Oliver Goldsmith (Over 6,900 results)

With Three Watercolor Portrait Miniatures Under Glass Sumptuously Extra-Illustrated [COSWAY-STYLE BINDING]. SANGORSKI & SUTCLIFFE, binders. FORSTER, John. The Life and Adventures of Oliver Goldsmith. A Biography in Four Books. London: Bradbury and Evans/Chapman & Hall, 1848. First edition, sumptuously extra-illustrated. Three octavo volumes (8 x 4 7/8 in; 204 x 123 mm.). .xvii,[4], 232; 233-448; [2], 451-704 pp. Etched half-title. Three additional title-pages printed in red and black. Fifty black and white text illustrations as issued. With over seventy-five extra engraved portraits and views. Bound c. 1930 by Sangorski and Sutcliffe for Brentano's (stamp-signed) in full crushed teal blue morocco over beveled boards with elaborate gilt-rolled borders and gilt-tooled frame. Spines with five raised bands elaborately decorated and lettered in gilt in compartments. Gilt-ruled board edges, broad, gilt-rolled dentelles. Gilt-tooled beige morocco doublures featuring three watercolor portraits in sunken panels bordered with red morocco under glass of Oliver Goldmith, Samuel Johnson, and David Garrick respectively, with gilt laurels. White moiré silk flyleaves. Beveled edges. All edges gilt. With the bookplate of Samuel Wieder. A fine set. Housed in the original felt-lined, marbled paper-covered slipcase with blue morocco edges. Oliver Goldsmith (1730-1774) was an Anglo-Irish novelist, playwright and poet, who is best known for his novel The Vicar of Wakefield (1766), his pastoral poem The Deserted Village (1770), and his plays The Good-Natur'd Man (1768) and She Stoops to Conquer (1771, first performed in 1773). He also wrote An History of the Earth and Animated Nature. He is thought to have written the classic children's tale The History of Little Goody Two-Shoes, the source of the phrase "goody two-shoes".

xv, 306 pp. With Thirty-two Illustrations by William Mulready. 8vo, full light brown crushed levant morocco Cosway-style binding signed by Riviere & Sons. The front cover features an oval miniature portrait of Goldsmith under glass, set within a quatrefoil panel, the whole elaborately tooled in gold. A.e.g. Moire silk ensheets; gilt turn-ins. Preserved in the original morocco-edged marbled slipcase. Very fine; entirely unrestored.

A Splendid Example of Miss Currie's Work FORE-EDGE PAINTING. MISS C.B. CURRIE, artist. RIVIÈRE & SON, binders. GOLDSMITH, Oliver. The Miscellaneous Works of Oliver Goldsmith. With Biographical Introduction by Professor Masson. London: Macmillan and Co., Limited, 1902. The Globe Edition. With a very fine fore-edge painting by Miss C.B. Currie of Lucan House, Dublin. Inserted limitation leaf at front "This is No. 157 of the Books/with Fore-edge Paintings/by/Miss Currie/The Painting under the gold/is a view of/Lucan-House, Dublin./Signed/ C.B. Currie" Octavo (7 1/8 x 4 3/4 inches; 180 x 121 mm.). [ii, Miss Currie signed limitation, verso blank], [i-v], vi-lx, [ii], [1]-695, [1] pp. Inserted photogravure portrait frontispiece of "Mr. Quick as Tony Lumpkin". Bound ca. 1931 by Rivière & Son for Henry Sotheran. Full dark blue straight-grain morocco, covers elaborately tooled in gilt and blind, spine with five raised bands, decoratively tooled in gilt and blind, and lettered in gilt in compartments. Gilt -ruled board edges, gilt decorated turn-ins, gray endpapers, all edges gilt. With the bookplate of Brooklyn Public Library (Ramsay fund) on front paste-down. Housed in a fleece-lined quarter black morocco clamshell case, spine with five raised bands, lettered in gilt in compartments. A very fine example. "The miniature painter "Miss C.B. Currie" (b. December 12, 1849; d. April 2, 1940) was one of the most prominent fore-edge artists in the twentieth century. A master of the art of miniature painting, she excelled as a copyist working for Henry Sotheran Booksellers, London. She became famous for her miniature paintings applied to two art forms. First on ivory, mounted on Rivière bindings and named by her employer as "Cosway" bindings. Later she expanded her work into the art of painting on the fanned edge of a book -- called a fore-edge painting. Most of these paintings were signed and numbered by the artist. Whereas fore-edge painting history is replete with unknown artists, Currie is a notable exception. Even today, many fore-edge artists remain anonymous. In the book world, the name Miss C.B. Currie is widely recognized, yet her personal life and real name remained guarded and unknown until now. It turns out her name was, in fact, partly a pseudonym. Though her work is highly prized, there is no known published biography. Her correct full name was recently discovered to be Caroline Billin Curry. During her entire artistic career Curry used the slightly altered version of her name "Currie". Her true full name is not to be found in any published record of her work from Sotheran's. Her private affairs remain mostly unknown to us, and sadly no portrait photograph is known. The earliest year Currie fore-edge paintings appear in Sotheran catalogues is a 1913 supplemental leaf, and after that not until 1924 (see Currie 20). Since nineteen fore-edge paintings were made prior to 1924 and none of these appear in the Sotheran catalogues available to me from 1910-1923, it is unclear as to when the fore-edge painting effort really began. She may have made a few fore-edge paintings from ca. 1911 to 1914, and then discontinued until after the war. The number 172 was reached by 1931 and it seems unlikely that many more were done after that date." (Weber. Catalogue Raisonné (2010) p. 273. Laid-in is the original catalog description and receipt from Zeitlin & Ver Brugge, Los Angeles, dated March 5th, 1986. Provenance: Bloomsbury Book Auctions, London, Feb. 6th,1986, lot 153, purchased by E. Joseph, London; Sold to Zeilin Ver Brugge (1986); Sold to Randall Moscovitz (1986). Weber. Annotated Dictionary of Fore-Edge Painting. Catalogue Raisonné No. 157 (p. 343 with color photograph).

