Fine Bindings

Portland, OR: Nazraeli Press, 2012. Original archival color print signed by Stephen Shore on the back is tipped in. First edition / First printing. Limited edition. 500 copies. This copy is an Artists Proof. Taupe laminated boards. Very fine. Issued without dust jacket. The 73th publication in the Nazraeli Press One Picture Book series.

London: Kegan Paul, Trench, Trubner & Co. Ltd., 1896. The less common 1896 New Edition, a one volume work.Handsomely bound by Sangorski & Sutcliffe, London, England for Marshall Field and Company. in half crushed morocco over decorative boards, five raised bands with gilt rules and lettering, top edge gilt, decorative end papers, ribbon marker, frontispiece engraved portrait of Shelley. Near Fine, small shelf rubs top and bottom edges, light soling rear cover. . New Edition. Half Morocco. Near Fine/No Jacket, As Issued. 8vo - over 7¾" - 9¾" tall.

Chapman and Hall. London. 1945. FIRST EDITION. 8vo. (7.6 x 5.1 inches). A bright and clean copy Finely bound in full red morocco leather. Spine with five raised bands. Compartments ruled, lettered and decorated in gilt. Twin black labels, gilt. Single gilt ruled border on boards. Top edge gilt. A fine copy.

Firenze: Successori Le Monnier , 1866. Two volumes, with the bookplates of Louis Dyer, Sunbury Lodge, Oxford front paste downs. Louis Dyer (1851-1908) was an American educator and autho and was a lecturer at Balliol College, Oxford. Two volumes bound in contemporary unsigned full vellum, covers with double gilt rules bordering gilt tooled emblems of Oxoniensis Academia (Fronts) and Coll deBal Oxon (rear covers), the backs with two red morocco labels and intricate gilt tooled decorations, marbled end papers, edges dyed yellow. Overall a thoroughly delightful Oxford binding. Very Good Plus, the vellum lightly soiled, scattered toning to end papers. interior text clean and bright. Frontispiece portrait engraving and fold-out chart Vol. I. A rather SCARCE edition, text in Italian. . Second Edition. Full Vellum. Very Good Plus/No Jacket, As Issued. 12mo - over 6¾" - 7¾" tall.

London: Basil Montagu Pickering, 1861. RARE last appearance of a copy at auction 1927 (RBH). One of the rarest of the Pickering impressions. In signed Riviere & Son binding of red polished calf, the back ornately tooled in gilt, triple gilt rules to covers, marbled end papers, top edge gilt, intricate inner dentelles in gilt. Near Fine, scant rubs to covers, as handsome a copy as one might hope to find. Thomas McNicoll was the first editor of The London Quarterly Review. . First Edition. Polished Calf. Near Fine/No Jacket, As Issued. Small 8vo.

New York: Thomas Y Crowell & Co., 1894. A lovely example of American fine binding of the time, in full red crushed morocco with floral gilt tooled decorations trailing from corners, ornate floral gilt back, all edges gilt, marbled end papers with exquisite gilt tooled floral dentelles trailing in from inner corners and stamped onto end papers. Very Good Plus, the joints showing light wear with front joint starting at top edge, light soiling to boards, uniform browning at edge of first end page caused by binders glue used on turn ins.. First Thus. Crushed Morocco. Very Good Plus. 8vo - over 7¾" - 9¾" tall.

J. Johnson, John Nichols and Son, R. Baldwin ...... London. 1803. FIRST PRINTING OF THIS EDITION. 24 volumes. 6mo. (6.4 x 4.1 inches). Frontis portrait of Swift in volume one. Offsetting front frontis to the title page. Finely bound in contemporary attractive full black straight grained morocco bindings. Spines with two wide and one narrow raised bands, lettered and decorated in gilt. The compartments are fully decorated in gilt. Boards with single ruled line border around a decorative floral roll, gilt. Board edge corners with multiple gilt ruled lines. Floral gilt roll to the turn ins. Beige coloured silk endpapers with gilt tooled Greek key roll around edges and floral corner pieces. All edges gilt. A little rubbing to the extremities of some volumes but overall a very good fresh and highly attractive set of early 19th century leather bindings.

Osborn, Captain SherardJapanese Fragments, With Facsimiles of Illustrations by Artists of Yedo.
London, 1861 First Edition. Publisher Bradbury and Evans. Octavo. Pp. 139. Fine condition in modern full calf with extensive gilding to covers and spine. Complete with all 27 illustrations: Six full-page colored plates, Eleven full-page B&W woodblock plates, and Ten B&W woodblock prints within the text. The text is flawless, no inscriptions, spotting, or tears, and is clean, bright and tight. The bindings have no wear or damage and all of the edges are in bright gilt. This is a pristine copy in a very attractive Fine binding by Bayntun of Bath.

