Our members list new acquisitions and recently cataloged items almost every day of the year. Below, you'll find a few highlights from these recent additions...
by GOLD, HORACE LEONARD. [BRADBURY, RAY; ASIMOV, ISAAC; HEINLEIN, ROBERT]
New York: World Editions / Galaxy Publications, 1950. First edition. Original wrappers. Very Good. OVER 100 ISSUES OF THE INNOVATIVE SCIENCE FICTION MAGAZINE GALAXY SCIENCE FICTION (LATER GALAXY MAGAZINE) - A COMPLETE SET FROM 1950-1961 COVERING THE PERIOD DURING WHICH IT WAS EDITED BY H.L. GOLD, AND INCLUDING NUMEROUS CLASSIC WORKS OF SCIENCE FICTION BY ASIMOV, HEINLEIN, BRADBURY, AND OTHERS.
H.L. Gold (1914-1996) was an important science fiction author and editor. In 1934, writing under the pen-name Clyde Crane Campbell, he published his first story, "Inflexure," in Astounding Stories, and went on to publish numerous others. "All of [Gold's] best fantasies are in a similar format: an unpretentious person either acquires or discovers he has some special talent. The stories always focus on the 'little man.'" (John Clute and John Grant, eds., "The Encyclopedia of Fantasy" (1999).) In 1939, Gold began his career as an editor, working for the pulp magazines Startling Stories and Thrilling Wonder Stories; and he later went to work for the comics, contributing stories to Superman, Batman, and Wonder Woman, among others. However, he is best known today for the career he began in 1950, as the editor of Galaxy Science Fiction magazine (later just Galaxy Magazine), a post he held until 1961. Under Gold's leadership, Galaxy published many of the classic science fiction novels of the 1950s, including Ray Bradbury's "Fahrenheit 451" (originally "The Fireman"), Alfred Bester's "The Stars My Destination", Isaac Asimov's "The Caves of Steel" and "The Stars Like Dust", and Robert Heinlein's "The Puppet Masters", to name only a few. Aside from science fiction, the magazine also included a book review column, and a science-fact column written by Willy Ley, a popular science writer of the era best known for his works on rocketry. "Galaxy first appeared in early September 1950, bearing an October cover date. It was in digest format, though its 160 pages were on better quality book-paper stock rather than the pulp used by Other Worlds and Imagination, so it looked slimmer. The cover itself was fairly bland. Depicting an asteroid scene from Clifford D. Simak's serial 'Time Quarry,' there was no action, only stilted characters, and muted colours for the rocks. This was deliberate on the part of artist David Stone, who had gone for a non-sensational cover. The idea was to have a magazine that you were not embarrassed to hold but with a cover sufficient to identify it as science fiction." (Ashley, op. cit.). Gold aimed to move science fiction away from the technology- and adventure-oriented "space westerns" that had predominated in the field in the 1940s, and towards fiction with a greater focus on personal psychology and social issues. His manifesto, published on the back cover of the first issue, declared "You'll Never See It in Galaxy," and went on to present, side-by-side, an excerpt from a stereotypical western story and the same story transposed into space. That was the kind of writing, Gold said, that readers would never find in Galaxy. Instead, they would find "authentic, plausible, thoughtful" fiction "written by authors who do not automatically switch over from crime waves to earth invasions." (This dig was presumably directed at the fact that many of the early pulp writers did, in fact, engage in genre switching - John D. MacDonald dabbled briefly in sci-fi; Lawrence Block and Robert Silverberg originally wrote erotica; and Elmore Leonard's early works were westerns.) "... Gold worked with his [writers] to ensure that the characters and social settings were realistic. What starts to come through, even from the first issue, and increasingly over the next couple of years, is that Galaxy's science fiction was people-orientated rather than ideas-orientated. ... Gold was not a scientist, but was someone highly aware of society. Because of the problems he had faced ... in the Pacific [during World War II], Gold had become agoraphobic, and increasingly found himself house-bound. He became highly conscious of his isolation and his reliance upon people and society, and this channeled his view of future society." (Ashley).
On September 6, 1953, at the World Science Fiction Convention in Philadelphia, the first Hugo awards - the Oscars of the science-fiction world - were presented. Galaxy writers and artists won several of the awards, and the magazine itself tied with Astounding Stories for the best magazine. "The influence of Galaxy upon the field is incalculable. The most obvious factor was that Galaxy proved how successful a science-fiction magazine could be. By its second year sales were well in excess of 100,000, outselling Astounding. Secondly, it demonstrated that a magazine could consistently publish mature, adult science fiction without recourse to monsters and ray-guns." (Ashley) Not the least of the delights offered by this set are the cover illustrations. Galaxy's covers had a characteristic "inverted-L" layout introduced by Gold, in which white borders on the top and left displayed title, issue, and date information along, in some later issues, with highlights of the contents. The cover illustration occupied the remainder of the cover. This format, later copied by Gold's competitors, "soon became a statement about quality and style." (Ashley). The illustrations run a wide gamut, some offering the expected rocket ships (February 1951) and vistas of stars and planets (e.g., November 1951), while others feature such oddities as a primordial version of the cantina scene from Star Wars (December 1951). (The latter illustration, by the way, also features Santa Claus drinking with an alien. Santa soon became a regular feature of the cover art of Galaxy's December or January issues. For example, the cover of the December 1953 issue shows him opening the airlock of his spaceship to a mixed group of alien and human carolers.) The August 1952 cover shows alien tourists snapping photos in New York City, while several unimpressed New Yorkers walk by. June 1952 shows a Utopian, Jetson-like city; and June 1957 depicts an artist working on the surface of Saturn, his easel set up and his spaceship nearby, as he paints the planet's rings. The illustrations range widely in genre, running from the humorous, to the expressionistic (detached heads floating in space alongside a cube and a hi-tech set of brass knuckles; January 1952), to the surrealistic (a Dali-esque depiction of a futuristic jazz band; February 1955). And some of the covers, although meant to invoke the future, speak to us straight from the nineteen-fifties. The January 1955 cover shows a 25th century woman getting ready for a night out, with machines and androids attending to her hair, nails, make-up, etc., as her husband's scowling face appears on the televisor, angrily checking his watch. A spacewoman on the November 1950 color can be seen through her spacesuit helmet to be lipsticked, immaculately coiffed, and apparently mascara'ed. The back covers are also of some interest, some featuring book advertisements that, in the manner of 1950s paperback publishers, attempted to lure readers to the classics by making them appear to be soft-core porn. This set: Offered here is a complete run of all of the issues published under the editorship of H.L. Gold. That period began with the first issue of Galaxy Science Fiction in October 1950, and continued through 1961, when Frederik Pohl took over the editorship. (December 1961 is the first issue to actually list Pohl as the editor, although he had apparently taken over earlier in the year.) With the September 1958 issue Gold changed the title of the magazine from Galaxy Science Fiction to Galaxy Magazine, on the theory that the phrase "science fiction" in the title was scaring away some readers. The magazine was published monthly from October 1950 (vol 1, No. 1) through December 1958 (Volume 17, No. 2), skipping, for some reason, publication in December 1955. From 1959 through the end of the period covered by this set, it published only six issues per year, in alternate months starting with February 1959. (This change in publication schedule was made by the publisher in order to cut costs and reduce Gold's workload.) In all, a total of 116 issues are offered here, representing a complete run of Galaxy from October 1950 through October 1961. A true "collector's set": Each issue is individually protected in archival mylar so the issues can be read and handled without risk of damage. The set itself is impressively housed in three beautiful custom boxes with partitions designed by noted book artist Sjoerd Hofstra. Assembled by a fastidious collector, the set features issues generally in outstanding condition with only minor scattered, general wear. New York: World Editions / Galaxy Publications, 1950-1961. 12mo, original illustrated wrappers; 116 issues housed in three large custom cloth boxes with leather spine labels.