First Worcester edition of the famed fable. 16mo, original wrappers, illustrated with 8 engraved plates, terminal advertisements. In very good condition. From the library of noted collector and philanthropist Estelle Doheny with her bookplate to the folding chemise case. Housed in a custom full morocco and folding chemise case. Previously thought to be the first American edition, the Isaiah Thomas Worcester edition was preceded by the New York (Hugh Gaine) 1775, the Boston 1783, and the Philadelphia 1786 editions-known in only a handful of copies, and most incomplete. "Much has been written as to the authorship of Little Goody Two Shoes, and it is now usually attributed to Oliver Goldsmith" (Rosenbach 118). The children's fable was first published by John Newbery in London in 1765 and popularized the phrase "goody two-shoes" as a descriptor for an excessively virtuous person or do-gooder. In his introduction to an 1881 edition of the book, Charles Welsh wrote: "Goody Two-Shoes was published in April 1765, and few nursery books have had a wider circulation, or have retained their position so long. The number of editions that have been published, both in England and America, is legion, and it has appeared in mutilated versions, under the auspices of numerous publishing houses in London and the provinces, although of late years there have been no new issues.".

First edition. First edition. 12mo. Inked inscription by the author. Original quarter cloth and pictorial, printed boards, decorated front and rear endpapers, 148 pp., plus 9 full-page plates, frontispiece (author's portrait), illustrated chapter heads. Presentation copy. This is a rare account of an overland journey to California in 1849, printed in a small edition for private distribution by the author "exclusively for my family and friends." Goldsmith was a member of Michigan's "Wolverine Rangers" Gold Rush Company, made famous by the publication of the journal and letters of William Swain, who traveled with the Wolverine Rangers, as part of J. S. Holliday's popular book about the California Gold Rush and titled "The World Rushed In." Goldsmith was in his early twenties when he and the Rangers departed from Independence in the Spring of 1849 and followed the Platte River Road westward, encountering flooded rivers, cholera, Sioux Indians, alkali land, bad water, and Mormons trying to lure the argonauts to settle in Salt Lake City instead of continuing to California. He describes the apprehension of the deserters from Fort Kearny, and soldiers at Fort Laramie who had retaken the fort from fur traders just a few days earlier. Kurutz 279 says "Twenty-two year-old Oliver Goldsmith of Detroit joined the Wolverine Rangers, worked as a cook, and made it across the continent by way of the California Trail. He entered California via Lassen's Cutoff, rested at Lassen's Ranch, and began looking for gold on the north fork of the Feather River. He describes how he filled his tin drinking cup with rock and dirt, washed it out, and found gold at the bottom. Along with several Rangers, he worked the diggings at Morrissey's Gulch, suffered from scurvy, and found just enough gold to survive." After some time in the diggings, Goldsmith traveled to Sacramento and San Francisco, where he worked as a cook for $100.00 a month before returning to mining after the rainy season had passed. He eventually returned to Michigan. Mintz 181 says "This book is quite rare as it was printed exclusively for family and friends." Covers lightly soiled, two tiny old water stains and a small scrape to front cover, light wear to corners, else a very good copy of a rare item.

First edition. Finely bound by Riviere & Son in full crushed morocco ornately stamped in gilt to spine and boards. All edges gilt. Inner dentelles gilt. Blue coated endpapers. Measuring 155 x 90mm and collating complete: [2], 214; [2], 223, [1, blank]. A first edition plagued by misprints and errors, there are four variants identified with no priority; the present is Temple Scott's variant B, with no catchword on page 213 of volume I, the correct catchword "him" on volume II page 39 and the correct page number on volume II page 159. A lovely copy outside and in, with just light sunning to spines; bookplates to early leaves, else fresh and with no signs of use. Housed in a custom cloth slipcase. Reportedly published as a means for thwarting debt, The Vicar of Wakefield became one of the most popular novels of the late 18th century. Mixing irony with sentimentalism, it paints a portrait of village life "narrated by Dr. Primrose, the title character, whose family endured multiple trials -- including the loss of their fortune, the seduction of a daughter, the destruction of their home by fire, and the vicar's incarceration -- before all is put right at the end" (Britannica). Plagued by numerous errors in its first edition, the printed work's imperfection was noted with amusement by its author in the printed advertisement: "There are an hundred faults in this Thing, and an hundred things might be said to prove them beauties. But it is needless. A book may be amusing with numerous errors, or it may be very dull without a single absurdity." ESTC T146176. Grolier English Hundred 53. Scott B.

