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

1985: Bacchus Press Ltd., Baltimore. First edition. Cloth. Like New /Like New.

Milano: Garzanti, 1971. First Edition. Cloth. Fine/Fine.

Paris: Bernardin-Béchet, 1862. First edition. Quarter Calf. Marbled Boards. Very Good. Scarce. with only known copies, as shown on OCLC First Search, at the BNF. BNF has several editions, or years of issuance, with no indication that these copies have coloring. 1862 is their earliest copy, and the first edition. Segolene le Men, Les Abecedaires Francais Illustre, 172. Also no indication of coloring in Le Men. 12mo. 25 by 10 cm. 108 pp. With many hand-colored illustrations and vignettes. The ABC, or abecedaire, forms the core of the book, with each letter accompanies by a half-page hand-colored illustration of usually a profession but also a few of work-related terminology such as "Usine" or "Kilogramme". Also five pages of "Lettres Ornes", with hand-colored letter devices or decorative letters for each letter of the alphabet, and typical adjuncts to an abecedaire, such as a syllabary, a punctuation guide, etc. Following the abecedaire proper is a miscellany of fables, short moral… Read More

Paris. First edition. Leporellos.. Good. Scarce, with no copies listed on OCLC and not in the BNF catalogue. N.d., circa 1840s. (Inscription in front dated 1843.) Closed, 15 by 11.5 cm. Stretching to 23 hand-colored panels that tell a sentimental story of two girls, Marie and Charlotte, raised together as sisters, one an heiress, the other, a poor peasant, after the former's mother passes away. Then one day Marie, the heiress, is taken away by her father to the city, where she becomes accustomed to the ways of well-to-do girls. When Charlotte, the peasant girl, visits, Marie is embarrassed by her. Only when Charlotte later rescues Marie from a vicious dog attack does Marie see the error of her ways, and the two reconcile. Condition: moderate to heavy soiling throughout, including some foxing, with a general grubbiness to the leaves. Repaired folds, some of which repairs were done somewhat crudely. A few chips, with minor loss of text -- a few missing letters, but the words intended… Read More

Roma: Superiorum permissu, 1724. First Edition. Vellum. Near Fine. Scarce, with only two copies located on OCLC (at the Jewish Theological Seminary and the American Jewish University). 4to. Title, allegorical/dedicatory plate, intro (3 pp., text only on rectos), 113 plates (112 of which feature biblical figures or personages from the classical world), index, one page chronology from creation of world, title (for chronology on Ptolemaic rules of Egypt, intro (2 leaves), 15 plates with intaglio/numimatic illustrations of these rulers, index. Not in Brunet or Graesse. Contemporary vellum darkened around edges, and mild soiling, minor dings, elsewhere. Still exudes a freshness. Light scattered soiling within, and light toning. Generally leaves are clean and bright.

London, etc.: Raphael Tuck & Sons, Ltd.. First edition. Hardcover. Paper pastedown on boards of medium strength card. Cloth spine. . Very Good. Scarce, with no copies on OCLC First Search. N.d., circa 1910s. (Reference to Queen Alexandra when she clearly was already a dowager queen, and attire depicted consistent with the teens.) Oblong 4to, 24 by 33 cm. Unpaginated, eighteen pages of narrative (including insides of cover). Twelve of the pages are full color plates, the remaining pages of the narrative are black, white and red. (Plus front and rear cover are in full color.) The book tells not so much a story as much as the various events that might occur in the life of children from afffluent families residing in the idyllic countryside or by a immaculately groomed park -- goat-drawn cart rides, playing with model ships, flying a kite, an afternoon tea, etc. It is a world with nannies, nurses, pet dogs, cats, and gentle domestic farm animals. We believe that the book might have been… Read More

Napoli (Naples): Tipografia Floriana, 1846. 1st Edition thus. Quarter Calf. Good Plus. 8vo - over 7¾ - 9¾" tall. 787 pp. + 11 color plates of soldiers and fighters and 4 steel engravings of panoramas or views. Comprehensive history of Algeria, from Ancient Carthage to the then present of French control. Binding and text blocks are tight. Some occasional foxing, and on some pages it is considerable, as inevitable given the paper stock used. The costume color plates, though, are attractive and mostly clean, albeit their paper is toned a bit. Red calf spine and boards have a fair amount of rubbing, scuffing and wear, with some rawness on spine extremities. Overall better than a good copy.

