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Fairy Tales

L - P

Octavo. Bright blue cloth with elaborate, bright gilt to boards and spine. Minor rubbing but contents clean and bright. Ownership signature to front endpaper "Ella C. Parmenter - 1920". Near fine.

Laboulaye's Fairy Book: Fairy Tales of All Nations

Laboulaye, Edouard. Mary L. Booth (transl)
Harper & Brothers Publishers
New York and London, 1866
1st American edition
Octavo. Bright blue cloth with elaborate, bright gilt to boards and spine. Minor rubbing but contents clean and bright. Ownership signature to front endpaper "Ella C. Parmenter - 1920". Near fine.
First editions. Numerous illustrations by H.J. Ford and Lancelot Speed. Octavos, original cloth boards, gilt titles and decorations to spines and front boards, all edges gilt. Light restoration work to the inner hinge and top of the spine of the Blue. Nora Lang, Andrew Lang’s wife, was not credited, though a significant contributor on all volumes. All very good.

Lang's Coloured Fairy Books

Andrew (and Leonora) Lang
Longmans, Green, and Co.
London, 1889-1910
1st editions
First editions. Numerous illustrations by H.J. Ford and Lancelot Speed. Octavos, original cloth boards, gilt titles and decorations to spines and front boards, all edges gilt. Light restoration work to the inner hinge and top of the spine of the Blue. Nora Lang, Andrew Lang’s wife, was not credited, though a significant contributor on all volumes. All very good.
Paris: Adrien Maeght Editeur, 1965. 15.8x11.1cm: [43] color illustrated panels, printed rectos only, including two panels for the legend. Printed on a single sheet of cream colored stock paper (about 4 meters long) folded accordion-style and affixed to red cloth boards. Paper titling pasted to the front board. Near Fine. This is part of a six-book series called Imageries by Warja Lavater, a Swiss artist known for her accordion-style books. All six of the books are based on fairy tales and were published by Paris-based publisher Adrien Maeght for the Museum of Modern Art in New York City. All the books in the series are wordless and are told only through the use of colorful symbols. Lavater did not consider herself an artist but rather a Bildstellerin, or “picture writer”. As Carol Ribi points out in 100 years of Swiss design, “Warja Lavater’s symbol notations and artist’s books are situated on the boundaries of graphic design, painting, literature, and object art, and there mark a transition of genres that has yet to be thoroughly explored in picture or art theory.” Her work has been used educationally to help children explore artistic expression and even to teach literacy through pictures.

Le Petit Chaperon Rouge (Little Red Riding Hood)

Warja Lavater (book arts)
Adrien Maeght
Paris, 1965
1st edition
Paris: Adrien Maeght Editeur, 1965. 15.8x11.1cm: [43] color illustrated panels, printed rectos only, including two panels for the legend. Printed on a single sheet of cream colored stock paper (about 4 meters long) folded accordion-style and affixed to red cloth boards. Paper titling pasted to the front board. Near Fine. This is part of a six-book series called Imageries by Warja Lavater, a Swiss artist known for her accordion-style books. All six of the books are based on fairy tales and were published by Paris-based publisher Adrien Maeght for the Museum of Modern Art in New York City. All the books in the series are wordless and are told only through the use of colorful symbols. Lavater did not consider herself an artist but rather a Bildstellerin, or “picture writer”. As Carol Ribi points out in 100 years of Swiss design, “Warja Lavater’s symbol notations and artist’s books are situated on the boundaries of graphic design, painting, literature, and object art, and there mark a transition of genres that has yet to be thoroughly explored in picture or art theory.” Her work has been used educationally to help children explore artistic expression and even to teach literacy through pictures.
Octavo. Original blue cloth, titles and pictorial design in gilt and black to spine and front board, top edge gilt, other untrimmed. 10 full-page and many in-text illustrations, decorative titles for each story. Spine ends gently bumped, spine a little darkeeneed, rubbed, internally clean and without marks. A very good copy. The author was actually German-born Elizabeth of Wied (1843-1916), Queeen of Romania as the wife of King Carol I, widely known by heer literary name of Carmen Sylva. Most of the stories were taken from her German childhood, "many of them are associated with the mountains which surround her home among thee pine-woods of Sinaia; otheers belong to the districts traversed by the Pelesch river" (intro); the originals were first published in heer "charming volumes of Roumanian tales: 'Pelesch Märchen' (1882) and 'Durch die Jahrhundeerte' (1887)."

Legends From River and Mountain

Carmen Sylva (aka Elizabeth of Wied, Queen of Romania) and Alma Stretell; T.H. Robinson (illust)
George Allen
London, 1896
1st edition
Octavo. Original blue cloth, titles and pictorial design in gilt and black to spine and front board, top edge gilt, other untrimmed. 10 full-page and many in-text illustrations, decorative titles for each story. Spine ends gently bumped, spine a little darkeeneed, rubbed, internally clean and without marks. A very good copy. The author was actually German-born Elizabeth of Wied (1843-1916), Queeen of Romania as the wife of King Carol I, widely known by heer literary name of Carmen Sylva. Most of the stories were taken from her German childhood, "many of them are associated with the mountains which surround her home among thee pine-woods of Sinaia; otheers belong to the districts traversed by the Pelesch river" (intro); the originals were first published in heer "charming volumes of Roumanian tales: 'Pelesch Märchen' (1882) and 'Durch die Jahrhundeerte' (1887)."
Complete set of four volumes, all with sheep leather bindings with cat's paw design. Marbled endpapers in the classic 18th century French swirl of blue, pink, and yellow. Marbled edges. Some loss of spine gilt and rubbing to top spine edges, some rubbing to raised bands. Volume 2 missing page 13/14. Bookplate of Mary Addington pasted to endpaper. Overall very good set of a scarce title.

Les Contes des Feés par Madame D'Aulnoy

Madame D'Aulnoy
la Compagnie des Libraires
Paris, 1774
Nouvelle Édition
Complete set of four volumes, all with sheep leather bindings with cat's paw design. Marbled endpapers in the classic 18th century French swirl of blue, pink, and yellow. Marbled edges. Some loss of spine gilt and rubbing to top spine edges, some rubbing to raised bands. Volume 2 missing page 13/14. Bookplate of Mary Addington pasted to endpaper. Overall very good set of a scarce title.
Duodecimo. Contemporary red straight-grain half morocco, flat spine ruled and lettered in gilt, marbled paper sides and endpapers, edges speckled brown. Text in French. Slight wear to edges and joints, occasional spots of foxing, contents otherwise clean and fresh; a very good copy. First edition of this retelling for children of 16th-century English history as a fairy tale. A notably uncommon work, with five copies held institutionally in the UK. An attractive and curious publication, charmingly produced. Although the author of the work remains anonymous a potential route of investigation is present in the dedications to both this work and a second historical work, published in the same year by the same press, Les Proteges du dix-huitieme siecle: histoire religieuse et morale. Both works attributed to Madame D were dedicated to a "Miss Cockerell," potentially Harriet Anne Cockerell, born in 1812, daughter of the Lord Cockerell. The dedication to this work suggests the author met the Miss Cockerell when she was aged 7 ("when one shows so much docility and a desire to learn, which I perceived in you at the age of seven, one is no longer counted among the ranks of little children"), which would correlate with Harriet Anne's birth date, and the contemporary review of the work: "we are informed by the writer, that, being on a visit to a lady who took occasion to regret the little relish that her young daughters testified for the study of history, and their inordinate appetite for books of fiction, she determined on composing an "historical" tale in which actual events should be represented in the guise of Elfin romance" (The Eclectic Review, 1821). The work was also reviewed as "a very pretty fairy tale, in which the history of Mary Queen of Scots and a part of the reign of Elizabeth are detailed with much precision; and yet so ingeniously mystified by representing the personages either as ogres or fairy favorites, that they will scarcely fail to excite the curiousity and interest of young readers." The author was said to have "displayed considerable ingenuity in her adaptations, and that while she dresses up a fantastic story of this kind quite as well as Madame d'Aulnoy, she deserves the praise of having directed her inventive and decorative faculties to a more important end." Bookseller's ticket of J. Seacome, Bookseller, Bridge Street Row, Chester, on the front pastedown. John Seacome, active in the 1820s and 1830s, was a publisher and bookseller, and is listed in the imprint of this work alongside the publishers Baldwin, Cradock, and Joy.

