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NY: William Heinemann Ltd, 1931. Gooden, Stephen. Two large octavo vols. lxxii, 235; xxii, 336pp. One of 525 copies, signed by the illustrator and the translator below the limitation statement. Gooden's twenty-six copper engravings punctuate this pleasing pair of volumes with fantastic weight and imagination. Both volumes bound in full vellum with gilt titling to spines. Vellum on second volume spotted, mild cracking along front joint of first volume, else a near fine set.
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The Fables of Jean de La Fontaine
by La Fontaine, Jean de
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Bird Fables for the Dolphin
by La Fontaine, Jean de
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Boston, MA: Nimrod Press, 1962. Nason, Ben. Elephant folio. (13)pp., + 6ff. plates. One of 550 copies. A massive, multi-colored, visual tour through some of La Fontaine's tales. Nason's woodcuts, which include a portrait of La Fontaine himself, command impressive dimensions while remaining lighthearted and earnest in weight. Bound in wrappers with a black shoelace. Some creasing to corners of wrappers, mild exterior stains, else near fine.
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Original drawings for "The Fox and the Stork
by La Fontaine, Jean de
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(Moscow, 1929. Ausberg, E.. Six pen-and-ink drawings colored with watercolor, with an expressionistic look, each measuring 7 3/4 by 6 1/2 inches. These delicate, stylized illustrations are tinted with shades of orange, purple, and green. The first drawing has the title and illustrator's name, Ausbrey, below it in Russian. The images recount La Fontaine's fable of getting one's just desserts: the fox exasperates the stork by offering him food on a plate, which, with his long beak, the stork cannot eat. However, the stork retaliates by offering the fox a drink from a narrow, long-necked vessel. Attractive and unique illustrations for a book never published. Two have paperclip marks to edge, else fine, mounted without adhesive in a paper portfolio.
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Witches & Other Night-Fears
by Lamb, Charles
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(Los Angeles): Dawson's Book Shop, 1968. Bewick. 52pp. One of 125 copies. Lamb's essay, written in 1821 and included in "Elia," concerns black magic and childhood fears. Introduction by Wallace Nethery. With a reduced Bewick engraving on the title. Fine in full black leather with gilt title. (2 11/16 by 1 15/16; 68x50mm).
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Japanese Bogies
by Lang, Andrew
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Tilton, NH: Hillside Press, 1974. Hokusai, et. al.. 55pp. One of 250 copies. Punctuated with illustrations of terrific monsters and characters under their spell. Bound in orange pictorial cloth. Fine. (2 3/8 by 2; 60x50mm).
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American Stories with a Twist
by LaPeyre, Zenobie
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Montreal: Roger Huet / Editions du Parnasse, (n.d.). 57, (2)pp. One of 150 copies, signed by the author and the printer. An anthology of shaggy dog stories, each with its own black & white illustration. Mint in bright yellow leather, intricately decorated in metallic pink. (1 1/4 by 1; 32x26mm).
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Uncovering White Privilege: A Primer
by Laser, Rachel
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Kensington, CA and Washington, DC: Liminal Press + Bindery, 2019. McAleer-Keeler, Kerry. Octavo. 45pp. One of three A. P. copies, produced in addition to the limited edition of fifty. Signed by Laser, who contributed the text, and by Camden M. Richards, who designed and produced the project. Equal parts scholarly essay and experiment in graphic and material design, the book aims to situate the reader within the vocabulary of racial privilege, to guide them toward an understanding of their own position ("White Privilege: If You Can't See It, You've Got It"), and to urge a confrontation with it on terms both interpersonal and systemic. To these ends, it employs a creative array of typefaces, printing techniques, and scanned linocut illustrations by McAleer-Keeler. Bound in flexible covers, saddle-stitched and held with an elastic ribbon, to which is affixed a custom pencil, "perfect for making copious notes about how you will utilizze your privilege to create change." Fine.
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The Great Tungus Catastrophe
by Lathourakis, John P.
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Pasadena: Grant Dahlstrom, 1974. 57pp. One of 250 copies, signed by the author at the rear flyleaf. Black-and-white illustrations throughout, including a topographical map of the Irkutsk region in Siberia. Bound in patterned paper over boards. Spine sunned, boards minorly skewed, else near fine. (3 1/16 by 2 1/4; 72x58mm).
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But, Why Tabula Rasa
by Lathourakis, John
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Morro Bay, CA: Tabula Rasa Press, 1983. Tully, Ron. 75pp. One of 300 copies. Signed by the author. Illustrated throughout with reproduced line drawings featuring the author himself, often in humorous cast. Bound in blue cloth over boards with gilt ornament. Fine. (2 3/8 by 2 in.; 60x51mm).
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The Pig
by Laughlin, James
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Mt. Horeb, WI: Perishable Press, 1970. Octavo. (11) ff. One of 183 copies. With an inscription by James Laughlin. A short collection of poems by the poet and legendary founder of New Directions, which published some of the most important writers of the twentieth century, including Ezra Pound, William Carlos Williams, Tennessee Williams, Djuna Barnes, Dylan Thomas, and Vladimir Nabokov. Printed on handmade paper. Very fine in blue and white decorated-paper binding. Title label to front cover. Laid in is a brief note, signed by Laughlin, on a New Directions notecard.
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Fantasia of the Unconscious
by Lawrence, D. H.