Chiangmai, Thailand. Canvas on Boards. Very Good. Oblong. 14 by 18 cm. Thirteen leaves on canvas (over card), with colorful abstract artwork on all rectos and some versos. The bright artwork ranges from tie dye or drip process work to loosely figurative line sketches. Each piece of art has a caption with a maxim, generally to do with life and love, of varying degrees of triteness. The individual pieces are essentially tantamount to t-shirt art, which is something "John Gallery" is, or was, known for, but there is a cumulative effect to the album of a quirky sort of beauty.

Moscow: ????????????????? ???????, 1918. First Edition Thus. A scarce translation of a Galsworthy play about an union strike into Russian shortly after the Revolution. Folio. 34.5 by 26 cm. 76 pp. Four color mounted plates of Denisov's set designs. John Galsworthy, who won the Nobel Prize for Literature in 1932, is today remembered primarily for his novels and most particularly, the trilogy, "The Forsyte Saga", and other novels centering on the Forsyte family. Yet for much of his lifetime he was more celebrated for his plays, and "Strife", his third play, was his most successful. Given that many of his novels deal with the Upper Middle Class, there might be a mistaken impression that Galsworthy was fusty and hidebound, whereas his writings, including these very novels, tackled social inequities and other injustices with a strong progressive sensibility. Knowing that one can see that "Strife" was not an anomaly in Galsworthy's output, and further, one can… Read More

London: W. Nicholson, 1808. Third edition. Full Morocco. Very Good. Folio, 35 by 28 cm. xxiv, 36, xvii, 81 pp. With hand-colored frontispieces and 12 and 16 additional hand-colored plates, respectively, for a total of 30 hand-colored plates. Sangorski & Sutcliffe binding. Full red crushed morocco, gilt-rolled turn ins. Condition: hinge repaired. A few pale stains. Occasional foxing and offsetting. Contemporary non-authorial inscription to FFEP. Bookplate of Charles W. Dabney.

London: John Stockdale Printed by Strahan and Preston, 1812. Third edition. Full Calf. Very Good. Folio, 32 by 25.5 cm. xix, 81, [1] pp. 17 hand-colored plates. Advertisement for book, plain and colored, mounted and bound in on leaf following Instructions to the Binder.

Frauenfeld: Verlag Huber & Co. Aktiengesellschaft, 1946. First Edition. Cloth. Near Fine. 4to. 31 by 24.5 cm. 125 pp. 128 pp. of photo plates. Clean, tight copy.

Paris: Typographie Plon Freres, Heugel & Cie.. Half Morocco. Very Good Minus. Circa 1850 to1860. Oblong, 27.5 by 38 cm, or 10.5 by 15 inches. 23, [67] pp. Hortense was the step-daughter of Napoleon (she was the daughter of Josephine). She was married off to Napoleon's brother, Louis, who was made the king of Holland during the years 1806 to 1810. Significantly for this particular production, Hortense was the mother of Louis Napoleon, also known as Napoleon III, who at the time this opulent work was published, was the ruler of France, which thus explains the opulent commemoration of her here, as evident in the use of gold in its printing! Hortense was, in fact, of an artistic bent, and so contained herein are examples of her painting and musical compositions. There are six plates engraved by F. Sorrieu after paintings by Hortense and 24 pages of musical score by her (lyrics by the Comte de la Garde). Includes letters written by Hortense and a biography by Hippolyte Prevost. The… Read More