Offered by Manhattan Rare Book Company.
by HUBBARD, L. RON
New York: Hermitage House, 1950. Fifth Printing. Near Fine/Very Good. Fifth printing of the first edition. Signed by L. Ron Hubbard and inscribed to a former owner on the verso of the front free endpaper. Near Fine with light insect wear to textblock top edge, pages lightly toned. Browning between to textual pages from loosely laid in clipping, still present, reading "Come in and Meet L. Ron Hubbard" in an advert for the Kansas City department store Emery, Bird, Thayer. In a Very Good dust jacket with insect holes to spine and rear panel, tear to base of spine repaired from verso. The main text of Scientology, scarcely found signed by it's founder, L. Ron Hubbard.
Offered by Burnside Rare Books.
by W.P. FULLER & CO
Unpaginated (75 double-sided leaves) Art Deco paint sample display catalog from the Fuller Paint Company of San Francisco, containing within a catalog of 99 paint samples, along with design recommendations for how best to use the Fuller paint colors in exterior and interior applications in various types of homes, including Colonial, Cape Cod Cottage, Southern California Spanish, and Tudor, with each design recommendation printed in glossy black text on gold card stock, facing a mounted full-color plate rendering (with a total of 59 plates) of how best to employ the suggested technique or design idea. Profusely illustrated throughout. Some scattered scuffing, abrasions scattered throughout, one paint sample page missing the sample piece for "3442 Dark Lead", tissue guard cover sheets for paint samples with some chipping and minor losses. Oblong 4to. Black cloth boards with gilt lettering to front cover and sewn black string-tied binding. Some minor wear, slight scuffing to cover, overall very good. San Francisco (W.P. Fuller & Co.) 1934. Includes an additional double-sided illustrated loose sheet with instructions for "How to Use Textone Glaze to Produce Blended Effects Over Textone." The catalog is divided into four main sections. Section I covers Exteriors; Section II comprises Living Rooms, Dining Rooms, Breakfast Rooms, and Kitchens; Section III covers Bedrooms, Bathrooms, and Occasional Furnishings; and Section IV closes out with "Directions for Applying Fuller Products". The first section is devoted to exterior styles such as "A Home in Simple Colonial Style", "An English House Adapted for America", or "A Cape Cod Cottage of Appealing Simplicity", each with a depicted color scheme and suggestions for alternate color schemes, with Fuller paint color numbers provided. The second and third sections are similarly formatted, for rooms instead of overall exterior styles, featuring descriptions such as "A Bright, Cheerful Color Scheme for a Sun Room", "Semi-Modernistic Living Room in Blue and Red", "Breakfast Room in Blue, Apricot, and Coral", "A Sunny Kitchen in Ivory, Apricot, and Venice Blue", "Bedroom in Shell Pink and Shades of Green", and "Nursery with Gay, Colorful Painted Furnishings", each accompanied by a full-color rendering, color scheme, and suggestions for alternate color schemes. The final section includes directions for such applications and techniques as antiquing, glazing, barn and roof paint, cement and stucco, painting decks, lacquering floors, painting plastered walls, treating linoleum, refinishing woodword, staining floors or shingles, and varnishing. A scarce and wonderful artifact of Art Deco design; as of May 2020, WorldCat only locates two holdings in North American institutions.
Offered by Bernett Penka Rare Books.
by JAMES, P. D.
London: Faber, 1962. First. hardcover. Very good./Very good.. A very good first edition with a charming inscription by James on the front free endpaper to a close friend ("with love") and the humorous comment ("P.S. I wrote it! You bought it!!!). The author's first book. Housed in a custom-made set of slipcases.
Offered by Bookbid.
by WILDE, OSCAR
London & New York: A.R. Keller & Co, 1907. leather_bound. Orig. brown calf, backstrips lettered in gilt. Teg. 15 Vols. Near fine. 21 x 14 cm. The Oxford Uniform Edition. Limited edition, copy 103 of 250. Title pages printed in red and black. Host of illustrations with lettered tissue guards by assorted artists, 48 in total, including Aubrey Beardsley who illustrates "The Sphinx." Bright, fresh set, wide text margins, covers embossed with floral and ribbon motif bearing a central ornament on front cover -- a Nightingale from "Nightingale and the Rose." A few backstrip extremities very slightly rubbed.
Offered by Roy Young, Bookseller.
"A. Lincoln" as President, Washington, DC, August 9, 1863. Albumen photograph, 2.5" x 3.5" including card backing, lower corners rounded, top edge trimmed, Gardener's backstamp on verso. Hamilton and Ostendorf, Lincoln in Photographs: An Album of Every Known Pose, O-71B. Authenticated, slabbed, and graded Mint 9 by PSA. Sold for over $65,000 at Christie's in 2004.
On Thursday, August 6, in accordance with a proclamation issued by Lincoln, a day of thanksgiving and prayer was observed throughout the North in the wake of recent important Union military successes at Gettysburg and Vicksburg. In this well-known portrait by Gardner, Lincoln is seated at an ornate circular table, his legs crossed, holding a newspaper in his left hand, his reading glasses in his right. His expression - especially in the lines about his mouth - is resolute and determined. According to John Hay, who accompanied the President to Gardner's studio, Lincoln "was in very good spirits" that day. The images of Lincoln by Gardner that day are the first photographs taken in Gardner's new studio. Lincoln had promised Gardner to be the first to sit for a portrait, and decided on a Sunday visit, in order to avoid curiosity seekers and onlookers in the streets of the capital.
