaver's Blessing Song “ (calligraphed by Bettye Lou Bennett) in brown on the front and the title in cream on the back.

•  Two Decades of Hamady & the Perishable Press, 58.   Binding as above. Clean and fresh.  (30781)

The Vatican Incunabula catalogue notes that this commentary was, “In fact written after Savonarola's death, probably by the Dominican Simone (or Placido) Cinozzi”; ISTC adds, “The Dominicans ordered an enquiry into its authorship and publication on 24 May 1499.” Placido (Lorenzo) Cinozzi (1464–1503) is famous for his Epistola of 1501–03, considered the earliest extant biography of Savonarola; he first heard Savonarola preach at San Lorenzo in 1484 and later knew him at San Marco, where Cinozzi joined the Dominican order in 1496.

Evidence of readership: Early ink manicule in the margin of f. 3v, pointing to a passage beseeching God to free His people, who are in great danger; and some letters finished with the same ink (ff. 3v–4r).

Provenance:  Probably from Lathrop C. Harper (its binding style, see below).

ISTC locates five copies in libraries in the U.S., two in Britain, and ten on the Continent.

•  Adams S485 (“c. 1501”); Goff S203; HCR 14410; H14409?; CIBN S-151 (“about 1500”); IGI, VI, 131 (“after 1500”); Audin 128; Pr 6453; BMC, VII, 1209; GKW M40467; ISTC is00203000; Proctor 6453; Isaac 13494; Bibliothecae Apostolicae Vaticanae, Incunabula, III, S-120 (see above); C. Olschki, “Un codice savonaroliano sconosciuto,” in La Bibliofilia 23 (1921), pp. 154–65, at p. 163; R. Ridolfi, Vita, II, p. 669, n. 22 (“about 15 May 1499”); Walsh 3035e. On Cinozzi, see: Dizionario Biografico degli Italiani online.  20th-century grey boards, lightly discolored, with caramel-color leather label on front board, and blue edges; rectangle of offsetting to paper of back cover, probably from a similar label on a similar book once this one's neighbor! Text very clean.  (27040)

The booklet was hand-printed in an edition of 70 copies, of which this is 33, numbered in ink andsigned “Gaylord” in pencil below the colophon. Avignette wood engraving in midnight blue decorates the title-page.

We locate only four copies in institutions.

•  Stitched in midnight blue wrappers, small black stamp of moon's face on front cover, gray endpapers. Deckled fore-edge. Fine.  (30794)

This is copy 44 of a deluxe limited edition of 50 copies containing “a suite of ten original prints by Fritz Scholder, hand-printed in the Kallitype process on Rives BFK by James Hajick, and each signed by the artist.”

•  The book and the added material of the limited edition housed in a red cloth clamshell box with the artist's signature artfully reproduced on a rectangle of gold cardstock and adhered to the front of the box. All items in fine condition.  (30503)

•  Sewn in tan textured wrappers, in a matching jacket with a blue stamp of a well-dressed man on the front echoing the centerfold illustration. Pristine.  (30774)

Although it is not mentioned in the colophon, it was recounted in a prospectus that only 80 copies were for sale, of which five had the title-page hand-colored stained glass–style and illuminated. This is the regular issue, being copy number 24, and it issigned by the translator as the special issue is NOT!

•  Casebound in boards covered with gray and white marbled paper and with a matching dust jacket. Excellent condition.  (30520)

author and illustrator signed

•  Plain brown cloth, spine with gilt-stamped leather title label, in publisher's tan paper–covered slipcase. Clean and unworn; slipcase showing only one tiny scuff at head, book pristine.  (30533)

•  Sewn octavo French fold. Fine and unopened. (18014)

•  Two Decades of Hamady & the Perishable Press, 16.   Publisher's blue-gray wrappers as above, spine slightly sunned. Signatures uncut and unopened. An elegant example of Hamady's work.  (30789)

Click the images for enlargements.