Les Ogres du Seizième Siècle: Conte de Fées Historique

Madame D*****
Baldwin, Cradock, and Joy, and J. Seacome
London, 1820
1st edition
Duodecimo. Contemporary red straight-grain half morocco, flat spine ruled and lettered in gilt, marbled paper sides and endpapers, edges speckled brown. Text in French. Slight wear to edges and joints, occasional spots of foxing, contents otherwise clean and fresh; a very good copy. First edition of this retelling for children of 16th-century English history as a fairy tale. A notably uncommon work, with five copies held institutionally in the UK. An attractive and curious publication, charmingly produced. Although the author of the work remains anonymous a potential route of investigation is present in the dedications to both this work and a second historical work, published in the same year by the same press, Les Proteges du dix-huitieme siecle: histoire religieuse et morale. Both works attributed to Madame D were dedicated to a "Miss Cockerell," potentially Harriet Anne Cockerell, born in 1812, daughter of the Lord Cockerell. The dedication to this work suggests the author met the Miss Cockerell when she was aged 7 ("when one shows so much docility and a desire to learn, which I perceived in you at the age of seven, one is no longer counted among the ranks of little children"), which would correlate with Harriet Anne's birth date, and the contemporary review of the work: "we are informed by the writer, that, being on a visit to a lady who took occasion to regret the little relish that her young daughters testified for the study of history, and their inordinate appetite for books of fiction, she determined on composing an "historical" tale in which actual events should be represented in the guise of Elfin romance" (The Eclectic Review, 1821). The work was also reviewed as "a very pretty fairy tale, in which the history of Mary Queen of Scots and a part of the reign of Elizabeth are detailed with much precision; and yet so ingeniously mystified by representing the personages either as ogres or fairy favorites, that they will scarcely fail to excite the curiousity and interest of young readers." The author was said to have "displayed considerable ingenuity in her adaptations, and that while she dresses up a fantastic story of this kind quite as well as Madame d'Aulnoy, she deserves the praise of having directed her inventive and decorative faculties to a more important end." Bookseller's ticket of J. Seacome, Bookseller, Bridge Street Row, Chester, on the front pastedown. John Seacome, active in the 1820s and 1830s, was a publisher and bookseller, and is listed in the imprint of this work alongside the publishers Baldwin, Cradock, and Joy.
In this captivating reimagining of Hans Christian Andersen's classic, Caldecott medalist and bestselling artist Jerry Pinkney conjures a poignant friendship story and an epic tale of redemption -- a new version for our time. Color pictorial DJ w/ gorgeous watercolor illustrations to boards and endpapers. Illustrated throughout. Fine.

The Little Mermaid

Jerry Pinkney
Little, Brown and Company
New York, 2020
1st edition, 1st printing
In this captivating reimagining of Hans Christian Andersen's classic, Caldecott medalist and bestselling artist Jerry Pinkney conjures a poignant friendship story and an epic tale of redemption -- a new version for our time. Color pictorial DJ w/ gorgeous watercolor illustrations to boards and endpapers. Illustrated throughout. Fine.
Fine in seafoam green cloth covered boards with ocean design in white and gilt to cover and spine. Pictorial endpapers. Adaptation of the Disney animated film, illustrated throughout with drawings from throughout the animation process, gathered from the Walt Disney Animation Research Library. Also includes biographies of lead animators and short description of the animation process with glossary of terms.

The Little Mermaid

Disney
Studio Fun International
San Diego, 2020
1st edition, 1st printing
Fine in seafoam green cloth covered boards with ocean design in white and gilt to cover and spine. Pictorial endpapers. Adaptation of the Disney animated film, illustrated throughout with drawings from throughout the animation process, gathered from the Walt Disney Animation Research Library. Also includes biographies of lead animators and short description of the animation process with glossary of terms.
Fine. Thin quarto. Illustrated in color throughout. Glossy pictorial boards. A fine copy in a fine, unclipped DJ that has the Caldecott sticker. Inscribed by Ed Young on the title page to Ann Kalkoff, one of the members of the Caldecott Committee for 1990. In addition the front endpapers contain inscriptions to her from all but two of the Committee members. Nice association copy. 1990 Caldecott Medal winner. Laid in are two pamphlets regarding the Caldecott Award for this book, as well as the program for the Newberry Caldecott Awards Banquet, 1990.

Lon Po Po: A Red-Riding Hood Story from China

Ed Young
Philomel Books
New York, 1989
1st edition, 1st printing
Fine. Thin quarto. Illustrated in color throughout. Glossy pictorial boards. A fine copy in a fine, unclipped DJ that has the Caldecott sticker. Inscribed by Ed Young on the title page to Ann Kalkoff, one of the members of the Caldecott Committee for 1990. In addition the front endpapers contain inscriptions to her from all but two of the Committee members. Nice association copy. 1990 Caldecott Medal winner. Laid in are two pamphlets regarding the Caldecott Award for this book, as well as the program for the Newberry Caldecott Awards Banquet, 1990.
Black paper covered boards, titles in gilt to spine. Fine in fine DJ.

Lonely Castle in the Mirror

Mizuki Tsujimura, translated by Philip Gabriel
Erewhon Books
New York, 2022
1st US edition
Black paper covered boards, titles in gilt to spine. Fine in fine DJ.
First printing of single-volume hardcover, previously published as comics. Folio. Red glossy boards with elaborate gilt frame design and inset glossy picture of the main characters to front cover. Titles in gilt to covers and spine. Fine.

Lost Girls

Alan Moore and Melinda Gebbie; Todd Klein (lettered by)
Top Shelf Productions
Atlanta, 2009
1st edition, 1st printing
First printing of single-volume hardcover, previously published as comics. Folio. Red glossy boards with elaborate gilt frame design and inset glossy picture of the main characters to front cover. Titles in gilt to covers and spine. Fine.
Octavo, first edition, first printing. White and grey boards, title in gilt to spine, with fine pictorial DJ. Signed by the author on the title page. Fine.