1871-1882. Pebbled Cloth. Very Good. Fabulous collection of original songs, musical parodies (of opera) and playlets illustrated throughout with vignettes of great whimsy, some in color. 8vo 24 by 19 cm. 143 leaves, or close to 200 pp. The 120 or so illustrations abound in effete courtiers, crones, damsels, funny hats, outlandish gowns, the characters of opera, all rendered with precision and fine detail. The artist was a true miniaturist inasmuch as the very smallness of the scale is bound to bring delight and appreciation -- one is unlikely to wish the drawings were any larger. The light verse he concocted is a perfect complement to the illustrations, and one can wonder whether these parodies were performed in the parlour! Among the works are "Lucrezia Borgia", inspired by Donizetti; "The Lay of the Claimant", a spoof on the Victorian cause celebre Roger Tickborne, who claimed to be an heir to an baronetcy, and was subsequently imprisoned for perjury; "The Shah… Read More

Boston: Richard G. Badger. The Gorham Press, 1920. First Edition. Cloth. Very Good. 8vo. 64 pp.

Paris, 1796. Full Morocco. Near Fine. 8vo. 19 by 12.5 cm. 8 pp, followed by 26 hand-colored aquatint plates depicting the dress of legislators, military officers, bureaucrats and other public officials during the French Revolution and Directoire period. Later full red morocco binding, with ornate gilt turn-ins, by Riviere. Light foxing, never disconcerting.

England , 1893. Half Morocco. Very Good. Extraordinary album of Folk Art, with figurative depictions of people, fauna, buildings created entirely from plant material. 4to. 30.5 by 25 cm. Unpaginated, 23 leaves. (Versos blank.) The designs progress to ever more intricate and surprising imagery, beginning with attractive arrangements, but arrangements such as one might find in other herbariums, but culminating in elaborate evocations of castles, seasides, mountains, steepled churches, lighthouses. The artwork, given that it is working with plant material, has a layered dimensionality. Condition: foxing and soiling scattered. Cloth binding worn, with boards warped.

London: Macmillan and Co., Limited, 1907. Full Morocco. Near Fine. Beautiful Kelliegram full morocco inlay binding, with gilt detailing, both front and rear cover. 8vo. 18 by 12 cm. xxx, 297, [1] pp. The front depicts Mr. Jenkyns strolling down a lane, the rear, a sedan chair. Kelliegram bindings such as this one were produced by the English bookbinding company, Kelly & Sons, at the turn of the twentieth century. The gilt stamp of the bindery can be found on the inside lower edge of the rear board. Light sunning of the spine. Otherwise, fine condition.

London: Jones & Co., 1830. Half Calf. Very Good. 4to, 11 x 8.5 inches, 28 x 21 cm. 18 pp following by unpaginated plates on card stock, each of which is accompanies by leaf with two sides of text description. Plates do not appear to follow any particular order such as might be suggested by 4 pp list of engravings in rear (separating North and South Wales), but all plates are present. There are two steel engraved images per plate. Curiously a second title page appears roughly in middle of book, and this title bears a different image. It would seem that since this title bears date it was intended for the front. In all there are 114 plates and 226 images capturing the raw beauty, ruins and drama of the Welsh country. The calf spine has some scuffs and vertical streak-like lines from use. Some foxing scattered through the text, with a bit heavier foxing on the first title and a few early leaves. One text leaf (Menai Bridge) with crinkling and discoloration in upper corner not affecting text.… Read More

London: Vol. 1: J. Tonson and J. Watts. Vol. 2: J. and P. Knapton. , 1727, 1738. First Editions. Full Calf. Slipcase: Quarter Morocco. Two chemises: cloth. . Very Good. 4to. 26 by 20 cm. [14], 173, [9], 155 pp. Armorial bookplates of Bradby-Hall. Both volumes with considerable wear to calf binding, with some scratches, rubbing of joints, etc. Vol. 1 with some rippling of leaves, and scattered soiling, but never in our view disconcerting or problematic. Vol. 2 blank leaves in front and back chewed along edges. Also rippling and minor soil -- overall, other than blanks, a fresher looking volume than the first. Chemises with ribbon pulls. No issues with chemises. Slipcase has a few minor gouges on morocco, but overall solid, slipcase, and one with an attractive shelf presence. Gilt dating on the slipcase gives the date of the first volume erroneously as 1737, when in fact it was 1727.