Search Results: Authors starting with F from White Fox Rare Books and Antiques

Amsterdam: K.P.M., 1933. First edition. Wraps. Very Good. Oblong, 11 by 17 cm. 6 pp., followed by 12 postcards, all but the first having also a tissue guard. The postcards are brightly colored, generally comical cartoon by Fabres, and in front of each postcard is a tissue guard with explanatory captions rendered in Dutch, English and French. Scarce, with only three copies located at institutions (Leiden, Amsterdam, Singapore).

London, Edinburgh and Aberdeen: Hamilton, Adams & Co., J. Menzies, etc., 1861. Full Morocco. Very Good. Comical narrative poem about the early Medieval patron saint of Winchester Cathedral, drought and draughts (of ale)! 4to. 27 by 21 cm. 21 pp, hand-colored lithographic title page plus eleven other hand-colored lithographic plates. (The book is generally not encountered with hand-coloring.) John Faed (1819-1902) was a Scottish painter very popular in his day. His artwork can now be found in the National Gallery of Scotland and other museums. Gorgeous full crushed straight-grained deep purple morocco binding, with diamond-shaped geometric design on boards, gilt spine decoration, turn-ins. All edges gilt. Light foxing or soiling on some text pages. A few discrete repairs of minor closed tears on text pages.

Chiswick -- London: C. Whittingham, 1821. Full Calf. Very Good Minus. Fore-edge painting of a square rig vessel and ancillary rowboats at sunrise by A. C. Needham. 12mo. 13 by 8 cm. Needham (1872-1952) was an American painter based in Boston and Manchester, Massachusetts known for his marine paintings and proficient in miniatures. Supposedly he was self-taught, at least in fore-edge painting technique, and he was believed to have executed between 35 and 40 fore-edge paintings. In an article he wrote about his artwork, he had a preference for painting things that had a close relationship to the subject of the book, as is the case with this fore-edge painting. See Weber, Annotated Dictionary of Fore-Edge Painting Artists & Binders p. 213. Blindstamping on green calf covers. Gilt work in corners of board and on spine. Rubbed joints and edges. Scattered foxing within

New York: Newsboy , 1891. Archer (1859-1900) was a singer and actress, and was considered a great beauty in her day. Among other things, she was in the first American production of Gilbert and Sullivan's "H.M.S. Pinafore".

New York: Frederick A. Stokes Company, 1894. First Edition. Decorated Cloth. Very Good. 8vo. 20 by 14 cm. Unpaginated, with 26 comical chromolithographs, and before each of these plate leaves is a leaf with a comical caption written on the recto. Hard to come by in this, its original format and edition. Soiling to the cloth. The stiff card leaves are clean, the binding, tight.

London: Henry Hering. First edition. Cloth. Very Good. An uncommon panorama with a continuous flow of changing landscapes, many of which have a bucolic element. N.d., circa 1860. Closed, oblong, 11.5 by 16 cm. 25 hand-colored panels, each 10 by 15.25 cm. Fully extended, then, the panorama is about 380 cm. Captions running across the bottom are lines from the 104th Psalm, which is loosely the springboard for the illustrations. The effect of the panorama is akin to the fabulous wallpaper panoramiques that were manufactured by French companies such as Huber and Dufour in the early to mid-19th century. In terms of the illustration, without reference to the captioned lines from the psalm, they are as much a Pantheistic celebration as a biblical religious statement. The few religious figures such as the angels actually serve to enliven things. Light wear to the moire cloth cover. Soiling on the endpapers and the title. The panorama itself is quite clean.

Paris: Ernest Flammarion. Albin Michel, Editeur. E. Grevin, printer. Half Morocco. Good Plus. N.d., circa 1920s. (Novel first published in 1904.) 8vo. 255 pp. The morocco is heavily rubbed along joints and scuffed on spine. Leaves are heavily toned, as foregone with paper used. One prelim leaf a little loose. Clean otherwise.

New York: Jonathan Cape: Harrison Smith, 1930. First Edition. Cloth. Very Good. First issue, with "I" misaligned on page 11. 8vo. 19 by 13 cm. 254 pp. Spine darkened. Light scattered soiling to boards. Upper spine tip with minor fraying. Almost inperceptible overhang, front board over rear. Offsetting onto front endpapers from newspaper article inserted loosely there. Otherwise, clean, tight copy. Without DJ.

New York: Random House, 1951. First edition, first printing. Near FIne/Very Good. 8vo. 286 pp. DJ with McKnight-Kauffer first initial erroneously given as "E". Chocktaw, instead of Choctaw, on page 21. DJ with edge wear -- a few minor closed tears, and a small chip, upper edge. Tiny chip lower spine extremity of DJ. Book itself a clean, tight copy.

New York: The Limited Editions Club, 1988. Limited Edition. Quarter Morocco. Cloth buckram boards and slipcase. . Fine. No. 411 of 850 copies, signed by Welliver on limitation page. 4to. 33.5 by 24 cm. xiii, 93, [3] pp. Two color plates, with many blank leaves, beginning, by plates, rear. A beautiful production by LEC, with text paper made at Cartiere Enrico Magnani in Pescia, Italy, and the etchings printed on Arches paper by Peter Pettengill and by Paul and Clary Taylor in Hinsdale, New Hampshire. Other than the subtlest hint of sunning to the green leather of the spine, the copy is pristine.

Mainz: Verlag Jos. Scholz. Hardcover. Very Good Minus. N.d., circa 1920s. Unpaginated. Three card stock leaves plus cover, with eight pages of content. Charming color illustrations of animals, flowers and objects, each accompanied by a four line verse. Nr. 4567 of Scholz inventory. Cover soiled, with wear especially by edges. Hinge restored by last leaf.