The Lost Girls

Laurie Fox
Simon & Schuster
New York, 2004
1st edition, 1st printing
Octavo, first edition, first printing. White and grey boards, title in gilt to spine, with fine pictorial DJ. Signed by the author on the title page. Fine.
Paperback, fine.

Lucky Hans and Other Merz Fairy Tales

Kurt Schwitters, Jack Zipes (translator), Irvine Peacock (illust)
Princeton University Press
Princeton, 2009
1st edition
Paperback, fine.
Thick quarto. White cloth covered boards with elaborate design in gilt to both boards and spine, front and spine lettered in gilt. Circle opening in front board to illustration of Little Red Riding Hood and the wolf done on FFEP. Edges gilt. Fine.

The Macmillan Fairy Tales Collection

Andersen, Grimm; Michael Morpurgo (foreword), Peter Bailey (additional illust.)
Macmillan Children's Books
New York, 2021
1st edition, 1st printing
Thick quarto. White cloth covered boards with elaborate design in gilt to both boards and spine, front and spine lettered in gilt. Circle opening in front board to illustration of Little Red Riding Hood and the wolf done on FFEP. Edges gilt. Fine.
Green cloth covered boards, titles to top cover and spine. Intricate heart design to front and smaller heart/harp designs to spine. Original pictorial DJ. Pictorial endpapers. Some fading to boards and top edge, some bumping to tail, some spots along spine. Internally clean. Overall very good.

Magyar Fairy Tales from Old Hungarian Legends

Nandor Pogány, Willy Pogány (illust.)
E.P. Dutton & Co., Inc.
New York, 1930
1st edition
Green cloth covered boards, titles to top cover and spine. Intricate heart design to front and smaller heart/harp designs to spine. Original pictorial DJ. Pictorial endpapers. Some fading to boards and top edge, some bumping to tail, some spots along spine. Internally clean. Overall very good.
Quarto. Charcoal grey paper covered boards with titles in gilt to spine and large tree in gilt to front. Fine in a fine DJ.

The Maiden and Her Monster

Maddie Martinez
Tor
New York, 2025
1st edition, 1st printing
Quarto. Charcoal grey paper covered boards with titles in gilt to spine and large tree in gilt to front. Fine in a fine DJ.
Octavo. 8 color plates, numerous black & white illustrations, including some full-page, and pictorial endpapers by Frank Watkins. One plate slightly cut down and rubbed, bookseller’s small sticker to rear pastedown, internally very good; publisher’s pictorial cloth blocked in white, black & gilt, spine slightly dulled, very slight rubbing to corners, but overall a very good copy.

The Man From the Moon

Philip Carmichael, Frank Watkins (illust)
Grant Richards
London, 1909
1st edition
Octavo. 8 color plates, numerous black & white illustrations, including some full-page, and pictorial endpapers by Frank Watkins. One plate slightly cut down and rubbed, bookseller’s small sticker to rear pastedown, internally very good; publisher’s pictorial cloth blocked in white, black & gilt, spine slightly dulled, very slight rubbing to corners, but overall a very good copy.
Octavo. Reddish orange cloth covered boards with design in black and gilt to front board and spine. Two separate ownership signatures to front free endpaper. Rubbing to tips, some fraying to tail and head, but contents bright and clean. Overall very good.

The Man in the Moon and Other People

R.W. Raymond
J.F. Ford & Company
New York, 1875
​
Octavo. Reddish orange cloth covered boards with design in black and gilt to front board and spine. Two separate ownership signatures to front free endpaper. Rubbing to tips, some fraying to tail and head, but contents bright and clean. Overall very good.
Octavo, contemporary ownership signature and a small tear on the front free endpaper, very slight rubbing, else near fine.

The Master Key: An Electrical Fairy Tale

L. Frank Baum; F.Y. Cory (illust)
Bowen-Merrill
Indianapolis, 1901
1st edition, 1st printing
Octavo, contemporary ownership signature and a small tear on the front free endpaper, very slight rubbing, else near fine.
Octavo. White paper covered boards with title to spine in red gilt. Green marbled endpapers. Pictorial original dustjacket. Fine.

Matchless: A Christmas Story

Gregory Maguire
William Morrow
New York, 2009
1st edition, 1st printing
Octavo. White paper covered boards with title to spine in red gilt. Green marbled endpapers. Pictorial original dustjacket. Fine.
Slim octavo paperback, pictorial wrappers. Small nick to spine and back wrapper, otherwise fine. A play about Alexander McQueen which uses his fairy tale "The Girl Who Lived in the Tree," which was an original tale he conceived for his F/W 2008 collection.

McQueen: Or, Lee and Beauty

James Phillips
Bloomsbury Methuen Drama
London, 2015
1st edition
Slim octavo paperback, pictorial wrappers. Small nick to spine and back wrapper, otherwise fine. A play about Alexander McQueen which uses his fairy tale "The Girl Who Lived in the Tree," which was an original tale he conceived for his F/W 2008 collection.
Octavo. Orange paper covered boards, blue cloth and titles in gilt to spine. Pictorial DJ. Fine.

The Mermaid of Black Conch

Monique Roffey
Knopf
New York, 2022
1st American edition
Octavo. Orange paper covered boards, blue cloth and titles in gilt to spine. Pictorial DJ. Fine.
Octavo. Purple paperback. Fine. A poetry collection, the third in a series based on fairy tales.

The Mermaid's Voice Returns In This One

Amanda Lovelace, Lang Leav (foreword)
Andrews McMeel Publishing
Kansas City, 2019
1st edition, 1st printing
Octavo. Purple paperback. Fine. A poetry collection, the third in a series based on fairy tales.
First edition illustrated by Anning Bell. one of a very small number of copies hand colored by Gloria Cardew with her label to an initial blank. Bound for the Guild of Women Bookbinders, probably by Annie S. Macdonald, though not signed, in characteristic molded goatskin, depicting "Buck Fleeing from the Dawn," after a painting of the same name by David Scott. Raised bands to spine, top edge gilt. Fifteen full page illustrations including illustrated title page, four of which are double page spreads and a further 53 illustrations in the text including illustrated borders and initials by Robert Anning Bell, all exquisitely hand colored by Gloria Cardew. A very good copy indeed, a little spotting to the uncut page edges, a little wear to the head of the spine with a coupe of worm holes at the base of the spine. Overall a very well preserved example of seldom encountered and particularly susceptible binding. An exceptional combination of Arts & Crafts binding and fine hand coloring with one of Shakespeare's most enduring works. The principle of Cardew's hand coloring as a means of adding value was introduced by the enterprising bookseller, Frank Karslake. Having established The Hampstead Bindery and later the Guild of Women Bookbinders to enhance the books he was offering. Karlsake employed Cardew's servi es to add color to the woodcut illustrations. The process was painstaking and doubtless time consuming but the effect could be spectacular. It would appear that Karslake bought small quantities of fine press books, or similar for coloring or binding, but the labor intensive nature of these productions mean the numbers must have been very small and they are now seldom offered in comerce. The binding, though not signed, shows many of the stylistic hallmarks of Annie S. Macdonald, the prominent Scottish bookbinder whose work inspired Karlsake to form The Guild of Women Bookbinders. In November 1897, Karslake organized an exhibition of bindings by women which included a number of Macdonald's bindings as well as 32 books with hand coloring by Cardew.