This item comes with a Certificate from John Reznikoff, a premier authenticator for both major 3rd party authentication services, PSA and JSA (James Spence Authentications), as well as numerous auction houses.
Offered by University Archives.
by BLAKE, WILLIAM. KEYNES, GEOFFREY, EDITOR.
3 vols. London: The Nonesuch Press; New York: Random House, 1957. 3 vols. in one, roy. 8vo, 364, 397, and 429 pp. Illustrated with 58 plates. Original full brown morocco extra, a very good copy with the bookplate of Scott Cunningham at the front. § From a limited edition of 1500 copies on Vidalon handmade paper, this is #L of 75 copies on Oxford India paper, numbered I to LXXV. Bentley, Blake Books, 370 A.
Offered by John WIndle, Bookseller.
by RAND, AYN
Moscow & Leningrad, 1926. First edition. Very Good +. Original pictorial wraps. 48 pages. Wraps with some light soiling; spine restored, pages gently toned throughout. Else, a tight and complete copy of this rare work, which last appeared at auction over a decade ago in 2008. Rand's second published work, Hollywood appeared in Russia during her youth. "Trapped in the totalitarian dictatorship of Soviet Russia, the young Ayn Rand found a lifeline in the form of foreign movies. In her late teens, she kept a journal in which she recorded each movie she saw, along with a list of the cast, the director, the date she saw the movie and a grade rating. She also studied writing for the screen, and two of her pieces were published in Russia in 1925 and 1926" (Federer). The second was the present work. "In Hollywood, one can see the very beginnings of the development of Ayn Rand's literary style" as she set the scene of Los Angeles and introduces Russian language readers to such icons as Cecil B. DeMille (Federer). A scarce and important foundation for Rand's later work. Very Good +.
Offered by Whitmore Rare Books.
by PENN, GARLAND I.; FREDERICK DOUGLASS, BOOKER T. WASHINGTON (CONTRIBUTORS)
Springfield, MA: Willey, 1891. First Edition. First Edition. A history of African-American newspapers beginning in 1827 and continuing through to the book's publication, with over 70 biographical sketches of editors and journalists, including a separate chapter dedicated to female African American journalists, and essays on the state of the Black press and its relationship to "Anglo-Saxon" newspapers. Rare. About Very Good in maroon cloth boards with titles and design in gilt, white, and black. Boards soiled and toned, with fraying to the spine ends and corners, and slightly shaken spine.
Offered by Royal Books.
by Sir Issac Newton
London:: Printed for William Innys, 1730., 1730. Sm. 8vo. [viii], 382, ads.  pp. 12 engraved folding plates [Book I: pt. 1, 5 pls.; Book II: pt. 2, 4 pls.; Second Book: Pt. I: 2 pls.; Book III: 1 pl.]; minor ms. annotation on p.1 [GT-xxx :: ownership initials?]; margins show some minor worming. Antique-styled modern blind-ruled full calf, raised bands, massed gilt stamped spine, gilt-stamped red leather label, mild foxing. Very good (in a fine binding). NEWTON'S FINAL EDITION OF THE OPTICKS: Fourth edition, corrected. "This is the final edition, revised by Newton." "This new edition is carefully printed from the Third Edition, as it was corrected by the Author's own Hand, and left before his Death with the Bookseller." – Advertisement. "Newton's contributions to the science of optics: his discovery of the unequal refractions of rays of different color, his theory of color, and his investigations of 'Newton's rings,' to mention only a few of the most noteworthy: place him among the premier contributors to that science. . . . Today we recognize that his work on optics offers unique rewards in its exciting, innovative conjunction of physical theory, experimental investigation, and mathematics, and in the revealing glimpse that it provides of a crucial period in the evolution of experimental science." – Alan E. Shapiro, The Optical Papers of Isaac Newton: Volume 1, (1984), p. xi. / This edition contains the full set of 13 Observations [Book II, Part IV], and 31 queries or questions [Book III, see p. 350]. As written by the respected Newton scholar, Richard S. Westfall, "From the perspective of natural philosophy, the 'Quaestiones' were the first of the series of speculations that form the warp on which he wove the fabric of his scientific career. Throughout his life, his speculations turned on a limited set of crucial phenomena which seem to have functioned in his eyes as keys to the understanding of nature. Nearly all of them appear in the 'Quaestiones.'" – Westfall, p. 96. / "Whereas the Principia is a mathematical work involving intricate geometrical relationships and only a handful of major experiments, the Opticks overflows with detailed accounts of reflection and refraction, the separation of white light into the colors of the spectrum, the manner of the eye's operation, the formation of images by lenses, the colors of the rainbow, the construction of the reflecting telescope, and much more. Unable to contain himself, the author introduces many subjects that have little or nothing to do with the behaviour and analysis of light: metabolism and digestion, the circulation of the blood, the creation of the world and the Great Flood of Noah, the scientific method, even the images that haunt the dreams of madmen. Moreover, Newton wrote the Opticks in English, making its contents accessible to a far wider audience than the Principia, whose classical Latin had stymied many potential readers. His friend John Locke, who had only months to live, was baffled by the earlier work, but read the Opticks 'with pleasure, acquainting myself with everything in them.'" :: Gale E. Christianson, Isaac Newton, Oxford University Press, 1996. REFERENCES: Babson, 136 (v. I, pp. 68-9); Gray, Newton, p. 37. See: Richard S. Westfall, Never at Rest, p. 96.
Offered by Jeff Weber Rare Books.
Bournemouth and London: W. Mate & Sons, 1913. Softcover. Very good. Travel brochure/booklet. 8.25 x 4.5 inches, 23 pp, illustrated with b/w photos, double-page route map at center. Light cover wear; very good. Includes sections on Belgian seaside resorts; towns to visit from the coast (Bruges, Ypres, Furnes, Ghent); Brussels and Antwerp; Liege, Namur, and the Ardennes; Tournai, Mons, Charleroi. At the end are various tours and itineraries, an invitation to seek further information from your local Thos. Cook office, and a page describing features of the upcoming Universal and International Exhibition in Ghent.
Offered by Walkabout Books.
by KRAUSE, DOROTHY SIMPSON. L. M. MONTGOMERY
Ft. Lauderdale, FL, 2019. Artist's book, unique, an altered book, signed by the artist on the rear pastedown, "DKrause." Page size: 5 x 8 inches; 20pp. Bound by the artist: in the original boards of a used copy of the 100th anniversary edition of this children's classic. The artist removed the covers, spine, and eight illustrations and inserted a strip of ochre leather which became the new spine. Details from the original black and white illustrations were then watercolored and placed on botanically-printed pages. The whole was then bound using original boards of anniversary edition and a slipcase made using the original spine of the book. The artist's title, ANNE with an e, is written in pencil by the artist below the cover portrait of "Anne." taken from a postcard. This altered book was occasioned by the artist's visit to Charlottetown, PEI, the setting for Montgomery's story.
