The Texas Rangers A Century of Frontier Defense by Webb, Walter Prescott - 1935

Cambridge: The Riverside Press, 1892. The Artists' Edition. Number 697 of 750 copies. Illustrated by Howard Pyle, Frank T. Merrill, Frederic Remington and F.O.A.C. Darley et al. 9 vols. 8vo. Three quarter brown morocco, gilt lettered spine, raised bands, t.e.g. Minor uniform fading, else fine. The Artists' Edition. Number 697 of 750 copies. Illustrated by Howard Pyle, Frank T. Merrill, Frederic Remington and F.O.A.C. Darley et al. 9 vols. 8vo.

Cambridge: privately printed [at the Riverside Press], 1863. Small 8vo, pp. 15; English and Latin on opposite pages; with the second reading in the first line: "Day of vengeance" instead of the original, "Day of weeping." Bound with: Jacobus de Benedictis, Stabat Mater. Cambridge: privately printed [presumably at the Riverside Press], pp. 11; English and Latin on opposite pages. Presentation copy to "Miss Folsom, with the kind regards of John A. Dix, Paris, 8 Jan. 1869." The first title is extra-illustrated with 3 albumen prints of Christian art, and the second title extra-illustrated with 7 albumen prints of the same; on a separate leaf bound in at the end is a manuscript index to the photographs in the hand of Dix, listing the title of the photograph and the page number where inserted; bound in full crushed brown morocco by L. Curmer, red silk moiré endpapers, inner dentelles, a.e.g., etc. and with a blindstamped crucifix on the covers; red moiré-lined chemise, recent brown cloth slipcase with… Read More

Cambridge, Massachusetts: Riverside Press, 1904. Edition de Luxe. ONE OF 1,000 COPIES. 222 x 146 mm. (8 3/4 x 5 3/4"). 16 volumes. Last three volumes (containing "Letters") edited by Charles Eliot Norton. VERY HANDSOME DARK GREEN MOROCCO, EXTRAVAGANTLY GILT, covers with a wavy gilt border and charming floral ornaments at corners, central panel (with square-notched corners) formed by six parallel gilt lines; raised bands, spine compartments attractively gilt with scrolling flowers and foliage enclosing a floral fleuron centerpiece, wide turn-ins with elaborate gilt decoration featuring many large and small roses and leaves on stylized lattice work, the turn-ins enclosing SCARLET-COLORED POLISHED MOROCCO DOUBLURES, crimson watered silk free endleaves, top edge gilt, other edges rough trimmed, MOSTLY UNOPENED (six of the volumes entirely unopened, and all but one of the others largely so). With 80 mounted photogravure illustrations on India paper (including frontispieces, one double plate, and one… Read More

Cambridge, MA: The Riverside Press, 1947. Anne Malcolmson, Grace Castagnetta, and Caldecott medalist Virginia Lee Burton joined forces in 1947 to produce the definitive edition of The Song of Robin Hood. Their triumphant achievement was one of the most distinctive presentations of the legend ever published, and it received a Caldecott Honor Medal in 1948. Through meticulous research and unfailing perseverance, Anne Malcolmson rediscovered fifteen of the original ballads of Robin Hood; Grace Castagnetta adapted them to modern musical notation. Virginia Lee Burton spent three years on drawings to accompany the songs, ultimately producing a work of art filled with exquisite detail and worthy of comparison to the greatest illuminated manuscripts of the medieval era.

Boston: Houghton Mifflin and Company / The Riverside Press, 1910. Special, limited first edition. Hardcover. 475; 554; 468pp. Large octavos [24 cm] 3 volume set. Illustrated. Dark green cloth covered boards with paper spine labels. Fore and bottom edges deckled. Housed in purple cloth four-fold covers and custom half purple morocco slipcases. Books are very good in like slipcases. The extremities are gently bumped and rubbed. There is a previous owner's name in top fore-edge corners of the front free endsheets. The text blocks are cracked at the half title pages. There are numerous notations in neat pencil on the rear endsheets. The spine labels of volumes 1 and 2 are just a little chipped. The rear pastedown of volume 2 has an adhered newspaper clipping, and the rear free endsheet has a corresponding dark patch. The slipcases show light wear and soiling, and sporadic areas of sun fading. The largest amount of fading is present on the rear of the slipcase of volume 1. The four-fold folders are bright… Read More

Cambridge: The Riverside Press, 1892. The Artists' Edition. Number 697 of 750 copies. Illustrated by Howard Pyle, Frank T. Merrill, Frederic Remington and F.O.A.C. Darley et al. 9 vols. 8vo. Three quarter brown morocco, gilt lettered spine, raised bands, t.e.g. Minor uniform fading, else fine. The Artists' Edition. Number 697 of 750 copies. Illustrated by Howard Pyle, Frank T. Merrill, Frederic Remington and F.O.A.C. Darley et al. 9 vols. 8vo.

