Search Results: Titles starting with G from Blue Sky Rare Books

Oak Knoll Press /European Cultural Center of Delphi, 2001. First Edition. Hardcover. Fine. Hardcover, printed boards, as issued. Fine.

Ditchling: Saint Dominic's Press Ditchling, 1916-1923. First Edition. Hardcover. Very good. This is Eric Gill's personal set, bound for him as two volumes and with his bookplate in the first book. All thitry-four issues with pagination per the bibliography by Taylor & Sewell (pp. 143-44). Complete, with wrappers where called for, and including the calligraphy item by Edward Johnston in the Christmas 1916 issue. Volumes 1-4 bound in full leather with Gill's bookplate and pencil signature. Volumes 5-7 bound in quarter leather over plain black paper boards. (Title page gathering for issue 33 is neatly inserted, likely an error at binding.) The second book is signed in pencil by Gill and dated 1925, with his note "bound by DA". Books free of markings inside except that Gill has added some changes to his essay "The Control of Industry" in the first issue and a few minor alterations in other issues. All issues complete and untrimmed, only minor ordinary wear from being handled by Gill. The… Read More

Dallas: The Bridwell Library and The Gehenna Press, 1992. First Edition. Hardcover. Fine. Fine copy in full black cloth. No DJ, as issued. The essential Gehenna reference and a beautiful book in its own right. Printed at the Oxbow Press, Amherst MA.

Norton. Paperback. Paperback. Good +. Couple of neat black ink marks in early pages, otherwise nice.

London: The Folio Society, 2017. First Edition. Hardcover. Fine/fine. Slipcase, jacket, book, and contents all as new. Fine. A beautiful reproduciton of an expensive book that also rarely turns up in truly fine conditon.

Publications, 1957. First Edition. Paperback. Very good+. Very Good+ -- contents free of all marking, minor cover wear.

BOSTON: The Riverside Press, 1909. First Edition. Hardcover. fine. One of 370 numbered copies. Warde 94. Designed by Bruce Rogers. Faint wrinkling to paper on spine, light tarnishing to head of gilt decorations. Fine. A really lovely copy.

Wiley,, 2020. First Edition. Hardcover. Very good/very good. Couple of small bumps else fine, bookand jacket free of all markings.

Bell & Daldy, 1869. First Edition. Hardcover. Very good. Green cloth with gilt titles. An attractive copy with some loss where the cloth spine yaps (folds over) the textblock and some worn-through spots on the cloth edges. Contents very clean. Solidly very good.

2007: Oxford University Press. First Edition. Hardcover. Fine/fine. Hardcover. Book and jacket fine, warmly inscribed by the author.

Verona: Officina Bodoni for the Limited Editions Club, 1952. First Edition. Hardcover. Near fine/near fine. Book and paper jacket near fine, slipcase VG+ (narrow edge of paper separation, still very nice). A lovely copy of one of the best LEC books. Signed by the artist, Bruno Bramanti, and printer, Giovanni Mardersteig. `

Quill & Brush, 1999. First Edition. Hardcover. Very Good+. One of 50 signed by the bibliographer, bound in quarter red leather over white boards with a previously unpublished photo of Stein laid in (matching the cover of the book). A labor of love. The book has a few neat pencil checkmarks at various titles, else fine. The white paper boards have minor blemishes common to white paper boards (see photos), no bumps or signs of actual mishandling. Very Good+

Twayne, 1996. First Edition. Hardcover. VG+/Near Fine. Book with some pencil marks in it, DJ is near fine in mylar.

New York: Harcourt Brace and Company, 1930. First edition. Hardcover. Near Fine/fair. A very good copy warmly inscribed by John Crowe Ransom to his friend and fellow Nashville Fugitive poet Merrill Moore: "To Merrill with love and esteem -- John Crowe Ransom." Also signed by Merrill Moore on the inside pastedown. Compliments of the author card laid in. Minor touch of fading to the cloth spine. Moore pasted a small (3 inch) 1932 article from the Nashville Tennessean, about the reissue of the book in England, onto a rear blank. The book has no foxing and the textblock is very clean. Book is tight and perfectly square. Just jacket present but the spie is badly chipped so the book is priced as without jacket. This is just about the best copy of this classic one could hope to find.

Routledge, 1990. First Edition. Hardcover. Near fine/Fine. Hardcover with a discrete (and tiny) previous owner's name on an inside fly leaf. Book also has a few occassional pencil marks, otherwise near fine. Jacket is about as new, no chips or tears. A nice copy of a scarce book.

New York: Boni And Liveright, 1921. First edition. Hardcover. Near Fine/very good +. New York: Boni And Liveright, 1921. First edition. Strong VG+ example of the very rare dustjacket, in a very near fine copy of the book (period bookplate of the previous owner, no foxing or marking). Housed in an rugged custom chemise and morocco-backed slipcase that is worn and darkened, but that has done a superb job protecting the book. Scarce. (8vo) Atkinson A16-I-1.

Dos Madres Press, 2015. First Edition. Hardcover. Fine/fine. Book and jacket about as new. Fine. Inscribed by Keith Holyoak in 2015.

Godine, 2020. First Edition. Hardcover. Fine/fine. The signed limited edition of 125 (this #75), in matching slipcase. Completely fine. Size and feel of Stanely Morison's great Typographic Book.

Cambridge University Press, 2003. First Edition. Hardcover. Good/Good. Hardcover with a very small amount of ink and pencil markings. Dustjacket wrinkled. Sold as a reading copy but a little better than that.

Boston: Charles E. Goodspeed & Company, 1929. First edition. Hardcover. Very good. Second printing of 1929, signed by Holman (not called for). This is an ex-library copy and as such an excellent working/teaching copy. Blue box is poor and missing the top label, but completely functional. Couple of library marks in the portfolios, but generally near fine contents. Includes the leaf from the 1497 Nuremberg Chronicle. This set is still a fun way to learn all these graphic processes -- there's no substitue for having an actual example in hand.