Offered by Priscilla Juvelis.
London and New York: Harper and Brothers, 1902. Madame de Pompadour - Mistress of Louis XV A Superb Early Cosway-Style Jeweled Binding by Sangorski & Sutcliffe [COSWAY-STYLE JEWELED BINDING]. SANGORSKI & SUTCLIFFE, binders. WILLIAMS, H. Noel. Madame de Pompadour. With sixteen photogravures. London and New York: Harper & Brothers, 1902. Quarto ( 9 3/8 x 7 3/8 inches; 238 x 188 mm.). xiv, 430, , [1, blank] pp. Sixteen photogravure plates with lettered tissue-guards. Handsomely bound by Sangorski & Sutcliffe ca. 1912 in full royal blue crushed levant morocco over beveled boards.
The inside front cover elaborately decorated in gilt surrounding a fine doublure of rose morocco with the arms of Madame de Pompadour in a geometric design and the letters B.C.H at the lower center. In the center is a recessed and quite magnificent, hand painted circular, gilt framed portrait miniature (2 7/8 inches diameter) on ivory, set under beveled glass, surrounded by a circular gilt design set with four garnets and four pearls. Watered light blue silk endleaf. The inside rear cover has the same elaborately gilt border surrounding a light blue watered silk doublure and matching endleaf. Covers with triple gilt rule borders enclosing an elaborate fleur-de-lys design in gilt with ten onlaid red morocco flowers. In the center of the front cover is an oval dark blue morocco onlay with the arms of Louis XV stamped in gilt. In the center of the rear cover is an oval dark blue morocco onlay with the arms of Madame de Pompadour stamped in gilt. Spine with five raised bands, elaborately decorated and lettered in gilt in compartments, four of which have onlaid red morocco flowers. Double-ruled gilt board edges, all edges gilt. Housed in the original blue velvet lined, blue cloth clamshell case, spine lettered in gilt. Top of front and rear joints expertly and almost invisibly restored.
A wonderful early Sangorski & Sutcliffe Cosway-style jeweled binding. The miniature is of exceptional quality and is quite possibly the work of Miss C.B. Currie. Jeanne Antoinette Poisson, Marquise of Pompadour (29 December 1721 - 15 April 1764), commonly known as Madame de Pompadour, was a member of the French court. She was the official chief mistress of Louis XV from 1745 to 1751, and remained influential as court favorite until her death. Pompadour took charge of the king's schedule and was a valued aide and advisor, despite her frail health and many political enemies. She secured titles of nobility for herself and her relatives, and built a network of clients and supporters. She was particularly careful not to alienate the Queen, Marie Leszczy ska. On 8 February 1756, the Marquise de Pompadour was named as the thirteenth lady in waiting to the queen, a position considered the most prestigious at the court, which accorded her with honors. Pompadour was a major patroness of architecture and decorative arts, especially porcelain. She was a patroness of the philosophes of the Enlightenment, including Voltaire. Hostile critics at the time generally tarred her as a malevolent political influence, but historians are more favorable, emphasizing her successes as a patroness of the arts and a champion of French pride. Art historian Melissa Hyde argues that the critiques of Pompadour were driven by fears over the overturning of social and gender hierarchies that Pompadour's power and influence, as a woman who was not born into the aristocracy, represented.
Offered by David Brass Rare Books.
(1830s). Costumes and doll excellent condition. Edge wear on box. . A double sided paper doll with chemise and curved right arm with six (6) exquisite double-sided gowns, seven (7) double-sided collars or shoulder wraps, one (1) long pair of gloves,and 10 double-sided bonnets with elaborate arrangements of hair. Hand colored with fine detailing and high fashion of the day. Reminiscent of Elssler or Taglioni. Housed in a 6 1/2" x 12" box with applied litho of elegant ladies watching a handmaid display fashions for a doll.
A fine set, intricately printed with an unusual array of shoulder wraps. Each costume also has a hat plus a wig; all with elaborate hair styles.
Offered by Eclectibles.
by John James Audubon
Philadelphia: J.T. Bowen. unbound. very good. Octavo bird print. Lithograph with original hand coloring. Page measures 6.25" x 10". Sometimes called snakebird, darter, American darter, or water turkey. It is a water bird of the warmer parts of the Americas. The word anhinga comes from the Brazilian Tupi language and means devil bird or snake bird. The origin of the name snakebird is apparent when swimming : only the colored neck appears above water so the bird looks like a snake ready to strike. First Royal Octavo edition, circa 1842. John James Audubon (1785-1851) was an American naturalist, painter and ornithologist who did extensive field work studying birds before painting them. Please visit our gallery for more Audubon prints.
Offered by Argosy Book Store.
by MARGOLIS, JACK S. AND RICHARD CLORFENE
Los Angeles: Cliff House Books, 1974. Revised Edition. Trade paperback. Very Good. Presentation copy, inscribed by Jack Margolis to Hugh Hefner on the front flyleaf: "for Hef, my own person rabbi(t), Jack Margolis". Accompanied by a letter of provenance from the Hugh M. Hefner Foundation. A leading advocate for the legalization of marijuana, Hefner supported the formation and growth of the National Organization for the Reform of Marijuana Laws (NORML). In Patrick Anderson's book High in America: The True Story Behind NORML and the Politics of Marijiana (1980), he is quoted as saying, "Smoking helped put me in touch with the realm of the senses," adding "I discovered a whole other dimension to sex." This humorous, self-parodying examination of marijuana use is cleverly interspersed with poems by Robert Louis Stevenson. Margolis developed the book into a 1971 comedy album with Jere Alan Brian and producer Ron Jacobs. Octavo. Original paper wrappers. Very light soiling along the edges; otherwise very good.
Offered by johnson rare books & archives.
Harper's Weekly, 1861. Paperback. Paperback. Includes 4 hand colored ads about the Union and Sucession, Chipping to edges. Size: 16 x 11 inches. Frameable. PRINTS/041620.
Offered by Kelmscott Bookshop.
by Manly Wade Wellman, et al.
New York: Better Publications Inc., 1940. XV:1. Small quarto. Color pictorial wrappers by H. V. Brown. Illustrated throughout. Uniform slight tanning to textblock, minor nicks at lower overlap edge of rear wrapper; very good. Contains Wellman's "The Planet of Change," "Worlds with Worlds" by F.A. Kummer Jr., etc.
Offered by William Reese Company.