London, 1875. Limited Edition. Half Morocco, marbled boards. Very Good. Scarce, with no copies located on OCLC First Search, not in the BNF, etc. as might be expected from a 19th century "Baedeker" of Brussels' houses of ill-repute. Supposedly an 1875 reprint of an 1830 pamphlet from Anvers (Antwerp), we would stress we could find no other copies of either! No. 68 of 100 limitation. 12mo. 16.5 by 11 cm. 40 pp. From the pamphlet one can infer that to the clientele (or those who would turn to such a pamphlet), copulation was just a small part of the bordello experience, for here we learn about the decor, the atmosphere, the pretensions, even the sometimes theatrical resume, of the prostitutes. Indeed, there would seem to be some affinity between the experience these johns sought and Japanese men who patronized Geishas. As to why there would have been a reprint of such a guide 45 years later and when its information would have been wildly out-of-date or obsolete, we would… Read More

Padova: Il Salice. LIbreria Meravigli Editrice. Triveneta Libri., 1987. Cardboard. Fine. 4to. 25 by 16.5 cm. 107, [3] pp. With explanations, similar quotes or sayings from other languages rendered in Italian, and many illustrations. With distinctive corrugated cardboard used for bindings.

Venezia: Author (A cura dell'autore), 1931. Folio of paper pasted onto boards. Very Good. No. 112 of 400 limited edition. Folio, measuring 15 by 12 inches. With very striking tipped-in plates, of landscapes, buildings, views of Capri. The illustrations are in black and white and the originals were charcoal and pen work. The mood of many of them is ethereal, shadowy, eerie, not quite of this world. Plates issued loose and are entirely clean and crisp. Folio housing them is intact, with some repairs and touch ups of black on tan marbling and faux ribbons. Original ribbons, with one replaced. Esemplari 112 di 400 edizione limitata con la firma di Favai. Le tavole sono impressionanti, di campeggi, edifici, visti, vincoli di Capri. Le illustrazioni sono rese nero su bianco e sono fatte con carboncino e penna.

Folder. Paper pastedown. . Very Good. N.d., circa 1930s. Folio, 39 by 29 cm. Eleven plates, including title page, housed in a silver folder. The artwork depicts showgirls and their patrons of the shadowy Parisian nightlife demimonde. The style is very much in the style of George Grosz, who almost certainly was a strong influence on Fay in this project. Here we see the lecherous patrons, generally looking like gluttonous capitalists, and the jaded, lewd showgirls generally in a state of dishabille. Coming across very clearly, though, is their solidarity with one another, and there is a strong whiff of lesbianism in their bond, although it should be emphasized that this is never explicit. The ambivalence of the pieces applies to other aspects of them and is in fact a source of their power. There is also an interracial element to the ladies, with black performers among them. At the time, the free and easy relationship among the races probably had a shock value; one wonders whether indeed this… Read More

Trefoil Books, 1983. First Edition. Cloth. As New/As New. 4to - over 9¾. Book. 300 x 245 mm, 302 pp., including 405 B/W illustrations, and 80 in color. Book appears virtually untouched.

Paris: Chez la Veuve & Jean Batiste Coignard, fils, 1699. Troisieme Edition. Full Calf. Very Good. 8vo. 23.5 by 18 cm. [23], 542 pp. 65 copper engraved plates. Contemporary, or nearly so, full calf. Leather rubbed along joints, edges, perimeter of boards. Spine with vertical cracks. Boards have slight curvature --- they aren't fully flat. Marbled endpapers but no FEPs, which may be how the copy was originally bound. Leaves generally clean, and overall, an attractive copy.

London: Thomas McLean, 1818. Stated Second Edition. Half Morocco. Very Good. 4to (9.5 by 6 inches, 24 by 16 cm), with 15 plates, of which 12 are hand-colored aquatints. xii + 188 pp. A classic of travelogue literature, noteworthy for the author's modest, leisurely and informative conversational style that perfectly complements the luminous, soft-hued aquatints. Here is an appreciation of the surroundings, and one can in an armchair experience some sense of travel from another era. Abbey Travel 86, Tooley 212. Clean and tight within. Rubbing to joints, and lower front corner bumped. Floral tooling within spine compartments is simple yet most attractive.

London: Thomas McLean, 1823. Stated Fourth Edition. Full Morocco. Very Good. 4to - over 9¾. Large paper edition, with 15 plates, of which 12 are hand-colored aquatints.xii + 188 pp. Full decorated red leather, with abbey pictured in center of diamond frame on front and rear boards. Very special binding. Raised bands to spine. Rubbing by the joints, and rubbing and wear by edges, with some scuffs on boards. Spine a bit darkened. Interior is tight, and pages generally clean, with only occasional and light soilage, some offsetting of the plates. (Abbey Travel, # 86, Tooley 212) A very attractive copy.

1875-6. Full Morocco, Slipcase with Paper Pastedown. Very Good. Oblong, 28 by 19 cm. Unpaginated, 57 leaves, or 114 pp. with vignettes and larger illustrations, in ink and/or watercolored, on most pages, and with some lyrics written out in a neat calligraphic cursive hand also on most pages. The illustrations would appear to be all by one hand. While the many human figures depicted among them can have an awkwardness in their execution typical of the amateur effort, even these never lack for charm, and most of the other illustrations and ornamentation are pulled off with real brio. The artwork very much speaks to its period of the 1870s in dress and elements of taste. Overall, the album is quite extraordinary in its tight conception, scale and indeed, realization. One of the watercolors is signed Feraud, from which one can infer that a Feraud put together the entire album. Inner hinges cracked. Rubbing and wear to leather binding, and surface loss of paper pastedown to slipcase.