Goldsmith Goes Cosway-Style The Vicar Bound By Rivière & Son [COSWAY-STYLE BINDING]. GOLDSMITH, Oliver. The Vicar of Wakefield. With thirty-two illustrations, by William Mulready, R.A. London: John Van Voorst, 1843. First Mulready-illustrated edition. Octavo (8 3/16 x 5 1/2 in; 208 x 140 mm). xv, [1], 306 pp. Thirty-two black and white drawings as headpieces. Beautifully bound ca. 1930 by Rivière & Son, (stamp-signed) in full dark red crushed morocco, spine gilt in compartments. Upper board with wide gilt-tooled frame enclosing a central gilt-decorated oval with an original miniature portrait of Goldsmith in watercolor under glass. Rear board with gilt rolled borders and corner piece. Engraved (unidentified) armorial bookplate pasted onto front doublure. Bookplate of L.B. Rossbach to front free-endpaper verso. Gilt decorated turn-ins. Green moiré silk endleaves. All edges gilt. A fine example housed in the original faux lizard, leather edged slipcase. Oliver Goldsmith (1730-1774) was an Anglo-Irish novelist, playwright and poet, who is best known for his novel The Vicar of Wakefield (1766), his pastoral poem The Deserted Village (1770), and his plays The Good-Natur'd Man (1768) and She Stoops to Conquer (1771, first performed in 1773). He also wrote An History of the Earth and Animated Nature. He is thought to have written the classic children's tale The History of Little Goody Two-Shoes, the source of the phrase "goody two-shoes." The Vicar of Wakefield was written 1761-1762, and published in 1766. It was one of the most popular and widely read 18th-century novels during the Victorian era, referred to in George Eliot's Middlemarch, Jane Austen's Emma, Charles Dickens' A Tale of Two Cities and David Copperfield, Mary Shelley's Frankenstein, Sarah Grand's The Heavenly Twins, Charlotte Brontë's The Professor and Villette, Louisa May Alcott's Little Women and in Johann Wolfgang von Goethe's The Sorrows of Young Werther.

A 1930s Cosway-Style Binding by Sangorski & Sutcliffe [COSWAY-STYLE BINDING]. SANGORSKI & SUTCLIFFE, binders. GOLDSMITH, Oliver. The Poetical Works of Oliver Goldsmith. London: William Pickering, 1831. The Aldine Edition of the British Poets. Small octavo (6 1/2 x 4 inches; 166 x 101 mm.). [i]-clxxxii [Life and Anecdotes of Goldsmith], [1]-156 pp. Engraved portrait frontispiece. Bound c. 1930 by Sangorski and Sutcliffe for Chas. J. Sawyer Ltd., stamp-signed in gilt on front turn-in, with the S&S monogram stamped in gilt on rear doublure. Full dark red crushed levant morocco over beveled boards with elaborate gilt-rolled borders and gilt-tooled frame. Front cover with Oliver Goldsmith's initials within a decorative thistle tool frame. Rear cover with central gilt wreath. Spine with five raised bands elaborately decorated and lettered in gilt in compartments. Gilt-ruled board edges, broad, gilt-rolled dentelles, green silk end-leaves, top edge gilt. Gilt-tooled green calf doublures with decorative gilt corner-pieces. Front doublure with a fine gilt-framed oval portrait miniature watercolor under glass of Oliver Goldsmith. Front joint expertly and almost invisibly repaired. A near fine example of an S&S Cosway-Style binding. First edition thus, with a "Life of Oliver Goldsmith" by Rev. John Mitford and "Anecdotes of Goldsmith." The Aldine Poet Series was a twenty-year project that involved printing new editions of classic British poets from Chaucer through to the nineteenth century. They were published in fifty-three volumes during the years 1830-1844. Pickering secured John Mitford and Alexander Dyce as editors with Sir Harris Nicolas, so that the series would be of high standard. Oliver Goldsmith (1730-1774) was an Anglo-Irish novelist, playwright and poet, who is best known for his novel The Vicar of Wakefield (1766), his pastoral poem The Deserted Village (1770), and his plays The Good-Natur'd Man (1768) and She Stoops to Conquer (1771, first performed in 1773). He also wrote An History of the Earth and Animated Nature. He is thought to have written the classic children's tale The History of Little Goody Two-Shoes, the source of the phrase "goody two-shoes".

First Edition. "GOLDSMITH, Oliver. The Vicar of Wakefield. Salisbury: Printed by B. Collins for F. Newberry, 1766. Two volumes. 12mo, 19th-century full tan calf, raised bands, elaborately gilt-decorated spines, green morocco spine labels, marbled endpapers. $6200.First edition, first issue, of Goldsmith's best-known novel, beautifully bound by Bedford. The Vicar of Wakefield has long charmed readers "in part due to the imaginative glow that Goldsmith so effortlessly casts over the action and to his flexible and easy style" (Baugh, et al., 1061). As celebrated as the novel itself is the account which grew up around it regarding Dr. Johnson's hand in seeing it published. "Boswell tells the story that Johnson was one morning called in by Goldsmith, whose landlady had arrested him for his rent. Johnson found that Goldsmith had a novel ready for press, took it to a publisher, sold it for 60 pounds, and brought back the sum, which enabled Goldsmith to pay his rent and rate his landlady" (DNB). First issue, with the misprint "Waekefield" in running headline in Volume II, page 95. Variant (2), with no catchword on page 213 of Volume I, pages 39 and 159 in Volume II correctly printed. Rothschild 1028. Text fine, only minor wear to handsome calf binding. A beautiful copy.".

hardcover. Condition: fine. Mulready, William; Hugh Thomson (illustrator). With 32 engraved illustrations by William Mulready. Large,thick 8vo, beautifully bound by De Sauty in full deep green morocco; elaborately gilt covers and spine; inner dentelles; all edges gilt. London: John Van Voorst, 1843. In addition to the illustrations by Mulready, this book is extra-illustrated with 15 heliogravures by E. Nisbet and 170 neatly mounted illustrations by Hugh Thomson. A magnificent copy of this beloved 18th century novel.