Los Angeles: Gary Morris. Very Good+. 1980. (Vol. 3, No. 1). Magazine. [mild soiling to covers, a handful of tiny stress lines along spine]. (B&W photographs) Critical/historical film journal. Contents include articles on: "Bette Davis: A Talent for Hysteria" by Howard Mandelbaum; the films of Vincente Minnelli and Alan Jay Lerner; "Tex Avery: Radicalizer of the Hollywood Cartoon" by Greg Ford (Part 1); two musical films by George Sidney (SHOW BOAT and KISS ME KATE); "Woody Allen's Love Letter to Diane Keaton (with a postcript on INTERIORS)" (primarily an analysis of ANNIE HALL). (We have numerous other issues of this and other film-related periodicals that are not listed online; please inquire if you have particular needs or wants.)
Offered by ReadInk.
by Herbert T. Lystrup
Casper, WY: Prairie Publishing Company, 1938. 104pp. Duodecimo [18.5 cm] Illustrated wrappers. Very good. Diary of a summer ranger in the park. "I have attempted here to depict, from actual experience, a summer as a ranger naturalist with the National Park Service in Yellowstone National Park. The name 'Ninety Day Wonder,' was chosen because it is part of Yellowstone terminology. How appropriate that name is splendidly reflected by those selected men who have carried on the work of interpreting the natural phenomena of our largest national park." - from the Foreword.
Offered by Tschanz Rare Books.
by A. Edward Newton
Boston [ Massachusetts ]: The Atlantic Monthly Press, 1921. Later printing. Boards. Good. Later printing. xx, , 267,  pages. 8vo. Publisher's brown cloth spine over drab boards. Paper spine label. Signed inscription by Author's son (E Swift Newton) on front endpaper "To my friend Longwell (?) with the sincere regards of the author's son. E. Swift Newton. XMas 1921". Binding worn overall, shallow marginal dampstain on a few pages, occasional spotting. Some staining to the frontispiece and offsetting to tissue. A great reading copy with an "almost association" to the author! Boards.
“Who was it who said, "I hold the buying of more books than one can peradventure read, as nothing less than the soul's reaching towards infinity; which is the only thing that raises us above the beasts that perish?" Whoever it was, I agree with him.”
― A. Edward Newton, A Magnificent Farce And Other Diversions Of A Book Collector
Offered by Kuenzig Books.
by J. R. R. TOLKIEN
Boston: Houghton Mifflin, 1956. First US editions. hardcover. Near fine./Near fine.. All three first printings of the US edition, with all first edition points in the bibliography, including the correct dates on the title pages (matching the copyright dates) and the correct information on the jacket flaps. Near fine in near fine jackets. Housed in a custom-made collector's clamshell case with a leather spine and lettered in gold.
Offered by Bookbid.
by ANTIKAMNIA CHEMICAL COMPANY; LOUIS CRUSIUS
St. Louis: Antikamnia Chemical Co, 1898. Antikamnia Chemical Company. (1) The Antikamnia calendar 1899. 6 sheets (plus duplicate of November-December sheet). Chromolithograph illustrations after watercolors by Louis Crusius (1862-98). St. Louis: Antikamnia Chemical Company, 1898. (2) The Antikamnia calendar 1900. 6 sheets. Chromolithograph illustrations after watercolors by Louis Crusius (1862-98). St. Louis: Antikamnia Chemical Company, 1899. Together 2 items. 254 x 177 mm. Edges a bit frayed, marginal dampstains, but good to very good. First Editions of the 1899 and 1900 promotional calendars issued by the Antikamnia Chemical Company, featuring the comically macabre "skeleton sketches" of Louis Crusius, a physician and amateur artist. The St. Louis-based company produced these calendars in limited editions between 1897 and 1901, sending them to "members of the Medical Profession" in the United States and Europe to advertise the patent medicine "Antikamnia," a pain reliever based on the coal tar derivative acetanilide. Although the Antikamnia Chemical Company aggressively promoted its product as a certain remedy for everything from headaches to tuberculosis, the main ingredient, acetanilide, was known to be toxic in high doses or to sensitive individuals. After passage of the Pure Food and Drug Act of 1906, which mandated that products containing dangerous drugs be clearly labeled as such, the makers of Antikamnia attempted to skirt this requirement by replacing acetanilide with its less toxic derivative, acetphenitidin. In 1910 U.S. marshals seized a shipment of Antikamnia for violating the Pure Food and Drug Act, and in 1914 the Supreme Court ruled against the company for failing to state that its product contained an acetanilide derivative. The Antikamnia Chemical Company went out of business a few years later, although not before making the fortune of one of its founders, Frank A. Ruf, who died a millionaire in 1923. B. Lovejoy, "The Deadly Pain Medicine Sold by Skeletons." Mental Floss, 7 May 2016 (web).
Offered by Jeremy Norman & Co.
by Howard Chandler Christy
Boston: Forbes, 1919. poster. Near fine condition. World War I bond poster conservation mounted on paper and linen. Columbia hangs a wreath above a list of ethnic European surnames united in generous sacrifice. Printed in full color. Poster measures 40 x 27 inches
Offered by James & Mary Laurie, Booksellers.
by Ruth Berolzheimer
The Culinary Arts Institute / Consolidated Book Publishers, Inc, 1943. Reissue. Hard Cover. Near Fine/Very Good. Includes scarce publisher's box, with original publisher's list price of $3.75 (which is equivalent to over $50 today). Near fine book in very good jacket. Box rubbed with a few light spots, jacket edges lightly rubbed with 1 inch closed tear on front corner. 1943 Hard Cover. viii, 816, A-H, 1-64 pp. 8vo. Delightful American cookbook with a wartime theme, printed during World War II. Extensive index follows text. Appended to original text are the following sections: Wartime Cookery; How to Feed a Family of Five on $15.00 Per Week (includes a menu with a full month of recipes). Many color photos and memorable recipes. Thumb-indexed. Frontispiece portrait of Douglas MacArthur.
Offered by Yesterday's Muse.
1992. Original wraps. Near Fine. A wonderful piece of post-War literary ephemera, a dense, neatly-written postcard from Paul Bowles (at his Tangier residence) to Gregory Corso (in New York). Clean and Near Fine, dated November 3rd, 1992. "dear Gregory: It was good to hear from you after such a very long time. Forgive the card, sent in place of a letter. I'm still in bed, where I've been since the middle of June, and the pain doesn't go away. So I'm grateful to you for the pills you entrusted to Paola Iglioni. Pain is something I can do happily without. There's nothing much to write about. Tangier, like the rest of the world, has grown larger, uglier, more crowded and expensive. Everyone tells me it's preferable to New York, so I stay right on here. Very likely I'll draw my last breath here. But cremation is forbidden in this country. A problem. Anyway, again thanks. best, Paul B." The card is crisp and very sharp, as is the original light-pink, hand-addressed envelope which houses it and which shows 2 clear postmarks from Tangier. And the postcard's image is of the Japanese Tea Garden in Golden Gate Park, San Francisco.