A Midsummer Night's Dream

William Shakespeare, Gloria Cardew, Anning Bell, Guild of Women Bookbinders (possibly Annie S. Macdonald)
​
​
1st thus
First edition illustrated by Anning Bell. one of a very small number of copies hand colored by Gloria Cardew with her label to an initial blank. Bound for the Guild of Women Bookbinders, probably by Annie S. Macdonald, though not signed, in characteristic molded goatskin, depicting "Buck Fleeing from the Dawn," after a painting of the same name by David Scott. Raised bands to spine, top edge gilt. Fifteen full page illustrations including illustrated title page, four of which are double page spreads and a further 53 illustrations in the text including illustrated borders and initials by Robert Anning Bell, all exquisitely hand colored by Gloria Cardew. A very good copy indeed, a little spotting to the uncut page edges, a little wear to the head of the spine with a coupe of worm holes at the base of the spine. Overall a very well preserved example of seldom encountered and particularly susceptible binding. An exceptional combination of Arts & Crafts binding and fine hand coloring with one of Shakespeare's most enduring works. The principle of Cardew's hand coloring as a means of adding value was introduced by the enterprising bookseller, Frank Karslake. Having established The Hampstead Bindery and later the Guild of Women Bookbinders to enhance the books he was offering. Karlsake employed Cardew's servi es to add color to the woodcut illustrations. The process was painstaking and doubtless time consuming but the effect could be spectacular. It would appear that Karslake bought small quantities of fine press books, or similar for coloring or binding, but the labor intensive nature of these productions mean the numbers must have been very small and they are now seldom offered in comerce. The binding, though not signed, shows many of the stylistic hallmarks of Annie S. Macdonald, the prominent Scottish bookbinder whose work inspired Karlsake to form The Guild of Women Bookbinders. In November 1897, Karslake organized an exhibition of bindings by women which included a number of Macdonald's bindings as well as 32 books with hand coloring by Cardew.
Slim octavo. Blue paper covered boards, broken glass design stamped to front board, titles in gilt to spine. Pictorial DJ. Both fine.

A Mirror Mended

Alix E. Harrow
Flatiron Books
New York, 2022
1st edition, 1st printing
Slim octavo. Blue paper covered boards, broken glass design stamped to front board, titles in gilt to spine. Pictorial DJ. Both fine.
Octavo, paperback. Pictorial wrappers. Fine.

Mirror, Mirror: Forty Folktales For Mothers and Daughters to Share

Jane Yolen and Heidi E.Y. Stemple (ed.)
Penguin Books
New York, 2001
1st edition
Octavo, paperback. Pictorial wrappers. Fine.
Paperback, small bend in back cover otherwise fine. Pictorial covers and title to spine. Contributers inclue Aimee Bender, Kevin Brockmeieer, Sarah Shun-Lien Bynum, Michael Cunningham, Neil Gaiman, Shelley Jackson, Neil LaBute, Kelly Link, Joyce Carol Oatse, Ludmilla Petrushevskaya, Francine Prose, Joy Williams, and more.

My Mother She Killed Me, My Father He Ate Me: Forty New Fairy Tales

Kate Bernheimer (ed.), Gregory Maguire (foreword)
Penguin Books
New York, 2010
1st edition
Paperback, small bend in back cover otherwise fine. Pictorial covers and title to spine. Contributers inclue Aimee Bender, Kevin Brockmeieer, Sarah Shun-Lien Bynum, Michael Cunningham, Neil Gaiman, Shelley Jackson, Neil LaBute, Kelly Link, Joyce Carol Oatse, Ludmilla Petrushevskaya, Francine Prose, Joy Williams, and more.
Octavo. Beige cloth-covered boards with DJ illustration stamped to cover in red. Spine lettered in red. Original pictorial DJ. An editorial copy (ARC?) with special bookplate laid in to FFEP, with "E.F. O'Connor" written in pencil just above. Publication date listed as May 7, 1938. Small stain to bottom right corner of front board, some soiling to boards and bumping to head and tail. Otherwise clean and bright. A satire with anti-New Deal and anti-FDR goals. NYT gave it a mediocre review (see Notes column).

"My Goodness!" Said the Princess: A Modern Fairy Tale for Grown-Ups, With Charity Toward None

DeWitt Carson
H.C. Kinsey & Company, Inc.
New York, 1938
1st edition
Octavo. Beige cloth-covered boards with DJ illustration stamped to cover in red. Spine lettered in red. Original pictorial DJ. An editorial copy (ARC?) with special bookplate laid in to FFEP, with "E.F. O'Connor" written in pencil just above. Publication date listed as May 7, 1938. Small stain to bottom right corner of front board, some soiling to boards and bumping to head and tail. Otherwise clean and bright. A satire with anti-New Deal and anti-FDR goals. NYT gave it a mediocre review (see Notes column).
Quarto. Grey cloth covered boards, stamped with geometric designs stamped and gilt design to front board and spine. Bumping to head, tail, and tips, cloth a bit dusty. Light foxing to title page. 32 color plates plust other illustrations throughout. With Cowan Family Library bookplate and inscribed to W__ Cowan, April 1954. Overall very good.

Myths & Legends of the North American Indians

Lewis Spence; James Jack (illust)
George G. Harrap & Company
London, 1916
​
Quarto. Grey cloth covered boards, stamped with geometric designs stamped and gilt design to front board and spine. Bumping to head, tail, and tips, cloth a bit dusty. Light foxing to title page. 32 color plates plust other illustrations throughout. With Cowan Family Library bookplate and inscribed to W__ Cowan, April 1954. Overall very good.
Green cloth covered boards, titles to front cover and spine in gilt. Also a sea creature spraying water stamped in gilt to top cover, and snake wound around a branch with leaves framing it in gilt to spine. Octavo. Side edges untrimmed. Bookplate of the Library of the Supreme Council of the 33rd degree of the Ancient Accepted Scottish Rite of Freemasonry, Southern Jurisdiction, USA, Washington DC, Class No. 398-1 attached to inside front board. Faded incomplete stamp that seems to say "Recorded ___ 19 1900." As sure as the foaming sea monster adorning its deep green cover, this 1895 menagerie gathers strange and exotic beasts, deities of myth and folklore, and tales of animals with mystical powers, all from the works of Medieval naturalists. Here you will tread the trails of unicorns, phoenixes, mermaids, and harpies and hear tales of the terror of lycanthropy and witchcraft. Author Frederick Edward Hulme (1841-1909), artist, antiquarian, natural historian, and an amateur botanist, was best known for Familiar Wild Flowers (See Item No. 57). Subjects of interest include: "the centaur in medieval guise," "mermaids and matrimony," "vulpine eccentricities," "the medical virtues of the hedgehog," "instances of sagacity in birds," "cats as storm-raisers," "wondrous stones of mystic virtue," "the deadly basilisk," "the dragon as a playmate," "serpentine monstrosities," and, though it need barely be mentioned at this point, "spiders as charms," illustrated in 29 inventive and curious line drawings by the author. Moderate edgewear to binding, with bumping to extremities, boards bowed inward, small stain to spine, and tears to head and tail of spine. Masonic bookplate, with penciled marks to endpapers and occasional stamp. Binding is firm. Pages are unmarked. Very good. Hardcover