First edition of Goldsmith's sentimental masterpiece, one of the most popular novels of its age - more than 20 editions followed before the close of the century - and long recognized as one of the classics of 18th-century literature. This Salisbury edition is the true first, preceding the London edition by slightly over two months. Publication was much delayed, coming four years after the rights to the manuscript were sold to the publisher by Samuel Johnson on Goldsmith's behalf. The delay is ascribed to Goldsmith's revisions, or the publisher's reticence to commit to printing the work until Goldsmith had established a reputation. The edition was burdened with a number of typographic errors or omissions, the most significant of which have been sorted into four variants. This set is of the second variant, with no catchword on vol. I p. 213, the corrected catchword on vol. II p. 39, and vol. II p. 159 correctly numbered. ESTC T146176; Grolier English, 53, Rothschild 1028. 2 volumes, duodecimo (170 x 99 mm). Contemporary calf, neatly rebacked with the original spines laid down. Housed in early 20th-century custom blue morocco pull-off case by Riviere & Son. Contemporary armorial bookplate of the Walbancke family to front pastedowns. Complete with blank A12. A little rubbed, offsetting from turn-ins, loss to front free endpaper in vol. II, a little shaken. A good copy.

First Edition with these Illustrations. 217 x 150 mm. (8 1/2 x 5 3/4"). 2 p.l., 39, [1] pp. STRIKING DARK GREEN MOROCCO, VERY INTRICATELY GILT AND ONLAID, BY DONNELLEY OF CHICAGO (stamp-signed in gilt on front turn-in), covers with a fanfare-inspired design composed of a lobed centerpiece of onlaid emerald green morocco, diapered and dotted in gilt, containing five smaller cut-out lobed shapes outlined in gilt, the dark green of the boards showing through, left and right lobes of the centerpiece connected to a small emerald green circular onlay diapered and dotted in gilt, top and bottom lobes connected to a similar onlaid circle, followed by a green square onlay decorated with gilt leaves and a small central inlaid red dot, then another onlaid circle connecting to the double-rule border, exuberant sprays of small gilt leaves emanating from the centerpiece and filling the corners, raised bands, spine compartments with large fleuron composed of leaf tools emanating from a central gilt circle, EMERALD GREEN MOROCCO DOUBLURES within a dark green frame with plain and decorative gilt rules, gilt leaves at corner, central panel decorated with gilt leaves and inlaid red dots forming geometric shapes, navy blue watered silk endleaves, all edges gilt. With the original cloth covers and spine bound in at end. With 30 steel-etched illustrations by Birket Foster. Printed on thick card stock, most illustrations with a thick paper guard (or two) preceding it. â A very shallow (hardly noticeable) chip to head of spine, mild scattered foxing and occasional small stains to leaves, one leaf with a crease down the center, light offsetting from illustrations in two instances (the rest protected by guards); with some very minor defects, but an extremely attractive copy, the very elaborately decorated luxury binding in nearly fine condition. This illustrated version of Goldsmith's chief poetic work was bound by one of the leading hand binderies in America, probably during the period when it was headed by the great Alfred de Sauty. Based in Chicago, the RR Donnelley printing company was a pioneer in promoting fine craftsmanship in American book production, particularly from the time Thomas E. Donnelley (1867-1955) became company president in 1899 on the death of his father, founder Richard Robert Donnelley. A talented salesman and visionary leader, Thomas instituted a printing apprenticeship program based on one run by French printer Imprimerie Chaix, and in 1921 he established a hand bindery, recruiting Alfred de Sauty (1870-1949) from the Central School of Arts and Crafts in London to run it. Though hand binding was not a money-making endeavor for the firm, the "Extra Bindery," as it was known, set an example for the rest of the company as well as for the industry in general of the importance of fine craftsmanship done in a traditional manner. According to the "Printing for the Modern Age" exhibit produced by the RR Donnelley Archive at the University of Chicago Library, "De Sauty immediately set the standard for American bookbinding when he hired three European-trained bookbinders, William Anson, Basil Cronk, and Leonard Mounteney. As was the European tradition, hand-binding at RR Donnelley was a team effort. The head of the bindery generally established the design and specified the materials. From there, a book passed through the hands of several staff members, each responsible for a particular aspect of the process; sewing, backing, tooling, and finishing." The tasteful design, fine materials, and quality workmanship of our binding are typical of the work done under de Sauty's supervision. He trained a number of fine binders, including his successor, Harold Tribolet, before his retirement in 1935. First published in 1764, "The Traveller" examines the varying ways in which European cultures seek happiness and the excesses resulting from each approach, all in heroic couplets. Goldsmith's champion Samuel Johnson said that this was the best poem written since Pope, but this compliment may be tainted by self-interest, since, according to Boswell, Johnson wrote at least a small part of the poem, including eight of the concluding 10 lines. Illustrator Myles Birket Foster (1825-99) was an excellent choice for this work, as he was an enthusiastic traveller noted for his landscapes. The scenes here range from imposing cliffs to cozy taverns, and in keeping with the text display charming examples of happiness (a lakeside party with dancing) and touching moments of sorrow (a despairing artist weeping in his garret). The deluxe binding here may also be counted a source of joy and pleasure.