Offered by Appledore Books.
101 Ways to Prepare Macaroni (1937)
by La Rosa & Sons, Inc.
Brooklyn, NY: V. La Rosa & Sons, Inc, 1937. Duodecimo, 94 pages. First edition. A small recipe book compiled by New York-based pasta manufacturer. La Rosa & Sons, founded in Williamsburg, Brooklyn in 1914. Just two years before the publication of this booklet, The Brooklyn Eagle declared Brooklyn the "U.S. Macaroni Center". The authors go out of their way to expound on the healthfulness and non-fattening nature of macaroni, and of the high quality of their semolina flour. Fine in silver-stamped green leatherette.
Offered by Rabelais: Fine Books.
by Otto Neurath
London: Kegan Paul, Trench, Trubner & Co, 1936. First edition of Austrian philosopher Otto Neurath's guide to the Isotype language, an "International System of Typographic Picture Education," complete with folding table.
Founder of the International Foundation for the Promotion of Visual Education at the Hague, Neurath imagined a global language of icons that would transcend linguistic and cultural difference. Arguing that "words make division, pictures make connection," he introduces a strikingly modern series of data graphics to show how quantitative information can be visually conveyed. In keeping with Neurath's commitment to the ideal of a universal language, the book is written in Basic English, a controlled subset of English words and rules, and contains a folding Basic English vocabulary table.
A near-fine example of an influential and surprisingly scarce work of modern graphic design. Single volume, measuring 6 x 3.75 inches: 117, , . Red cloth spine, original buff paper boards lettered in red, pastedown spine label. Price of 2/6 overstamped on upper board with 3/6 in black ink. Folding table of "Basic English" facing title. Black and red illustrations throughout text; two pages of publisher's ads at rear. Lightest shelfwear, occasional spot of foxing.
Offered by Honey & Wax Books.
by Rudyard Kipling
1898. Both sides of a card, which bears the heading "The Elms | Rottingdean, | nr Brighton." Dated Dec 12, 1898. In its original envelope, which provides the recipent's address "The Cottage, Clifton," with both Rottingdean and Brighton postmarks. With accompanying sepia photographic portrait of Kipling standing on a sailing vessel (mounted on gilt-edged card). This is a very intriguing, if not tantalizing, letter from Rudyard Kipling to a Mrs Darcy. It reads: That is indeed a beautiful photograph. Of course _we_ know what it means; but to the average spectator it looks very much as if your sailing-master had "shanghaied" one of the inhabitants of Adrigole and the unhappy native was slowly reviving on the decks of the _Margharita_. And the worst of it is, I can't explain to anyone that they are your husband's clothes I'm wearing! I feel I never thanked you properly for the good times you gave me on the yacht that wonderful day ... [+ final long sentence hard to decipher] ... With best regards to your husband, Very sincerely yours [signed] Rudyard Kipling. Accompanying the letter is a photo of Kipling standing on a sailing vessel, presumably the Margharita; Mrs Darcy must have sent it to Kipling, and with this letter he was returning it to her. We have not been able to learn who Mr & Mrs Richard Darcy were, in connection with Kipling. But we DO know (a) that Adrigole is a harbor village on the southwest corner of Ireland; (b) that the Darcys' hometown of Clifton is right by Bristol, on the southwest shore of England -- not all that far from Adrigole; and (c) that Kipling spent some time in Autumn 1898, including time in Adrigole's Bantry Bay, observing naval manoeuvres on board the Pelorus (the guest of Captain Bayly). At that time, Kipling must have spent a day on board the (Darcys'?) yacht, and subsequently (after each was back in England) she sent him a letter enclosing this photograph of Kipling. It is tempting to jump to the conclusion that this was some sort of illicit rendezvous -- and in fact, whatever dealer previously wrote a description for this letter (several decades ago) did just that. However, the jocular tone of Kipling's letter, combined with the formality of both the greeting and the signature, leads us to suggest that they simply had "good times on the yacht that wonderful day" -- perhaps (for all we know) with numerous other people. The puzzle that Kipling is wearing her husband's clothes is most easily solved by the idea that his clothes got soaked, as often happens on a sailboat. The letter/card is in very good condition (one corner has a few creases, with a couple of short pieces of tape, one of which encroaches on RK's signature; both the envelope and the photo are fine.
Offered by Sumner & Stillman.
by Keith A. Smith
24 hand-cut pages with intricate geometric designs. 8vo (200 x 160 mm.), hand-sewn to a pleat by the artist, saw-tooth spine, marbled endpapers. [Rochester]: Keith A. Smith, October 1994. One of Smith's most splendid creations, one of only three copies produced. Here, for the first time, the artist employed a new method of spine sewing. In personal correspondence Smith writes that he was inspired by Eikoh Hosoe's famous Kamaitachi in the conception of this book. From the printed explanatory text laid-in: "The geometric forms were drawn with the program Aldus Freehand™ on a Power Macintosh 7100/66. The drawings were proofed onto typing paper using a Laserwriter II NT. These were cut and bound as a prototype as a means of a sketch of the book. The designs of several pages were then altered and proofed. The end result was printed onto various laid and etching papers. The sections are pamphlet sewn to a pleat, which is decorated by cutting and folding. The spine sewing is devised by Keith Smith, and this is the first use of this new sewing." A superb example of Smith's ingenuity with the book form. Smith gave the other copies to his partner and a friend. His books are hardly ever available on the market. ❧ K.A. Smith, 200 Books, p. 281-"Book 171 is hand cut and hand bound. The title means that no single page is the collage, but it is a layer of pages, ever-changing as pages are turned."
Offered by Jonathan A. Hill, Bookseller.
Pittsburgh, Pennsylvania: [ University of Pittsburgh ], 1955. First Edition. Near Fine. First Edition. Single 8 1/2 x 11 inch sheet. A TLS (typed letter signed) from Jonas Salk dated August 25, 1955 on University of Pittsburgh School of Medicine letterhead thanking a Mr. Arthur Wilson for his good wishes. 'It was very kind of you to express your good wishes; we appreciate having them.' SIGNED boldly in ink 'Jonas E. Salk'. Creasing as expected for a mailed letter. Includes the matching mailing envelope with Virus Research Laboratory return address.
Dr. Jonas E. Salk is best known for his discovery of a safe and effective polio vaccine. His development of the vaccine was completed during a very intense period of several years (even though other scientists had been pursuing different research paths since the late 1930s). The new vaccine was officially announced on April 12, 1955. A competing 'live-virus' vaccine by Dr. Sabin was eventually discontinued in favor of Salks 'dead-virus' vaccine because of the greater efficacy of Salk's vaccine.