Natural History Lore and Legend

F. Edward Hulme
Bernard Quaritch
London, 1895
1st edition
Green cloth covered boards, titles to front cover and spine in gilt. Also a sea creature spraying water stamped in gilt to top cover, and snake wound around a branch with leaves framing it in gilt to spine. Octavo. Side edges untrimmed. Bookplate of the Library of the Supreme Council of the 33rd degree of the Ancient Accepted Scottish Rite of Freemasonry, Southern Jurisdiction, USA, Washington DC, Class No. 398-1 attached to inside front board. Faded incomplete stamp that seems to say "Recorded ___ 19 1900." As sure as the foaming sea monster adorning its deep green cover, this 1895 menagerie gathers strange and exotic beasts, deities of myth and folklore, and tales of animals with mystical powers, all from the works of Medieval naturalists. Here you will tread the trails of unicorns, phoenixes, mermaids, and harpies and hear tales of the terror of lycanthropy and witchcraft. Author Frederick Edward Hulme (1841-1909), artist, antiquarian, natural historian, and an amateur botanist, was best known for Familiar Wild Flowers (See Item No. 57). Subjects of interest include: "the centaur in medieval guise," "mermaids and matrimony," "vulpine eccentricities," "the medical virtues of the hedgehog," "instances of sagacity in birds," "cats as storm-raisers," "wondrous stones of mystic virtue," "the deadly basilisk," "the dragon as a playmate," "serpentine monstrosities," and, though it need barely be mentioned at this point, "spiders as charms," illustrated in 29 inventive and curious line drawings by the author. Moderate edgewear to binding, with bumping to extremities, boards bowed inward, small stain to spine, and tears to head and tail of spine. Masonic bookplate, with penciled marks to endpapers and occasional stamp. Binding is firm. Pages are unmarked. Very good. Hardcover
Octavo, printed in green and red throughout, full-page illustrations by Roswitha Quadflieg, marbled endpapers. Publisher’s red cloth, pictorial DJ. A fine copy.

The Neverending Story

Michael Ende; Ralph Manheim (transl)
Allen Lane
London, 1983
1st edition
Octavo, printed in green and red throughout, full-page illustrations by Roswitha Quadflieg, marbled endpapers. Publisher’s red cloth, pictorial DJ. A fine copy.
Grey paper boards with pictorial endpapers and original fine pictorial DJ. Elaborately decorated in red gilt on front cover and spine.

The Night Country

Melissa Albert
Flatiron Books
New York, 2020
1st edition, 1st printing
Grey paper boards with pictorial endpapers and original fine pictorial DJ. Elaborately decorated in red gilt on front cover and spine.
Published in an edition of 300 copies in Berlin right after WWII. Block binding, housed in original box with illustrations to front. Illustrated throughout. Colophon ends with "brought out with permission of the Military Government, US Sector of Berlin." Chilling reminder of a dark period in history, but even then, the hope and light of Andersen's tales brought joy to many.

The Nightingale

Hans Christian Andersen; Erich Blaschker (transl); John Dähmeke (illust)
​
Berlin, 1947
​
Published in an edition of 300 copies in Berlin right after WWII. Block binding, housed in original box with illustrations to front. Illustrated throughout. Colophon ends with "brought out with permission of the Military Government, US Sector of Berlin." Chilling reminder of a dark period in history, but even then, the hope and light of Andersen's tales brought joy to many.
2 vols in one, 12mo (138 × 70 mm), pp. [2], 244; [2], 210, plus engraved frontispieces to each volume by Jan Van Vianen. 10 engraved illustrations at the head of each tale, woodcut devices to titles, woodcut and typographical ornaments. Contemporary sprinkled sheep, gilt panelled spine. Minor expert repair to �frontispiece, title and the binding. English ownership inscription to title: ‘G. Morgan 1756’. A very good copy. Nouveaux contes comprises the tales from volume 3 and 4 of the Paris Barbin first edition, namely: I. Preface; Don Gabriel Ponce de Leon, nouvelle Espagnolle; Le mouton; Finette cendron; Fortunée; II. Babiolle; Don Fernand de Toledo; Le Nain jaune; Suite de Don Fernand de Toledo; Serpentin vert. The �new engraved headpiece illustrations are reproduced from the originals in the Barbin editions, but the engraved frontispieces are from an entirely new plate by Jan van Vianen, showing the striking �figure of a female story teller (in the guise of Minerva) surrounded by fashionably-dressed listeners and with scenes from tales played out in the clouds above her head.

Nouveaux Contes des Fées. Par Madame
D * *

Madame D'Aulnoy
Meindert Uytwerf
The Hague, 1700
2nd edition
2 vols in one, 12mo (138 × 70 mm), pp. [2], 244; [2], 210, plus engraved frontispieces to each volume by Jan Van Vianen. 10 engraved illustrations at the head of each tale, woodcut devices to titles, woodcut and typographical ornaments. Contemporary sprinkled sheep, gilt panelled spine. Minor expert repair to frontispiece, title and the binding. English ownership inscription to title: ‘G. Morgan 1756’. A very good copy. Nouveaux contes comprises the tales from volume 3 and 4 of the Paris Barbin first edition, namely: I. Preface; Don Gabriel Ponce de Leon, nouvelle Espagnolle; Le mouton; Finette cendron; Fortunée; II. Babiolle; Don Fernand de Toledo; Le Nain jaune; Suite de Don Fernand de Toledo; Serpentin vert. The new engraved headpiece illustrations are reproduced from the
originals in the Barbin editions, but the engraved frontispieces are from an entirely new plate by Jan van Vianen, showing the striking figure of a female story teller (in the guise of Minerva) surrounded by fashionably-dressed listeners and with scenes from tales played out in the clouds above her head.
Quarto. Pictorial front free endpapers and illustrations throughout by Pablo Santander Tiozzo-Lyon. Fine in a fine pictorial DJ.

The Odd Sisters: A Tale of the Three Witches

Serena Valentino
Disney Press
Los Angeles, 2019
1st edition
Quarto. Pictorial front free endpapers and illustrations throughout by Pablo Santander Tiozzo-Lyon. Fine in a fine pictorial DJ.
Octavo, original cloth boards, gilt pictorial and title on front board and spine, bevelled edges, full color frontispiece and illustrated throughout in black and white. Corners slightly bumped, slight tear to front free endpaper, light foxing throughout. A very good copy.

The Old Old Fairy Tales

Mrs. Valentine (ed)
Frederick Warne and Co.
London, 1893
​
Octavo, original cloth boards, gilt pictorial and title on front board and spine, bevelled edges, full color frontispiece and illustrated throughout in black and white. Corners slightly bumped, slight tear to front free endpaper, light foxing throughout. A very good copy.
Large octavo. Color frontispiece and 6 plates by Dmitri Mitrokhin, patterned endapers, minor marking to a few leaves. Publisher's cloth stamped with red and yellow pattern to upper cover, lettered in black, slightly rubbed and bumped, but overall very good. Arthur Ransome is today of course best remembered for his children's books series commencing with Swallows and Amazons (1930). He did however have a close connection with Russia, having fled there to escape a failing marriage, nominally to study Russian fairy tales. While this book is evidence that Ransome did undertake such studies, he did also invest time getting to know the Bolsheviks, becoming one of the few English journalists allwoed access to their party leaders, his resultant journalism and pro-Bolshevik pamphlets almost seeing him tried for treason.