Statius was called by Godolphin the “most eminent of the poets of his day”; the Encyclopaedia Britannica adds that he “was clearly the poet of society in his day as well as the poet of the court” (811). The Oxford Classical Dictionary notes that he was a favorite of Chaucer's, and he is, of course, an important character in Dante's Purgatorio — Dante regarding him as a Christian. His is the risen soul purged of sin for whom the earth quakes and the spirits shout, in Canto XXI, and he accompanies Virgil and Dante on the rest of their journey as their valued companion.

•  Brunet, V, 512; Dibdin, II, 424; Graesse 480; Willems 1166.   Contemporary vellum, spine with hand-inked title; vellum spotted, corners bumped, the effect of the spotting not so disturbing in hand as on screen. Front pastedown with private collector's rubber-stamp; front free endpaper with old repair. Back free endpaper with armorial pressure-stamp; pastedowns with small pencilled annotations, back pastedown with early inked numerals. A few scattered small spots, pages otherwise clean.  (27360)

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•  Publisher's olive green paper wrappers in cream, green- and blue-printed handmade paper dust wrapper, in original cream slipcase; slipcase showing minimal wear at lower edges, volume clean and crisp. An excellent copy.  (30536)

Provenance:  Though without indicia, from Andrew Hedden’s collection of press books and livres d'artiste.

•  Publisher's half tan cloth with tan and mauve printed paper–covered sides, spine with gilt-stamped title. Clean, tight, attractive copy.  (30602)

•  Publishers' white vellum lettered in black, with brown paper sides blind-embossed with a fighting figure on the top board and a dancing figure on the lower board. In an open-back slipcase. Near fine.  (30476)

•  Publisher's grey marbled paper–covered sides, front cover with gilt-stamped coat of arms, spine with black-stamped title; spine a touch sunned with unobtrusive small scuff towards foot, sides very slightly sprung, slipcase lacking. Front pastedown with bookplate as above. Volume clean and unworn, beautiful and uncommon.  (30597)

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 atthe 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.

This is numbered copy 972 of 1500 printed; it wassigned by the illustrator.  The relevant Club newsletter is laid in.

Binding:  Quarter tan Swedish linen with streaked red paper–covered sides, front cover with gilt-stamped Viking ship, spine with decorative title in black and red, in the original matching slipcase with printed paper spine label.

•  Bibliography of the Fine Books Published by the Limited Editions Club, 232.   Binding as above, spine slightly sunned, slipcase with moderate shelfwear to edges and one edge opening. A solid, attractive copy of a handsome book.  (29946)

Binding:  Publisher's quarter parchment over handsome, textured, swirl-printed tan paper; spine with gilt-stamped author and title. Edges uncut.

•  Bound as above; corners bumped, spine darkened and rubbed, joints also rubbed. Title-page with small paper adhesion, one other page with light smudge, a little light dust-soiling along the uncut lower edges, otherwise clean.  (29724)

one of 220 copies printed, of which only 130 copies were for sale

•  Two Decades of Hamady & the Perishable Press, 23.   Publisher's gray Fabriano paper wrappers, front wrapper with title stamped in blind. A clean, fresh copy.  (30800)

Is it giving away too much if we reveal that “The Girl Sport” is also known as “The Bonanza Widow”???

•  Publisher's quarter red cloth and printed paper–covered sides; spine sunned, extremities rubbed. The printed spine label is laid in. Pages clean. Swell.  (28247)

Binding:  Done by Mansell's: Quarter orange morocco and brown buckram–covered sides, front cover with gilt-stamped vignette, spine with gilt-stamped title. Top edge gilt.

Provenance:  Front pastedown with bookplate of Norman J. Sondheim, collector of press books.