N.p., 1739.
Folio [558 x 443 mm] bound in red morocco, covers decorated with fleur-de-lys borders, fleurs-de-lys in the corners, coat of arms in the center, spine ribbed and decorated with fleur-de-lys of various sizes, stars and gilt fillets, inner border decorated with fleurs-de-lys, gilt edges. Contemporary binding.
First issue of the most famous antique map of Paris, called " plan de Turgot ".
James de Rothschild. 2312; Cohen 807.
It is composed of one plan of combination and of 20 engraved plates on double-page (800 x 515 mm) representing the capital, house by house, in a panoramic view. "
We propose by making this engraved map to show at a glance all the buildings and all the streets of Paris " informed the editor.
"This bird's eye map, the widest of this sort ever tackled, is known under the improper designation of 'Plan de Turgot'. It is composed (besides the map of combination) of twenty leaves that, altogether, form five ranks. Each leave as a surround of 79 centim. large on 50 high. The… Read More

Genève, Jean-Leonard Pellet, 1780.
10 volumes 8vo and one atlas volume 4to : I/ 1 portrait, xvi pp., 532 pp., (2) bl.ll. ; II/ (2) ll., 1 engraving, viii pp., 582 pp. ; III/ (2) ll., 1 engraving, vii pp., 580 pp. ; IV/ (2) ll., 1 engraving, viii pp., 472 pp. ; V/ (2) ll., 1 engraving, vii pp., 405 pp. ; VI/ (2) ll., 1 engraving, vii pp., 484 pp., pp. 281-304 bound in duplicate; VII/ (2) ff., 1 engraving, table of pp. v à xvi, 558 pp. ; VIII/ (2) ll., 1 engraving, viii pp., 548 pp. ; IX/ (2) ll., 1 engraving, table pp. v à viii, 412 pp. ; X/ (2) ll., 1 engraving, table of pp. v à vi, 538 pp.
Atlas : (2) ll., 28 pp., 1 folding map, 49 maps on double page, 23 tables including 12 folding and 1 on double page. Red morocco, double gilt fillet around the covers, flat spines very nicely decorated with special irons, inner gilt edges, gilt edges. Contemporary binding.
202 x 123 mm ; 257 x 203 mm for the atlas.
"First edition" of this "key work of the crisis of the Ancien Regime", filled with pieces of the… Read More

The Easton Press, 1988. The Leather-Bound Library of American History. First Thus; Collector's Edition. Hardcover. Issued without dust jacket. Fine, Like New condition. Appears unopened / unread. Binding and text block are tight, bright, and clean with no ownership markings or bookplates. Bound in full (genuine) gray leather with hubbed spine. Embossed in 22kt gold on the spine and front and back covers. Heavy duty binding boards. Printed on acid-neutral, archival paper. All edges gilt. Smyth sewn with concealed muslin joints and permanent satin ribbon marker. Notes from History sheet laid in. Photo is of the copy we have at Barbed Wire Books. A beautiful copy.

No place. No date. Circa 1870. ILLUSTRATED MANUSCRIPT. Oblong 8vo. (9.4 x 5.5 inches). Longfellow's popular eearly poem, An April day, written in a neat hand on 12 thick paper leaves. Ten of the leaves are beautifully illustrated in watercolour by an unknown but very skilled artist. Bound in attractive nineteenth century full red morocco. Spine with multiple gilt ruled lines and three raised bands. Both boards have a highly decorative gilt roll and ruled lines border around a double ruled and corner decorated blind tooled panel. The front board has the title and author lettered in gilt. Gilt inner dentelles and yellow coated endpapers. All edges gilt. A little rubbing to the extremities but overall a beautiful volume in very good condition.

No Place Stated: The Golden Bough Press. Very Good with no dust jacket. 1930. Limited/Numbered Edition. Hardcover. The free endpapers have a slight curl, likely from the marbling process. Spine and joints slightly darker than the rest of the leather. Minor rubbing to the joints, cover paper abraded where it wraps under the tail edge of the rear board, corners bumped with wear through to the boards.; Daudet's novel of the personal failings and stumbling, lurching relationship of a young Southern French student Jean Gaussin and his older Parisian lover Fanny Legrand. Jean is troubled by Fanny's life of luxury from many profitable, personal relationships: an engineer, a poet, an engraver, and a sculptor who had her pose for his statue of Sappho. After their living in the country and his dalliance with a young woman, it all falls apart. In the end, Fanny leaves him with little but a letter and he's right to lament his "...broken, wasted life, all wrecked and tearful... From… Read More

Easton Press, 2005. Limited Edition. Leather Bound. Fine. 0x0x0. Signed. SIGNED BY BUZZ ALDRIN! Brand New and still sealed in the original Easton Press shrinkwrap! A sumptuous Easton Press leather-bound edition new condition. Expedited shipping is welcome; international shipping will entail an additional fee. Signed by author.

1790. Fine. 14 22 3.5. THIS BOOK IS UNIQUE. Hidden scene on the fore page edges (under the gilding) on both volumes. Tan calf bindings. Gilt embossed edges and centre panel on all sides. Black title plates and gilt banding and titles on the spine. Gilt on all page edges. Dimensions are for one volume. Supplied in a newly made protective box. Magnificent Fore Edge Edition Fore-edge painting: With a double concealed fore-edge painting revealing two scenes. In very good condition. The first known example of a disappearing fore-edge painting (where the painting is not visible when the book is closed) dates to 1649. Around 1750, the subject matter of fore-edge paintings changed from simply decorative or heraldic designs to landscapes, portraits and religious scenes, usually painted in full colour. The technique was popularised in the 18th century by John Brindley (1732-1756), publisher and bookbinder to the Prince of Wales and Edwards of Halifax, a distinguished family of bookbinders and booksellers. The… Read More