Old Peter's Russian Tales

Arthur Ransome; Dmitri Mitrokhin (illust)
T.C. & E.C. Jack
London, 1916
1st edition, 1st printing
Large octavo. Color frontispiece and 6 plates by Dmitri Mitrokhin, patterned endapers, minor marking to a few leaves. Publisher's cloth stamped with red and yellow pattern to upper cover, lettered in black, slightly rubbed and bumped, but overall very good. Arthur Ransome is today of course best remembered for his children's books series commencing with Swallows and Amazons (1930). He did however have a close connection with Russia, having fled there to escape a failing marriage, nominally to study Russian fairy tales. While this book is evidence that Ransome did undertake such studies, he did also invest time getting to know the Bolsheviks, becoming one of the few English journalists allwoed access to their party leaders, his resultant journalism and pro-Bolshevik pamphlets almost seeing him tried for treason.
Octavo. Original green cloth over bevelled boards, title to spine in gilt within black frame, front board elaborately blocked in gilt and black with title, flora and foliatel frame, heralding angels, and rabbit motifs, cream endpapers, edges gilt. With numerous illustrations by William De Morgan in the text. Christmas gift inscription on FFEP, "Josephine Jellet, from Papa, 1876." Subtle restoration to nicked spine ends, joints and extremities rubbed, gilt remarkably bright, occasional foxing to contents; a very good copy. First edition of this important and notably uncommon work. It was Mary De Morgan's first collection of fairy tales and is illustrated by her brother and key arts and crafts artist William De Morgan. The stories included played a "comprehensive and central role" in the Victorian evolution of the literary fairy tale (Greenwod Encyclopedia of Folk Tales and Fairy Tales). The premise of the collection is a group of pins and brooches who are discontented by their lack of use and decide to tell fairy stories to drown out the chatter of the favored bracelets. De Morgan would tell these tales to entertain the children of the Pre-Raphaelite set including Jenny and May Morris, Philip and Margaret Burne-Jones, and their cousins, Rudyard and Alice Kipling. The consequent tales are noted for subverting many traditional fairy tale tropes and subtly include many of Mary's politics. As well as being able to see De Morgan's anti-vivisectionism in the tales recent scholars have suggested feminist readings of the work, supported by De Morgan's active role in the suffrage movement (see Pemberton and Wagner).

On a Pincushion and Other Fairy Tales

Mary De Morgan
Seeley, Jackson & Halliday
London, 1877
1st edition
Octavo. Original green cloth over bevelled boards, title to spine in gilt within black frame, front board elaborately blocked in gilt and black with title, flora and foliatel frame, heralding angels, and rabbit motifs, cream endpapers, edges gilt. With numerous illustrations by William De Morgan in the text. Christmas gift inscription on FFEP, "Josephine Jellet, from Papa, 1876." Subtle restoration to nicked spine ends, joints and extremities rubbed, gilt remarkably bright, occasional foxing to contents; a very good copy. First edition of this important and notably uncommon work. It was Mary De Morgan's first collection of fairy tales and is illustrated by her brother and key arts and crafts artist William De Morgan. The stories included played a "comprehensive and central role" in the Victorian evolution of the literary fairy tale (Greenwod Encyclopedia of Folk Tales and Fairy Tales). The premise of the collection is a group of pins and brooches who are discontented by their lack of use and decide to tell fairy stories to drown out the chatter of the favored bracelets. De Morgan would tell these tales to entertain the children of the Pre-Raphaelite set including Jenny and May Morris, Philip and Margaret Burne-Jones, and their cousins, Rudyard and Alice Kipling. The consequent tales are noted for subverting many traditional fairy tale tropes and subtly include many of Mary's politics. As well as being able to see De Morgan's anti-vivisectionism in the tales recent scholars have suggested feminist readings of the work, supported by De Morgan's active role in the suffrage movement (see Pemberton and Wagner).
Slim folio. Original wrappers in professionally made box. Faded front wrapper, which was once detached and has been repaired. 1.5" loss to bottom edge, chip to lower corner. Rubbed and worn but contents generally clean. Illustrated throughout. Some bent corners, front is leat with small tear, otherwise very good. Accompanied by the 1983 reproduction, which is bound in red cloth with gilt cover, fine. Original book is inscribed to the Russian Princess Anastasia Romanov by the author, who was the governess/Lady in Waiting of Princess Elizabeth von Hessen, the subject of the book. This tells the story of Princess Elizabeth's playhouse. The playhouse was designed by the book's illustrator, the influential Art Nouveau architecht Joseph Maria Olbrich, who was one of the founders of the Vienna Secession artistic group. Princess Elizabeth was the daughter of the Grand Duke Ernst Ludwig of Hesse-Darmstadt, who was the older brother of Tsarina Alexandra and the Romanov princesses uncle (and Queen Victoria's grandson). Princess Elizabeth died 11/16/1903 during a visit to the Russian royal family, and this book was written as a tribute to her. Von Rotsmann inscribed the book to "Der lieben Grossfürstin Anastasia zum Andenken, Georgina von Rotsmann, 1904." (To my dear Grand Duchess Anastasia. in remembrance/as a keepsake). On the same page is a tag from Hammer Galleries in New York, which sold the Russian Imperial collection in the 1930s. The tag incorrectly states that the inscription is to Grand Duchess Tatiana. From the collection of A.J. Marino, whose journal states "This collection of Russian items were nearly all bought from Hammer Galleries starting in 1934, containing pieces that cannot be obtained today." The reproduction book is signed by the publisher Christa von der Marwitz, and dated 8/16/1990 (technically the day I was born given the time difference in Germany).

Once Upon a Time (Es War Einmal)