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NY: Thomas Seltzer, 1922. First edition. Follow-up to Psychoanalysis and the Unconscious, this was the book that was partially responsible for rekindling the friendship between Lawrence and John Middleton Murry. The American edition of this work contains an Epilogue that was omitted from the English edition. Spine gilt dulled, as is common, toned at head and tail of spine, stain to lower rear endpaper and paste-down, also affecting rear panel and flap of dust jacket. Overall, a very good copy in the scarce dust jacket, which is a bit chipped and soiled, with fading to spine. (Roberts A22).
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Good Babies, Bad Babies
by Lawrence, John
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(Fullerton, CA): Lorson's Books & Prints, 1986. Lawrence, John. (16)ff. One of 175 numbered copies. Printed in Andoversford, Gloucestershire by England's most important contemporary fine press, Whittington Press. With twenty-five charming wood engravings of good, bad, sweet, sour, bald, curly, and other kinds of babies. Very fine in yellow decorated paper-over-boards backed in tan cloth, and slipcase. (Bradbury, p. 141). (2 1/2 by 1 7/8; 63x48mm).
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The Prussian Officer
by Lawrence, D. H.
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London: Duckworth, 1914. First edition, first issue. Lawrence's first book of short stories. Bound in blue cloth, stamped in gilt and blind. A hint of fading to spine and minor edgewear, mainly at head and tail of spine, else a very good copy. Bookplate from the Beaufoy Library to front paste-down. (Roberts A6.1).
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Flowers & Plants on United States Postage Stamps
by Lawrence, Miriam B.
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East Greenwich, RI: River's Edge Studio, 1970. 45pp. From an edition of 500 copies, this is one of 300 bound in Beau Brilliant cover paper. Illustrated with sixteen tipped-in U.S. stamps, all featuring flowers or plants. Printed by Enschedé in the Netherlands. Fine in stiff green wrappers with gilt titling. (3 1/8 by 2 1/4; 80x57mm).
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Love Poems and Others
by Lawrence, D. H.
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London: Duckworth and Co, 1913. First edition. Lawrence's first book of poetry containins over two dozen poems on love and other topics. Full blue cloth over boards with gilt titling to upper board and spine. T.e.g. Slight edgewear, bumps to corners, else near fine. Bookplate of poet and writer Wilfred Scawen Blunt.
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The Compositor: An Artist, Craftsman, and Tradesman
by Lawson, Alexander
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Athens, GA: Press of the Nightowl, 1990. Sanders, Joseph. Octavo. 34pp. One of thirty-three copies. Signed by the author, Alexander Lawson, and the printer, Dwight E. Agner. Four wood engravings by Joseph Sanders, one of which is the frontispiece. A brief history of the function and techniques of type compositors. Fine in marbled paper over red morocco boards.
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Two Essays, Philosophy of Limited Editions and Anarchy in a Library
by Le Gallienne, Richard
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Boston, Massachusetts, United States
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Chicago: Black Cat Press, 1961. Whalen, Gerald. 39pp., frenchfold. One of 300 copies. With a comic frontispiece illustration depicting books staging a revolution, in four colors by Gerald Whalen. Text taken from Prose Fancies. Trace abrasions to exterior cover and very slight sunning to spine, else near fine in orange-brown morocco with gilt titling. (2 7/8 by 2 1/8; 73x54mm).
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The Pobble Who Has No Toes
by Lear, Edward
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Brisbane: Locks' Press, 1979. Lock, Margaret. Folio. (10)ff. One of 60 copies, signed by illustrator and Locks' Press co-founder Margaret Lock. Eight black & white engravings accompany Lear's nonsense poem about a man who has his toes stolen (possibly by mermaids) while swimming across the Bristol Channel. This is the first book of the Locks' Press imprint, which was founded by the husband and wife duo, Fred and Margaret Lock, and focuses on small editions of literary texts that have stood the test of time. Bound in beige canvas, painted black at the spine to give a quarter-bound look, with lithographed endpapers evocative of underwater plants. Engraved paper label to upper cover continues the mermaid motif, as two mermaids recline onto the title text. Light rubbing to head and tail of spine, otherwise fine.
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The Jumblies
by Lear, Edward
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Canton, NY: Caliban Press, 2007. Square 24mo. (8)pp., accordionfold. One of 200 copies. The jumblies in their famous seive, with holes in the appropriate places, on a colored etching, which is printed on a movable piece of paper affixed to the fifth panel. With red paper covered and housed in a four-fold portfolio. Fine.
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Das Maerchen vom Sinn: Ein Mysterium
by Lechter, Melchior
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Berlin: Einhorn-Presse, 1927. Lechter, Melchior. Tall quarto. (24)pp. From an edition of 600 copies, this is one of only five printed on vellum and with text calligraphed by Melchior Lechter. In addition to writing the text, Lechter also designed the book, including initial letters of gold backed with green leather and onlaid to the pages, and the decorated borders, which are printed in gold and bear printed almond-shaped medallions at their lower sections. These medallions, reminiscent of the iconographic mandorla, each show a distinct mystical design, incorporating symbols and imagery from a variety of Eastern and Western faith traditions, along with other esoteric elements. The book is not shy about the Theosophical overtures of its tale or of its author; it begins and concludes with Hindu lettering in gold, as well as, on the final page, a six-pointed star with four rays suffused with Buddhist symbology, its basic floral outline mirrored in the gold borders. The story itself is an allegorical…
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