•  Cock-a-Hoop 203.   Binding as above; slipcase lacking, outer corners gently rubbed, spine moderately darkened with upper portion showing light waterstain extending slightly onto front cover. Front pastedown with bookplate as above. Internally clean and crisp, and still a handsome volume despite noted binding issue.  (30600)

The work was limited to 100 copies, all printed on Japan vellum. It has an engraved vignette on the black and red printed title, small illustrations or vignettes on 50 text pages, 11 vignette borders or headpieces (three of them in color, 10 of them in anextra state), and 10 tipped-in color plates. The illustrations are by Henri Gervex, J.A. Gonzalès, L. Kratké, Albert Lynch, Adrien Moreau, and Félicien Rops.

Binding:  Full red crushed morocco with five raised bands. Covers with a triple-rule gilt border; spine gilt extra with gilt beading on bands. Triple gilt fillet on board edges. Wide turn-ins richly tooled in gilt and with cream and blue leather inlays that are also gilt-tooled. Blue silk pastedowns and free endpapers. Marbled paper fly-leaves. All edges gilt. Binding signed “David.”

Provenance:  Red leather bookplate of Cortlandt Field Bishop, the famed collector of the early 20th century and, at one time, owner of the TWO most important auction galleries in NY/USA.

Original full-color wrappers bound in.

•  Vicaire, VII, 924.   Uncut copy. Bound as above with original wrappers bound in. Light refurbishment of front joint (outside). A fabulous copy.   (26675)

The volume was printed by the Haddon Craftsmen and the aquatone illustrations by Edward Stern & Company; there are 20 mounted photographic facsimiles of Van Gogh letters, sketches, and lithographs.

This is numbered copy 383 of 650 printed.

•  Publisher's red cloth, covers and spine with veneers of wood-grain paper, in original slipcase; spine and slipcase sunned. Internally crisp and clean.  (30128)

Click the images for enlargements.

•  Sewn in publisher's printed paper wrappers; wrappers slightly age-toned, otherwise a clean, handsome copy.  (14424)

The volumes are from the famous press of the widow of José Bernardo de Hogal, the Baskerville of Mexico, and they retain all of the fine characteristics that are associated with the Hogal name, including handsome black and red title-pages, great typography (here in double-column format), and use of good quality paper.

The author was general accountant of the Treasury's office of mercury accounting (the element was important in silver refining) and one of the most illustrious Cosmographers of New Spain. He wrote this treatise at the insistence of the viceroy, who was greatly pleased by it.

•  Sabin 99686; Medina, Mexico, 3802; Tovar de Teresa, Bibliografía novohispana de arte, II, 86/87.   Recent full dark brown calf, round spines, raised bands accented with gilt rules; green and red leather spine labels; gilt center devices. Covers with elaborate gilt roll at edges, concentric center compartments and gilt corner devices. Lacking the engraved title, only. Present are intermittent touches of limited worming and, in vol. II, the occasional old stain to a top margin's edge. This is a clean and indeedBEAUTIFUL SET.  (26378)

This English translation by Julius A. Molinaro was printed by Canada's Aliquando Press in honor of Vivaldi's 300th birthday. William Rueter designed the book using Bembo roman for the original Italian and Deepdene italic for Molinaro's translation, these printed on facing pages of Ingres Ecole paper with Open Kapitalen display andcolorful, seasonal ornaments. Of sixty copies, this is no. 25 (the last ten were reserved for the translator).

WorldCat locates justthree copies in the U.S.!

Provenance:  Elegant calligraphic bookplate of Norman J. Sondheim, the American collector of press books.

•  Quarter tan cloth over French marbled pink and green paper boards, with green endpapers, and printed paper spine label. Pristine in a Mylar wrapper.  (30585)

This first edition has a title-page in black and red with the printer’s device of the Amsterdam Elzevirs, “Ne Extra Oleas”—showing Minerva with owl and shield next to an olive tree—and it is printed in two columns in roman, italic, Greek, and Hebrew, ornamented with woodcut initials.