Octavo. More than 4000 pages. Original Hardcover, nearly all with the rare illustrated dustjacket in protective collector's Mylar. Very good condition with only minor signs of external wear. Some dustjackets with larger tears. Some dustjackets missing. See full list and display of each book with photographs and detailed description. The price includes an upgrade to worldwide free shipping of the collection per DHL Express Courier. Austin V. Molloy (aka Austin Ó Maolaoid, AóM) was born in Castleknock, Dublin, in 1886, son of John Molloy, a master carpenter, and his wife Marianne. He studied at the Dublin Metropolitan School of Art, where he became friends with Harry Clarke, and started selling cartoons to Arthur Griffiths' Sinn Féin magazine from about 1909. His cartoons also appeared in Dublin Opinion from 1922. From 1923 he taught illustration and layout at the Dublin Metropolitan School of Art, taking over from Clarke. Between them they taught a generation of illustrators, including George Altendorf, Olive Cunningham, Richard King, Victor Penney and John Henry. He illustrated numerous book covers, particularly for An Gúm ("the scheme"), a government project to publish books in Irish, including translated works of English, American and European literature. He died in 1961. (Source: Irish Comics wiki) Sprache: gaeilge.

Illustrated by Arthur Rackham. Pp. 232, 12 coloured plates (frontispiece with tissue guard), the title and title page vignette printed in red, black & white text illustrations; cr. 4to; rebound by Bayntun Riviere in navy morocco, the spine lettered and decorated in gilt compartments between raised bands, boards with double gilt rule borders, gilt edges and dentelles; a.e.g.; marbled endpapers; within navy cloth slipcase, faintly marked; the original gilt lettered and decorated dark green cloth (including the backstrip) bound in at end; a little light foxing and very occasional slight soiling; George G. Harrap & Company Ltd., London, 1929. First trade edition. Riall p. 170; Latimore & Haskell p. 65. *With an original Arthur Rackham pen & ink drawing (with pink watercolour highlights) on the half-title page verso, inscribed Myrtle Oldershaw with all best wishes Arthur Rackham 10.7.31. The drawing is of an old lady surprised by a bespectacled jack-in-the box. Riall (p. xvi) notes that Harrap commissioned Rackham to add an original watercolour to a very small number of some of his books from The King of the Golden River onwards - but that was from 1932 on, and although such drawings were sometimes captioned, they were not specifically executed for named individuals.

Hardcover. Condition: Like New. Turk's Head Edition. THIS COMPLETE TEN VOLUME SET IS IN FINE CONDITION STUNNINGLY BOUND BY STIKEMAN & CO. IN FULL BROWN CRUSHED MOROCCO WITH CURVILINEAR AND FLORAL GROLIERESQUE DESIGNS TO COVERS, SIX COMPARTMENTS AND FIVE RIBS TO SPINES WITH BRIGHT GILT TITLES AND FLORAL PANEL ORNAMENTS. BINDING AND HINGES ARE VERY GOOD, WATER SILK ENDPAPERS, NO LOOSE OR MISSING PAGES, PAGES ARE BRIGHT AND CLEAN, WITHOUT MARKS AND NO FOXING. BEAUTIFULLY ILLUSTRATED WITH NUMEROUS FULL PAGE ENGRAVINGS BY FREDERICK SIMPSON COBURN. BOOKS MEASURE 9"x6.5". TURK'S HEAD EDITION LIMITED TO 1000 COPIES THIS BEING #593, SIGNED BY PUBLISHER. ABSOLUTELY STUNNING SET IN SUPERB CONDITION, YOU WILL LOVE THIS SET!.

First Thus. The Turk's Head Edition. Limited to 1,000 numbered sets (this being #552), signed by the publisher. Ten octavo volumes (8 3/4 x 6 inches; 220 x 150 mm.). Contemporary full green crushed levant morocco. Covers decoratively panelled in gilt, with cream morocco floral onlays, spines lettered and tooled in gilt in compartments with cream morocco floral onlays, turn-ins decoratively tooled in gilt, blue morocco doublures decoratively bordered in gilt, blue watered silk liners, top edge gilt, others uncut. Spines very lightly and uniformly sunned. Photogravure frontispieces, vignette titles, and plates. Descriptive tissue guards. A superb set. "The Turk's Head - A London tavern, was a favorite haunt and a kind of social headquarters of the men of letters in Goldsmith's day. It was at this place of entertainment, too, that the Literary Club, the most famous organisation of its kind in the history of English letters, held its meetings. The illustrations are from designs by Mr. Frederick Simpson Coburn, who has so well earned the enviable reputation as an illustrator which is now his" (Publisher's note).