Offered by Kuenzig Books.
by J.H. Lynch
Gloucester: Published by Charles Heald Thomas, 1827. Hand-coloured lithograph. Fine india paper mounted on thick cream wove as issued. In excellent condition except for very faint sunning where a mat was in place. Image size: 18 5/8 x 14 1/16 inches.
A distinguished portrait of the famous doctor, Edward Jenner, who discovered vaccination. Lynch's lithograph is a wonderful interpretation of Lawrence's famous portrait of Edward Jenner, the revolutionary doctor who discovered vaccination. Edward Jenner is remembered today as the pioneer of smallpox vaccination and father of immunology. After training in London Jenner spent his whole career as a country doctor in his native county of Gloucestershire. His research was based on careful case-studies and clinical observation more than a hundred years before scientists could explain the viruses themselves. So successful did his vaccination prove that by 1840 the British government had banned alternative preventive treatments against smallpox. "Vaccination," the word Jenner invented for his treatment (from the Latin vacca, a cow), was adopted by Pasteur for immunization against any disease. (University of South Carolina webpage) O'Donoghue, Catalogue of Engraved British Portraits... in the British Museum 2.
Offered by Donald A. Heald Rare Books.
by Vee Walker Powell
New York: Journal of Living Publishing Corporation, 1944. Stiff wraps. Very good +. 4to; 92pp; illustrated stiff wrapper featuring a bright pink background and face models with hats; color illustrated with line drawings, patterns and instructions; light scuffing to wrappers and creasing to wrapper corners; very good plus. Fascinating look at women's head wear in the 1940s with instructions and patterns to duplicate.
Offered by Sandra L. Hoekstra.
by Ian Fleming
London: Jonathan Cape, 1957. First edition, first impression. 253 pp. 1 vols. 8vo. Original cloth, pictorial dust jacket. Some spotting to jacket, minor chipping and wear to jacket edges and spine ends. House in custom quarter morocco clamshell case. First edition, first impression. 253 pp. 1 vols. 8vo. INSCRIBED TO PHILIP BROWNRIGG. Author's presentation copy, inscribed on the front free endpaper: "To sub-agent Brownrigg from F". Philip Brownrigg was an Etonion journalist and neighbor of Fleming's brother whom Fleming recruited to be features editor at the Sunday Times. At Fleming's behest he later became head of public relations of the Anglo-American Corporation, part of the De Beers diamond organization, and he helped Fleming with the manuscript of The Diamond Smugglers, also published in 1957.
Offered by James Cummins Bookseller.
by [CONSCIENTIOUS OBJECTORS - WORLD WAR II] CIVILIAN PUBLIC SERVICE CAMP NO. 24
Hagerstown, MD: C.P.S. Camp No. 24, 1942-1943. First Edition. Paperback. Monthly magazine issued by one of the Civilian Public Services camps established during World War II for conscientious objectors who were willing to serve their country in a non-military capacity. Camp No. 24 was based on Hopewell Farm in Clear Spring, Washington County, just outside of Hagerstown, Maryland, and ran from February, 1942 to October, 1944.
Contents of the present collection, which appears to be only lacking two issues, include poetry, cartoons, and camp news, with emphasis on developing a "Christian philosophy of the rural community" ("The Morning Herald" (Hagerstown), January 2, 1945). Each issue includes monthly updates on camp work conducted by the four separate units, including converting stock-feeding stables into chicken coops and setting up a satisfactory reading room and basketball court, while one Paul Moyer became "the guardian of over 500 baby cockerels." Final issue in this collection features the opening article "Pacifists Can Make a Contribution to Soil Conservation," by Ora DeLauter, Director of Unit 2.
Quite scarce, with no copies of any issue in the trade as of September, 2019, and holdings at U. Michigan and Swarthmore only. Not in the Union List of Series. Ten volumes; quarto (27.5cm.); uniformly bound in stapled mimeographed wrappers of various colors; cartoons and illus. throughout, text printed entirely mimeograph. Publication sequence as follows: Vol. 1, nos. 2-9, , & 12. Wrappers rather toned and brittle due to poor stock, all issues with previous mail folds and rear covers postally used, else a Good or better collection of an exceedingly scarce publication.
Offered by Lorne Bair Rare Books.
New-York: Printed and Sold by S. Wood, 1813. Second Wood edition. A trifle foxed; some light rubbing; a handsome copy in very good condition. 32mo (2.06 x 1.31 inches), original green morocco, spine stamped in gilt, boards ruled in gilt, 254 pages. Frontis, illus. A handsome little Thumb Bible. Welch 856.3; Adomeit, Three Centuries of Thumb Bibles, A26: "Illustrations as in A17 [Wood, 1811], but type reset.
Offered by Garrett Scott, Bookseller.
by Cormac McCarthy
New York; 1992, 1994, 1998: Alfred a Knopf. First Editions. Octavo. The Trilogy: The Crossing (signed on the flyleaf--integral not one of the tipped-in examples). This trilogy represents his great vision of the Southwest where boundaries are incidental (Texas, Mexico, and New Mexico are all part of a landscape of beauty, desolation, love, violence and survival. A fine set bound in 1/4 black cloth over black paper covered boards stamped in gilt, spine lettering gilt, in fine unclipped pictorial dust jacket.
Offered by Alcuin Autographs.
by Maj Lindman
Chicago, Illinois: Albert Whitman & Company, 1942. First Edition. Hard Cover. Very Good binding. Color text illustrations on the recto, and text on the verso of the pages. Slight silverfishing to the spine of the binding, and spot of soiling to the rear board. Blue cloth with a illustrated paper pastedown on the front board. Very Good binding.
Offered by Black Swan Books.
New York: American Red Cross, 1918. Original poster mounted on linen. Color lithograph. 34 3/4" x 55 3/4" This vibrant WWI poster was part of the American Red Cross' fundraising campaign for the 'Second War Fund', with the goal of raising $100 million in a single week in May. Beautiful colors, good condition with repair to center and repairs around margins. Poster features an outline map of North America and Europe, with a pot of gold in America that reads 'Keep It Full', and a rainbow stretching from the pot to a Red Cross aid truck in Europe.