•  Willems, Les Elzevier, 1295. On the Vossius, father and son, see: Sandys, History of Classical Scholarship, 307–309 and 322–23. Contemporary English calf ruled in blind, bumped and abraded with a little loss on corners and edges; joints fully open at base and some chipping at head and foot of spine. Paper, ink-lettered spine label; inked call number and date on title-page. Pastedowns entirely gone and remnants of a manuscript used as binder’s waste visible at gutters, inside covers; due to the pastedowns’ removal, much of the binder’s construction can readily be examined here. A little light waterstaining and browning to first and last leaves (only). All edges red.

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the author's signature at the colophon

•  Publisher's quarter green morocco over gold, green, grey and crimson marbled paper–covered sides, spine with author's initials gilt-stamped; spine almost imperceptibly sunned. A beautiful copy, with guard leaves present.  (30552)

Provenance: The publisher-issued bookplate and box label proclaim that this copy belonged to L. Haskell Sweet, a New York businessman.

•  Coigney 308.   Publisher's quarter vellum and marbled paper–covered sides, spine with gilt-stamped title; original glassine dust wrapper and original charcoal-colored paper-covered box with personalized label present, wrapper with chips, short tears, and some creasing, and box split at seams with two side elements fully detached (one lost). Vellum of the volume's spine faintly darkened and spotted, book otherwise clean and fresh with top edges gilt; sweet identification as above. A good catch.  (28332)

miracle drug

This is no. 1120 of 1500 copies, designed by Bert Clarke and printed at The Thistle Press in monotype Caslon Old Style, with an introduction by Norman Strouse and15 full-page color plates & numerous illustrations in text by Lynton Lamb, who signed the colophon. The handsome book is bound by Russell-Rutter Company in full forest-green cloth with a spine label set in the gilt-stamped outline of a medicine bottle.

The appropriate LEC newsletter is laid in.

•  Bibliography of the Fine Books Published by the Limited Editions Club, 307.   Binding as above, in publisher's yellow slipcase with paper label; minor shelf-wear and discoloration. Spine base lightly scuffed, elsefine.  (30469)

Click the images for enlargements.

Whitworth was perhaps the most effective English ambassador to Russia in the first half of the 18th century. His Account was originally written for the foreign office and remained in manuscript till Walpole printed it. The DNB (on-line) writes of it, “Succinct and perceptive, it was a survey of Petrine Russia which held its readership through to the century's end and beyond.”

Horace Walpole (1717–97), the 4th earl of Orford, is best remembered as the author of the Gothic novel The Castle of Otranto. Among bibliophiles he is also remembered for his private press, variously known as the Officina Arbutana or the Strawberry Hill Press. Walpole's almost fantastic wealth allowed him the connoisseur's luxury of maintaining this noble enterprise, which he operated in the arena of the rebirth of fine printing in Great Britain that was being carried on by the Foulis brothers, Baskerville, and others.

Provenance:  20th-century bookplate of William & Helena Hand.

•  Hazen (1973 ed.), Bibliography of the Strawberry Hill Press, 5; ESTC T138827; Rothschild 2560; Cox, I, 195.   Contemporary sprinkled calf, gilt spine extra, gilt dull; joints and hinges with good repairs. Two old booksellers' descriptions taped to front pastedown. Off-setting from the turn-ins on the front and rear free endpapers and fly-leaves, title-page, and errata leaf; else, quite clean. A handsome book.  (26862)

Binding:  Russell-Rutter Company binding of quarter dark green morocco with green linen–covered sides, front cover with embossed portrait in black.

This is numbered copy 972 of 1500 printed, signed by the illustrator at the colophon. The appropriate LEC newsletter is laid in, noting that this volume is part of the LEC's British poets series.

•  Bibliography of the Fine Books Published by the Limited Editions Club, 425.   Binding as above, in original glassine wrapper and black paper-covered slipcase with gold spine label; spine leather very slightly, almost unnoticeably sunned, book otherwise clean and fresh. Wrapper with spine darkened and torn, with loss; one side of slipcase with two faint scratches, overall showing only minimal wear. Book/slipcase as a whole in beautiful clean condition; book's pages crisp. (30088)