First Edition. First Edition. 4to, (11 x 9 inches). Original beige paper covered boards, wide green cloth spine with gilt-ruled borders and gilt lettering on cover. Beautifully Hhand-illumined by Lawrence Mazzanovich, important Roycroft artists introduced to the firm by W. W. Denslow. His work is highly regarded by purveyors of fine Roycroft limited editions. Signed and numbered to limitation page "No. 26 Elbert Hubbard," and below, :in calligraphy: "Specially Illumined by Lawrence Mazzanovich (in signature)."And at top of the page, inscribed: "No's one to forty are specially illumined." The superb watercolor initials feature extended designs by Mazzanovich with many colors and stylized features. Very scarce and desirable. Corners chipped, slight soiling to boards, internally fine. "On a High Shelf," David Ogle OB-016-98 and the binding featured in color (pg. 203).

Condition: About fine. Signed limited edition of only 350 numbered copies signed by Thomson - this a presentation copy, not numbered, with an original signed drawing of a character from the book. Thomson has drawn the figure of a man in period dress celebrating by kicking up his heels, taking off his hat and waving a whip in the air. The man is Tony Lumpkin, a character from the play. Thomson captioned the piece: "'And Tony Lumpkin is his own man again' / p.197"; he has signed it, "With / Hugh Thomson's / kind regards / December 1912." This is an incredible and unique copy with the ornate binding in beautiful condition. 12.5'' x 10.5''. Original full elaborately gilt-stamped vellum. Top edge gilt, other edges uncut. Ties renewed. Illustrated by Thomson with 26 beautiful tipped-in color plates, plus many in-text illustrations. [4], 198, [2] pages. Pen-and-ink original drawing, 7'' square, on recto of limitation page, signed by Thomson. Toning to endpapers, else a remarkably fresh and brilliant copy.

Hardcover. Condition: Fine. 1st Edition. First Edition. A stunning copy of this limited edition of 575 copies SIGNED by Arthur Rackham. The book is in fantastic shape. The binding is tight and the boards are crisp with minor wear to the edges. The pages are exceptionally clean with NO writing, marks or bookplates in the book. A fabulous copy SIGNED by Rackham with the color plates present. We buy SIGNED Rackham books. Signed by Author(s).

First Edition of this Children's Pocket Book on Morality [GOLDSMITH, Oliver]. WINLOVE, Solomon. Moral Lectures, on the Following Subjects. Pride, Envy, Avarice, Anger, Hypocrisy, Charity, Generosity, Compassion, Ill- Humour, Good-Humour, Affectation, Truth, Falshood, Education, Industry, Wisdom, Indolence, Application, Beauty, Advice, Company, Splendor, Happiness, Friendship, Mankind, Credulity, Contempt, Modesty. By Solomon Winlove, Esq; Embellished with twenty-eight curious cuts. London: Printed for F. Newbery, 1769. Probable first edition (earliest recorded edition). According to the British Library, Winlove is a pseudonym. Attributed to Goldsmith. Sixteenmo (4 7/16 x 2 7/8 inches; 110 x 72 mm).[4], [4, publisher's ads], iv, 95, [1, blank] pp. With 28 woodcut engravings depicting moral qualities serve as chapter headpieces. With "A catalogue of pretty little books for children, sold by F. Newbery." Dutch floral paper over boards. Corners slightly bumped and boards lightly rubbed. A few tiny closed tears to blank fore-edge margin, never affecting text. Internally very clean. Overall an about fine copy. "A collection of the most approved entertaining stories calculated for the instruction and amusement of all little masters and misses in the vast Empire." (The New Cambridge Bibliography of English Literature: Volume 2, 1660-1800). ESTC N61120. HBS 68438. $3,750.

FIRST RACKHAM EDITION, 4/775 COPIES signed by the artist, 12 colourprinted plates and other illustrations in the text, all by Arthur Rackham, title and Rackham design on title-page printed in red, preliminary leaves foxed, one leaf a little creased, pp. 232, 4to, original cream parchment, lettering and design on backstrip and lettering on front cover within a double-rule border, all blocked in gilt, endpapers with designs in green by Rackham, t.e.g., others untrimmed, very good. Publisher, George Harrap's copy, with his bookplate on the front free endpaper verso. Beneath the statement of limitation is a pen-and-ink drawing by Rackham, drawn for Harrap, of a character leading his horse with one hand whilst placing money into a beggar's outstretched hand with the other. The drawing is also signed by Arthur Rackham. A REVEALING AND IMPORTANT 3-page letter from Rackham to the publisher George Harrap is loosely inserted, dated 22 Jan/30. Rackham was recovering from an operation and apologises for the fact that 'I am afraid I have to conclude that I shall not be able to do a book at all this year - unless, later, there happened to be just time for "The Night before Christmas"' (eventually published in 1931). Presumably upon recommendation, he had read Our Village and Cranford: 'I have seized the opportunity to read "Our Village" - I really don't find myself much interested in it. But I have considered it, & Cranford, most carefully: I frankly don't feel fitted for either of them. The charming depiction & gentle view of character which is their strength is beyond me to illuminate.' He proceeds to relate that with which he is more at ease 'I need greater license - something that allows a freer interpretation. The Vicar came more readily - partly because its period is just enough more remote. But I wish I could discover something that allowed a more fantastic, or even grotesque, & less respectful treatment.' (Latimore & Haskell p.65: Riall p.170).

Hardcover. Limited Edition: #185/350. Quarto, 197 pages. In Very Good condition. Bound in full modern burgundy morocco with paneled spine with gilt design and lettering. Minimal wear and rubbing overall. Top edge gilt, endpapers lightly age-toned, twenty five tipped-in color plates. Signed by the Hugh Thomson on limitation page. Presentation copy, inscribed to title "With every good wish from Caroline and Rudyard Kipling, April 19, 1913". CX Consignment. Shelved in Case 0. 1346002. Shelved Dupont Bookstore.