Offered by Argosy Book Store.
by Lewis Carroll
London & Glasgow: Collins, 1933. Carroll, Lewis (Charles L[utwidge] Dodgson). ALICE IN WONDERLAND. London & Glasgow: Collins, (n. d. but 1933). First U. K. Photoplay edition (9" by 7") issued in tandem with the 1933 Paramount film adaptation starring Charlotte Henry as Alice and co-starring Cary Grant, W. C. Fields, and Gary Cooper among others. This is a Very Good example, designed with wonderful Art Deco elements to it, with hardly any wear to the fragile oatmeal-buckram cloth covers as well as the spine, small previous owner's signature in ink, there are eight b&w full-page still photos from the film along with numerous charming line drawings oof the Alice characters by Irene Mountfort. The Very Good ORIGINAL DUST JACKET partially incorporates photographic images from the film including that of Charlotte Henry with the Dodo. The DJ is flap-clipped but not price-clipped. Perhaps best of all, the dust jacket is 100% complete although there is some soil and a long closed tear to the white back panel, and overall edge-wear in general. Despite faults, the exceedingly rare DJ shows very well indeed. . First Thus. Decorative Cloth. Very Good/Very Good. Illus. by Irene Mountfort.
Offered by Lakin & Marley Rare Books.
by Frank Hurley
New York: G.P. Putnam's Sons, 1925. First Edition. Near Fine. 8vo [9.5x6.5in]; , xv, , 290 pp., , frontispiece of Endurance crushed in the ice, 46 plates of 71 images and 5 illustrations, 2 folding maps; Dark green cloth covers with gilt lettering on front and spine, blind stamped borders on front, image of seals and penguins on ice flow in Commonwealth Bay on front end papers and rugged landscape of So. Georgia Is. from high ridge line above Stromness Harbor and Bay, top edge gilt and foredge untrimmed; Minor shelf wear, covers, spine and gilt lettering darken with age and soling, minor rubbing to back cover with some wrinkling of cloth, old stain along edges of back end papers. [Rosove 178.A1, Conrad p.205].
James Francis (Frank) Hurley (1885-1962) ), adventurer, photographer and film maker, in 1911 was asked to by the photographer on Sir Douglas Mawson's Australasian Antarctic Expedition 1911-1913 (Aurora). This expedition was to explore to the west of the Scott and Shackleton expeditions in the McMurdo Sound. The main base was established at Cape Denison 142 and the western base 600 kilometers further west. Hurley worked in difficult conditions of unrelenting cold and katabatic winds to take still images and movie film. After the expedition, Hurley created exhibitions of his images and films in major cities of the world. In London, Shackleton was impressed with the exhibition and asked Hurley to join him on the Imperial Trans-Antarctic Expedition 1914-1917, the Weddell Sea Party (Endurance) and he accepted. The expedition did not achieve the objectives as the Endurance was beset and crushed in the ice covered Weddell Sea before reaching land. All but 150 plates of Hurley's still images and some pocket camera images survived the 9 month trek across the ice dragging overloaded lifeboats to reach open water and sail for desolate Elephant Is. to await an uncertain rescue. Hurley and all the other men survived the ordeal when rescued by Shackleton after his miraculous 800 mile sea voyage to the nearest whaling station on South Georgia Is. Hurley's images from the Mawson and Shackleton expeditions have become iconic images in telling the stories of the expeditions.
Offered by David Spilman Fine Books.
by Robert Roberts
Boston & New York: Munroe and Francis; Charles S. Francis, 1827. First Edition. Hardcover. Owner name of Katherine Laurence dated 27 March 1827 on the front endpaper. Two leaves (pages 73-76) neatly detached and laid in; contents complete and very clean with occasional toning. Some fraying along the spine edge. An excellent example of a very scarce and important title. Duodecimo (4-3/4" x 7-1/2") bound in contemporary, possibly for the publisher, linen-backed marbled boards with an intact printed paper label spine; 180 pages.
A rare example of the FIRST COMMERCIALLY PUBLISHED BOOK WRITTEN BY AN AFRICAN AMERICAN IN THE UNITED STATES and THE FIRST COOKBOOK WRITTEN BY AN AFRICAN-AMERICAN. A guide for house servants to help them to understand the rules of keeping a prominent white household, it includes recipes and advice to black servants on how to properly clean plates, what to wear, what time to arise for work, how to deal with drunk people, how to restore furniture, and how to take care of themselves. More household-management manual than cookbook, Roberts gives suggestions for employers on how to manage domestic help (very unusual for the time), but he was more interested in teaching young black men how to succeed in their work and ensure their advancement. Roberts begins the book: "In order to get through your work in proper time, you should make it your chief study to rise early in the morning; for an hour before the family rises is worth more to you than two after they are up." The author was a butler at the country estate of U.S. senator and governor of Massachusetts, Christopher Gore, a friend of Daniel Webster's.
Blockson Collection, 9537 (1969 reprint); Longone Catalogue, page 2: "Although only two other editions of Roberts's book are recorded, some historians think that this work was seminal in producing men of singular ability as caterers, and managers -- rather than servants -- of large households"; Lowenstein, AMERICAN COOKERY BOOKS, 107; Weinstein, AGAINST THE TIDE 57: "Roberts also published the only substantial work by an abolitionist, black or white, to contain neither hint nor trace of race"; not in Work.
Offered by Charles Agvent.
Hardcover. Very Good. 25 vivid large paintings of Japanese candy and candy packaging. Oblong 4to, 25 by 33 cm. Short calligraphic captions, in Kanji characters, next to each of the paintings. One page at end with printed text. We believe that this album was probably some sort of trade catalogue. Later binding, with morocco spine and a beautiful floral patterned Japanese paper attached to the boards.
Offered by White Fox Rare Books and Antiques.
Dorchester, MA: Walter Baker & Co., Ltd, 1913. Oblong 8vo, pp. 39, , followed by 6 high-quality chromolithograph plates of Walter Baker products; 5 other full-page illustrations; fine in original maroon cloth, gilt-lettered on upper cover. The educational exhibit consists of what presumably is a salesman's wooden lacquered case (approx. 9½" x 5½" x 3½"), with a hinged lid on top, and a brass plaque and pull; mounted inside the lid are 4 Baker products, and inside the box itself are four apothecary viles, each still containing Baker products! Uncommon salesman's sample case and companion handbook which were released to promote the Walter Baker "health-giving breakfast cocoa and chocolate." The text explains the transformation of the cocoa seeds from the raw material, describes the early uses of cocoa and chocolate, a description and analysis of the cocoa seeds, the cocoa tree and the gathering of the crop. The four vials represent the various stages of cocoa production, and the cocoa tin mounted 1nside the lid preserves the trademarked chocolate server logo, La Belle Chocolatiere, adopted by the company in 1883 after a painting by the Swiss artists Jean-Etienne Liotard. Founded in 1780 the Walter Baker Company grew throughout the 19th century and into the 20th becoming one of the largest in the United States. Purchased by the Forbes syndicate in 1896, the brand was eventually absorbed in 1979 by Kraft Foods.
Offered by Rulon-Miller Books.
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