Baroness Georgina Frein von Rotsmann; Joseph Maria Olbrich (illust)
Hofdruckerei Hohmann
Darmstadt (Hesse, Germany), 1904
1st edition with reproduction
Slim folio. Original wrappers in professionally made box. Faded front wrapper, which was once detached and has been repaired. 1.5" loss to bottom edge, chip to lower corner. Rubbed and worn but contents generally clean. Illustrated throughout. Some bent corners, front is leat with small tear, otherwise very good. Accompanied by the 1983 reproduction, which is bound in red cloth with gilt cover, fine. Original book is inscribed to the Russian Princess Anastasia Romanov by the author, who was the governess/Lady in Waiting of Princess Elizabeth von Hessen, the subject of the book. This tells the story of Princess Elizabeth's playhouse. The playhouse was designed by the book's illustrator, the influential Art Nouveau architecht Joseph Maria Olbrich, who was one of the founders of the Vienna Secession artistic group. Princess Elizabeth was the daughter of the Grand Duke Ernst Ludwig of Hesse-Darmstadt, who was the older brother of Tsarina Alexandra and the Romanov princesses uncle (and Queen Victoria's grandson). Princess Elizabeth died 11/16/1903 during a visit to the Russian royal family, and this book was written as a tribute to her. Von Rotsmann inscribed the book to "Der lieben Grossfürstin Anastasia zum Andenken, Georgina von Rotsmann, 1904." (To my dear Grand Duchess Anastasia. in remembrance/as a keepsake). On the same page is a tag from Hammer Galleries in New York, which sold the Russian Imperial collection in the 1930s. The tag incorrectly states that the inscription is to Grand Duchess Tatiana. From the collection of A.J. Marino, whose journal states "This collection of Russian items were nearly all bought from Hammer Galleries starting in 1934, containing pieces that cannot be obtained today." The reproduction book is signed by the publisher Christa von der Marwitz, and dated 8/16/1990 (technically the day I was born given the time difference in Germany).
Quarto. Taupe cloth covered boards with color plate to front board, with titles stamped on front and spine. 48 colored plates. Pictorial endpapers. Inscribed "Peter with love from Aunt Bertha, Christmas 1923." Cloth a little dusty, else fine.

Once Upon a Time: Children's Stories From the Classics

Blanche Winder; Harry G. Theaker (illust)
Ward, Locke & Co., Limited
London & Melbourne, circa 1923
​
Quarto. Taupe cloth covered boards with color plate to front board, with titles stamped on front and spine. 48 colored plates. Pictorial endpapers. Inscribed "Peter with love from Aunt Bertha, Christmas 1923." Cloth a little dusty, else fine.
Blue hardcover with elaborate gilt cover and spine. Illustrated throughout with full color plates and black and white illustrations. Fraying to head and rubbing to tail. Plate on pg. 222 detached but laid in. Otherwise very good.

The Owl King

H. Scott Inman; E.A. Mason (illust)
Frederick Warne and Co.
London, 1898
​
Blue hardcover with elaborate gilt cover and spine. Illustrated throughout with full color plates and black and white illustrations. Fraying to head and rubbing to tail. Plate on pg. 222 detached but laid in. Otherwise very good.
Small quarto, hardcover, corners slightly bumped, else about fine with sharp DJ.

The Oxford Book of Modern Fairy Tales

Alison Lurie (ed.)
Oxford University Press
Oxford, 1993
1st edition
Small quarto, hardcover, corners slightly bumped, else about fine with sharp DJ.
A rare set of first editions of the first 14 works in the Oxford Myths and Legends Series, published in rapid succession for 8 years, each with the striking and distinctive illustrations of Joan Kiddell-Monroe (1908-1972). The series was produced with the aim of commissioning the best scholars of mythology and folklore to create works appropriate for a wide audience, responding to the mid-century zeitgeist for folklore studies. Following the 1951 Festival of Britain, with its exhibitions on “The People of Britain” and “The Lion and the Unicorn” and staging of pageant plays telling a mythological story of each nation, a passion for national folklore exploded, and extended to collecting tales internationally. This series hired popular academics and children’s authors such as medieval scholar Gwyn Jones (1907-1999), James Reeves (1909-1978), known especially for his collections of folk ballads, and Barbara Leonie Picard (1917-2011) known for her adaptations of ancient Greek mythology for children. The works in the series consequently vary in scope and style, some, such as Irish Sagas and Folk-Tales, edited by Irish author Eileen O’Faolain (1900-1988) retell stories from a single area, in this case stories of the Tuatha Dé Danann, while others, such as Chinese Myths and Fantasies, edited by noted Chinese literature scholar Cyril Birch (b. 1925) draw together tales from disparate sources. The result is a comprehensive and groundbreaking series. All 14 volumes are in the first impression except Indian Tales and Legends, which is a second impression. 14 volumes, octavo. Original variously-coloured cloth, spines lettered in gilt on variously coloured grounds, illustrated endpapers, top edge of English Fables and Fairy Stories pink. With dust jackets. Prize labels, neat ownership inscriptions, and bookseller’s tickets to front endpapers of a couple of volumes. Occasional lean to spines, rubbing to extremities, wear to head of front cover of African Myths and Legends, scattered foxing, notably to top edges; jackets of Japanese Tales and Legends and African Myths and Legends price-clipped, a little subtle restoration at head of spine on English Fables and Fairy Stories and tape repair to Indian Tales and Legends on verso, nicks to spine ends, a couple of spots of soiling to panels. A very good set indeed. Includes stories from England, Ireland, Scotland, Wales, France, Scandinavia, Russia, Yugoslavia, Switzerland, Germany, Japan, China, India, and Africa.

Oxford Myths and Legends Series

Gwyn Jones, Barbara Leonie Picard, and others
Oxford University Press
London, 1954-1962
1st editions, all 1st printings except Indian Tales and Legends which is a 2nd printing
A rare set of first editions of the first 14 works in the Oxford Myths and Legends Series, published in rapid succession for 8 years, each with the striking and distinctive illustrations of Joan Kiddell-Monroe (1908-1972). The series was produced with the aim of commissioning the best scholars of mythology and folklore to create works appropriate for a wide audience, responding to the mid-century zeitgeist for folklore studies. Following the 1951 Festival of Britain, with its exhibitions on “The People of Britain” and “The Lion and the Unicorn” and staging of pageant plays telling a mythological story of each nation, a passion for national folklore exploded, and extended to collecting tales internationally. This series hired popular academics and children’s authors such as medieval scholar Gwyn Jones (1907-1999), James Reeves (1909-1978), known especially for his collections of folk ballads, and Barbara Leonie Picard (1917-2011) known for her adaptations of ancient Greek mythology for children. The works in the series consequently vary in scope and style, some, such as Irish Sagas and Folk-Tales, edited by Irish author Eileen O’Faolain (1900-1988) retell stories from a single area, in this case stories of the Tuatha Dé Danann, while others, such as Chinese Myths and Fantasies, edited by noted Chinese literature scholar Cyril Birch (b. 1925) draw together tales from disparate sources. The result is a comprehensive and groundbreaking series. All 14 volumes are in the first impression except Indian Tales and Legends, which is a second impression. 14 volumes, octavo. Original variously-coloured cloth, spines lettered in gilt on variously coloured grounds, illustrated endpapers, top edge of English Fables and Fairy Stories pink. With dust jackets. Prize labels, neat ownership inscriptions, and bookseller’s tickets to front endpapers of a couple of volumes. Occasional lean to spines, rubbing to extremities, wear to head of front cover of African Myths and Legends, scattered foxing, notably to top edges; jackets of Japanese Tales and Legends and African Myths and Legends price-clipped, a little subtle restoration at head of spine on English Fables and Fairy Stories and tape repair to Indian Tales and Legends on verso, nicks to spine ends, a couple of spots of soiling to panels. A very good set indeed. Includes stories from England, Ireland, Scotland, Wales, France, Scandinavia, Russia, Yugoslavia, Switzerland, Germany, Japan, China, India, and Africa.
Special 40th anniversary edition with new intro note from Chelsea Clinton. Pictorial boards with pictorial DJ, illustrated on outside and inside. Fine.