With an Exquisite Fore Edge Painting of Temple Bar, London By Joseph Clayton Clarke aka "KYD" FORE-EDGE PAINTING. KYD (pseudonym of Joseph Clayton Clarke), artist]. GOLDSMITH, Oliver. The Poetical Works of Oliver Goldsmith, M.B. Collated with the best editions by Thomas Park, F.S.A. London: Printed at the Stanhope Press, by Charles Whittingham, 1809. [bound with] The Poetical Works of William Collins. London: Printed at the Stanhope Press, by Charles Whittingham, 1709 [sic] 1808. [bound with] Poems by [Thomas] Gray. With an exquisite fore edge painting beneath the gilt, of Temple Bar - the principal ceremonial entrance to the City of London, by Joseph Clayton Clarke aka "Kyd." The painting is full of Dickensian style characters. Twelvemo (4 7/8 x 3 inches; 124 x 76 mm.). [i]-iv, [1]-86, [v]-vi, [1]-81, [1, blank]; [iv], [1]-64, [9]-99, [1, blank] pp. Two engraved frontispieces, one for Goldsmith's Poetical Works and the second for William Collins's Poetical Works. Contemporary full red straight-grain morocco, covers decoratively bordered in gilt and blind, spine with four shallow raised bands, decoratively tooled and lettered in gilt in compartments, decorative gilt board edge and turn-ins, gray endpapers, all edges gilt. Housed in an early twentieth century fleece-lined, red cloth slipcase. The fore-edge painting, which we believe was executed sometime around 1910, depicts Temple Bar - the principal ceremonial entrance to the City of London, and exhibits an unusual degree of detail, art and craft; the coloring is quite extraordinary. Temple Bar was the principal ceremonial entrance to the City of London from the City of Westminster. In the middle ages, London expanded city jurisdiction beyond its walls to gates, called â bars', which were erected across thoroughfares. To the west of the City of London, the bar was located in the area known as the Temple. Temple Bar is situated on the historic royal ceremonial route from the Tower of London to the Palace of Westminster, the two chief residences of the medieval English monarchs, and from the Palace of Westminster to St Paul's Cathedral. The road east of Temple Bar and within the City is Fleet Street, while the road to the west, in Westminster, is The Strand. Fore-edge paintings by "Kyd" are excessively rare - I have seen only a handful in over fifty years of specializing in this field. "Kyd" was a personal friend of my Great Uncle, Sam Joseph and used to frequently visit 48a Charing Cross Road in the 1930's. (DJB). "CLARKE, Joseph Clayton [sometimes seen as "Clark"] - English artist (1856-1937). Clarke worked as a freelance artist and cartoonist until 1900. He is described as having had many occupations during his career as an artist. His book, The Characters of Charles Dickens portrayed in a series of original water colour sketches by "Kyd", London, Paris, & New York: Raphael Tuck & Sons, was issued ca. 1889. From 1900-1920 he drew illustrations for cigarette cards and postcards based on Dickens' characters. He is best known for his marvelous character drawings and watercolors from Dickens' stories. Clarke signed his name "Kyd" on the popular color drawings he made. His fore-edge paintings are not signed. However, an un-illustrated pamphlet issued by Sawyer's (bookseller) states that he is known to have painted certain types of English scenes which suggests that his work can be identified. "Kyd" was described as a "flamboyant character", known to wear a "grey suit, spats, a homburg hat, and gloves, and always with a flower in his buttonhole". He frequented the racing tracks, bars, and women, thus his income suffered. Late in life he made money by producing watercolor sketches, mostly of Dickens' characters, for London booksellers, or perhaps a fore-edge or two. He worked for "Punch" for one single day. Clarke died in Hampstead in 1937." ".Clayton Clarke, the most outstanding authority on anything appertaining to the cult of fore-edge painting. Better known perhaps to an earlier generation as a black and white humorous artist and illustrator of Dickens under the pseudonym 'Kyd', he has for over a quarter of a century studied and practiced the delightful vagaries of this fascinating form of decoration; and it is no exaggeration to say that by the fine quality and beauty of his work he has raised what was originally a curiosity to the dignity of an art" (J.E.S. Sawyer, "Kyd" [Joseph Clayton Clarke] a Preliminary Study of his Life and Work Together with His Essay on Fore-edge Paintings, p.12). Reference: Jeff Weber. Annotated Dictionary of Fore-Edge Painting Artists & Binders, pp. 80-83.

Hardcover. Condition: Very Good. No Jacket. Limited Edition. About this Item: Complete 10 volume set, (8vo). Turk's Head Edition, limitation no. 145 of 1000 copies. Illustrated by the designs of Frederick Simpson Coburn with eighty photogravures. Published by G.P. Putnam's Sons, New York and London, The Knickerbocker Press. Edited by Peter Cunningham. Introduction by Horatio Sheafe Trans. Quarter Tan leatherbound books, gilt title and ornamentation on spines with four raised bands, boards feature leather corner caps, matching marble board coverings and end papers, leaf edges gilt atop along side deckled edges. Includes: Biographies, Dramas, Essays, Miscellanies I & II, Poems, Polite Learning - The Bee, The Citizen of the World I & II, The Vicar of Wakefield. Dimensions: 17.75 W × 6.5 D × 9.5 H inches Condition: Very good, spine heads effected by a few minor chipped areas, otherwise fine. A beautiful set.