Cambridge: privately printed [at the Riverside Press], 1863. Small 8vo, pp. 15; English and Latin on opposite pages; with the second reading in the first line: "Day of vengeance" instead of the original, "Day of weeping." Bound with: Jacobus de Benedictis, Stabat Mater. Cambridge: privately printed [presumably at the Riverside Press], pp. 11; English and Latin on opposite pages. Presentation copy to "Miss Folsom, with the kind regards of John A. Dix, Paris, 8 Jan. 1869." The first title is extra-illustrated with 3 albumen prints of Christian art, and the second title extra-illustrated with 7 albumen prints of the same; on a separate leaf bound in at the end is a manuscript index to the photographs in the hand of Dix, listing the title of the photograph and the page number where inserted; bound in full crushed brown morocco by L. Curmer, red silk moiré endpapers, inner dentelles, a.e.g., etc. and with a blindstamped crucifix on the covers; red moiré-lined chemise, recent brown cloth slipcase with… Read More

Cambridge, Massachusetts: Riverside Press, 1904. Edition de Luxe. ONE OF 1,000 COPIES. 222 x 146 mm. (8 3/4 x 5 3/4"). 16 volumes. Last three volumes (containing "Letters") edited by Charles Eliot Norton. VERY HANDSOME DARK GREEN MOROCCO, EXTRAVAGANTLY GILT, covers with a wavy gilt border and charming floral ornaments at corners, central panel (with square-notched corners) formed by six parallel gilt lines; raised bands, spine compartments attractively gilt with scrolling flowers and foliage enclosing a floral fleuron centerpiece, wide turn-ins with elaborate gilt decoration featuring many large and small roses and leaves on stylized lattice work, the turn-ins enclosing SCARLET-COLORED POLISHED MOROCCO DOUBLURES, crimson watered silk free endleaves, top edge gilt, other edges rough trimmed, MOSTLY UNOPENED (six of the volumes entirely unopened, and all but one of the others largely so). With 80 mounted photogravure illustrations on India paper (including frontispieces, one double plate, and one… Read More

Cambridge, MA: The Riverside Press, 1947. Anne Malcolmson, Grace Castagnetta, and Caldecott medalist Virginia Lee Burton joined forces in 1947 to produce the definitive edition of The Song of Robin Hood. Their triumphant achievement was one of the most distinctive presentations of the legend ever published, and it received a Caldecott Honor Medal in 1948. Through meticulous research and unfailing perseverance, Anne Malcolmson rediscovered fifteen of the original ballads of Robin Hood; Grace Castagnetta adapted them to modern musical notation. Virginia Lee Burton spent three years on drawings to accompany the songs, ultimately producing a work of art filled with exquisite detail and worthy of comparison to the greatest illuminated manuscripts of the medieval era.

Boston: Houghton Mifflin and Company / The Riverside Press, 1910. Special, limited first edition. Hardcover. 475; 554; 468pp. Large octavos [24 cm] 3 volume set. Illustrated. Dark green cloth covered boards with paper spine labels. Fore and bottom edges deckled. Housed in purple cloth four-fold covers and custom half purple morocco slipcases. Books are very good in like slipcases. The extremities are gently bumped and rubbed. There is a previous owner's name in top fore-edge corners of the front free endsheets. The text blocks are cracked at the half title pages. There are numerous notations in neat pencil on the rear endsheets. The spine labels of volumes 1 and 2 are just a little chipped. The rear pastedown of volume 2 has an adhered newspaper clipping, and the rear free endsheet has a corresponding dark patch. The slipcases show light wear and soiling, and sporadic areas of sun fading. The largest amount of fading is present on the rear of the slipcase of volume 1. The four-fold folders are bright… Read More