The Paper Bag Princess

Robert Munsch, Michael Martchenko (illust), Chelsea Clinton (intro)
Annick Press
Toronto, 2020
1st thus
Special 40th anniversary edition with new intro note from Chelsea Clinton. Pictorial boards with pictorial DJ, illustrated on outside and inside. Fine.
Uncommon first edition in English of Basile's classic fairy tales. Originally published in the Neapolitan dialect as "Lo cunto de li cunti" ("The tale of tales") in 1634-6, Basile's collection featured the earliest recorded versions of tales including "Cinderella", "Puss in Boots", "Rapunzel", "Sleeping Beauty", and "Hansel and Gretel", all later revised and popularized by the Brothers Grimm.

The Pentamerone, or The Story of Stories, Fun for the Little Ones

Giamattista Basile, John Edward Taylor (transl), George Cruikshank (illust.)
David Bogue and J. Cundall
London, 1848
1st edition in English
Uncommon first edition in English of Basile's classic fairy tales. Originally published in the Neapolitan dialect as "Lo cunto de li cunti" ("The tale of tales") in 1634-6, Basile's collection featured the earliest recorded versions of tales including "Cinderella", "Puss in Boots", "Rapunzel", "Sleeping Beauty", and "Hansel and Gretel", all later revised and popularized by the Brothers Grimm.
Quarto, original red cloth boards, lettered with vignette in gilt. 50 color plates tipped in to stiff brown paper, with captioned tissue guards. Some rubbing, hinge starting to crack before half title, leaves somewhat toned, but overall very good.

Peter Pan in Kensington Gardens

J.M. Barrie, Arthur Rackham (illust)
Hodder & Stoughton
London, 1907
​
Quarto, original red cloth boards, lettered with vignette in gilt. 50 color plates tipped in to stiff brown paper, with captioned tissue guards. Some rubbing, hinge starting to crack before half title, leaves somewhat toned, but overall very good.
Small octavo. Original pictorial paper wrappers, titles to front wrapper in brown with decoration in black and brown, pictorial endpapers, yapp edges. With the illustrated dust jacket. Frontispiece and 3 color plates, monochrome illustrations in the text including a double page spread. An excellent copy in teh slightly nicked jacket.

The Pied Piper of Hamelin

Robert Browning, Arthur Rackham (illust)
George G. Harrap & Co., Ltd.
London, 1934
1st thus
Small octavo. Original pictorial paper wrappers, titles to front wrapper in brown with decoration in black and brown, pictorial endpapers, yapp edges. With the illustrated dust jacket. Frontispiece and 3 color plates, monochrome illustrations in the text including a double page spread. An excellent copy in teh slightly nicked jacket.
Scarce first edition of the first PINOCCHIO printed in the US - a piracy that also attempted to capitalize on the success of another childrren's classic, ALICE'S ADVENTURES IN WONDERLAND. Original quarter blue pictorial cloth, floral patterned boards. Introduction by Hezekiah Butterworth. Illustrated with black-and-white chapted head and tailpieces. Housed in custom blue cloth slipcase. Edges and corners rubbed, some light soiling to binding. Clean and tight - very good plus. The first translation of PINOCCHIO to English was Mary Alice Murray's 1892 version for the London publisher Unwin. While some of the sheets were issued in the US under the Cassell imprint, this is the first edition actually printed in the US. Jordan Marsh claimed the title of this publication was simply meant to capitalize on the success of ALICE, and such a marketing ploy was not uncommon. But Wunderlich and Morrissey posit the title was "actually fabricated to conceal the fraud: the book had been stolen, and this new name implied an entirely different work," though the text is identical to the Fisher Unwin/Cassell first edition of PINOCCHIO.

Pinocchio's Adventures in Wonderland

Carlo Collodi; Hezekiah Butterworth (transl)
Jordan Marsh
Boston, 1898
1st edition
Scarce first edition of the first PINOCCHIO printed in the US - a piracy that also attempted to capitalize on the success of another childrren's classic, ALICE'S ADVENTURES IN WONDERLAND. Original quarter blue pictorial cloth, floral patterned boards. Introduction by Hezekiah Butterworth. Illustrated with black-and-white chapted head and tailpieces. Housed in custom blue cloth slipcase. Edges and corners rubbed, some light soiling to binding. Clean and tight - very good plus. The first translation of PINOCCHIO to English was Mary Alice Murray's 1892 version for the London publisher Unwin. While some of the sheets were issued in the US under the Cassell imprint, this is the first edition actually printed in the US. Jordan Marsh claimed the title of this publication was simply meant to capitalize on the success of ALICE, and such a marketing ploy was not uncommon. But Wunderlich and Morrissey posit the title was "actually fabricated to conceal the fraud: the book had been stolen, and this new name implied an entirely different work," though the text is identical to the Fisher Unwin/Cassell first edition of PINOCCHIO.
Octavo. Pictorial green cloth; illustrated green/white endpapers; wonderful, whimsical b/w illustrations throughout by Robert Lawson; very fine copy in scarce pictorial DJ with minor edgewear and rubbing. Bookseller ticket for The Old Corner Book Store, Inc. in Boston on FFEP. This is Forester's oly children's book.

Poo-Poo and the Dragons

C.S. Forester; Robert Lawson (illust)
Little, Brown & Co.
Boston, 1942
1st edition
Octavo. Pictorial green cloth; illustrated green/white endpapers; wonderful, whimsical b/w illustrations throughout by Robert Lawson; very fine copy in scarce pictorial DJ with minor edgewear and rubbing. Bookseller ticket for The Old Corner Book Store, Inc. in Boston on FFEP. This is Forester's oly children's book.
A superb copy. Based on the time-honored form of an abridgement of an existing (but entirely fictional) text by a certain "S. Morgenstern," William Goldman's The Princess Bride artfully folds high adventure, laughs, pathos and a brilliant meta-narrative into one of the great comic novels of the 20th century. Octavo. Internally fine; publisher's grey boards, lettering to spine in black and red. Original pictorial DJ. Overall near fine.

The Princess Bride: S. Morgenstern's Classic Tale of True Love and High Adventure

William Goldman
Harcourt Brace Jovanovich, Inc.
New York, 1973
1st edition, 1st printing
A superb copy. Based on the time-honored form of an abridgement of an existing (but entirely fictional) text by a certain "S. Morgenstern," William Goldman's The Princess Bride artfully folds high adventure, laughs, pathos and a brilliant meta-narrative into one of the great comic novels of the 20th century. Octavo. Internally fine; publisher's grey boards, lettering to spine in black and red. Original pictorial DJ. Overall near fine.
Original color pictorial paper boards, color pictorial endpapers, original unchipped color pictorial DJ. Color and black and white illustrations throughout. Contemporary owner signature “Xmas 1959,” before title page. Light edge wear to DJ and boards, faint ghost of label on corner of FFEP, otherwise fine.

Puss in Boots

Haus Fischer (illust)
Harcourt, Brace and Company
New York, 1959
1st American edition
Original color pictorial paper boards, color pictorial endpapers, original unchipped color pictorial DJ. Color and black and white illustrations throughout. Contemporary owner signature “Xmas 1959,” before title page. Light edge wear to DJ and boards, faint ghost of label on corner of FFEP, otherwise fine.

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