First Thomson edition. This copy is in a gorgeous Kelliegram binding, with their signature onlay design on the front cover. "Kelliegram bindings were one of many innovations of the English commercial binding firm of Kelly & Sons. The Kelly family had one of the longest connections in the history of the binding trade in London, having been founded in 1770 by John Kellie, as the name was then spelled. The binding firm was carried on by successive members of the family into the 1930s. The development [during the 1880s] that came to be known as Kelliegram was one of the bindery's most notable, and the popularity continues today" (Dooley, p. 4). Published in time for the Christmas market in 1890, this edition of Goldsmith's novel enjoyed enormous success. Thomson had worked on the illustrations for two years: "He took exceptional pains to study and and realise the several types for himself, and to ensure the correctness of costume. From the first introductory procession of the Primrose family at the head of chapter i. to the awkward merriment of the two Miss Flamboroughs at the close, there is scarcely a page which has not some stroke of quiet fun, some graceful attitude, or some ingenious contrivance in composition" (Dobson, p. 116). Austin Dobson, De Libris. Prose And Verse, 1908; John Dooley, "Kelliegram Bindings", Bryn Mawr College Library Newsletter, number 2, April 1998. Octavo (175 x 115 mm). Early 20th-century Kelliegram binding of brown morocco, spine with raised bands, lettering and decoration in compartments, elaborate foliate and floral borders to covers, multicolour onlay morocco illustration to front cover after Thomson (p. 25), board edges and turn-ins tooled in gilt, orange silk endpapers, all edges gilt, green silk book marker. Numerous illustrations throughout by Hugh Thomson. Annotated by Eugene Field II, with an ownership inscription purporting to be from the library of his father. Old bookseller's description tipped-in to front binder's blank. Spine a little browned, else a fine copy, handsomely bound.

Hardcover. Condition: Fine. 1st Edition. SIGNED/LIMITED EDITION of 200 copies SIGNED by Arthur Rackham. This is the American Issue bound in the ORIGINAL publisher's full Velum cloth. A beautiful copy. The book is in great shape. The binding is tight with NO cocking or leaning and the boards are crisp with minor wear to the edges. The pages are exceptionally clean with NO marks or bookplates in the book. A superb copy in collector's condition. We buy SIGNED Rackham First Editions. Signed by Author(s).

Cedric Chivers (1853-1920) developed the technique of "vellucent binding," whereby an artist would paint on a thin surface, and a sheet of vellum, shaved to translucent thinness, was laid over it, with the result bound over boards. The significant achievement is that "for the first time in the history of the bibliopegistic art the actual work of the artist, undiluted by a translation through the hands of mechanics, is here visible in the decoration of the book" (Chivers catalogue, Books in Beautiful Bindings). Octavo. [xviii], 242, [2] pp. Colored frontispiece and title-page and twenty-three colored plates. In a full velucent binding by Cedric Chivers of Bath. Spine and front cover gilt-tooled in architectural design. Front cover features classical columns, with decoration at top and bottom, including flower ornaments and an urn with fruit, back cover gilt paneled. The front cover and spine are richly colored in shades of pink, purple, green, and yellow. Top edge gilt, pink patterned endpapers. Edges lightly foxed. A near fine copy.

Hardcover. Condition: Fine. Full morocco, 10 1/2 inches tall. A stunning large paper copy in full crushed morocco bound by Riviere in 1893 in absolutely pristine condition. With gilt raised bands and exquisite floral gilt tooling to the panels. A gilt embossed ornate centre tool is framed within a series of gilt rolls and fillets on both boards. Wide gilt dentelles and gilt top edges, the remaining edges untrimmed. The original cloth wraps are bound in. Profusely illustrated by Hugh Thomson, who has signed the title page, throughout. A wonderful copy of one of the greatest comic 18th century novels.

Condition: Fine. Signed limited edition, one of 575 copies for England numbered and signed by Rackham, an unusually nice copy. Large octavo. 10.25'' x 8''. Original full gilt-stamped vellum. Top edge gilt, other edges uncut, pictorial endpapers. Illustrated by Rackham with 12 very lovely color plates plus in-text black-and-white images. 232 pages. Signed by Rackham on the limitation page. Only barest bit of toning to boards, gentle bump to foot of spine.

Hardcover. Condition: Very Good. No Jacket. First Edition. Tight Firm Clean Copy - 2 Volume Set - Undated First Edition Printed Between 1842 And 1849 - Tallis Set Up As A Publisher With Frederick Tallis In Cripplegate In 1842; The Business Moved To Smithfield In 1846, And Was Dissolved In 1849 - Signed In Ink By Previous Owner On Ffp. Over 100 Pages Of Etchings (65 Pages Vol 1 And 55 Vol 2 - Quick Count) - A Majority Duplicated And Hand Painted (Believed By The Publisher/Printer) - At Front Of Both Volumes - Some Illustrations Have Minor Pencil Marks On The Reverse Side Of Their Pages. Green Leather Bound Hard Covers With Faded Gold Gilt Titles To Spine - Well Rubbed And Worn Edges - Rounded Corners. Internal Pages Age Browned With Minor Foxing In Places. Rare Very Scarce Volumes. Heavy Books - Additional Postage May Be Requested.