•  Shoemaker 33941; Rosenbach, Early American Children's Books, 714.   Publisher's printed light blue paper wrappers, split and chipped along spine, otherwise crisp and clean. Pages with light age-toning and offsetting.  (24569)

Click the images for enlargements.

•  Gamba 2323; not in Brunet. Contemporary vellum over paste boards, outer edges yapp, spine with hand-inked title; vellum torn and partially lost over lower edge of front cover, with signs of wear and small spots of staining elsewhere. Ex-library, front pastedown with Italian institutional bookplate; yet volume otherwise free of markings. Title-page verso with affixed scrap of paper. Intermittently occurring light dampstaining in upper margins; otherwise clean.

Up to p. 112, this issue is a reprint of the second edition (with the title-page labeled Deuxième edition, giving a date of 1913), after which comes a section entitled “Alasotmaganel” (rather than the “Gis Oen Melgitimg” of the actual 1913 printing). The closing section, “Gtapegiemgeoel,” is the same in both printings. The publisher's binding gives the date of 1921 on the front cover!

•  Publisher's quarter cloth with printed paper-covered sides; cloth and paper showing light wear. Some offsetting and paper punctured around binding staples, otherwise a nice, even fresh copy.  (12614)

•  Publisher's red cloth in dust wrapper, jacket not price-clipped; dust jacket rubbed and chipped at extremities and along upper back edge, light dustsoiling to portion of back cover.  (24682)

Merlin also printed a duodecimo edition in 1767; in the present edition, “Fragmens de philosophie morale” is found on pp. 273–340, followed by the Addition and Approbation.

Provenance:  Front pastedown with gilt-stamped armorial bookplate of notable 19th-century book collector Edward Hailstone, gilt-stamped “I.T.” bookplate with motto “Inter folia fructus,” and bookplate of Sir Montague Shearman.

Binding:  Contemporary crimson morocco, covers framed in gilt triple fillets; spine gilt extra with gilt-stamped leather labels, board edges and turn-ins with gilt rolls. This volume (complete in itself) seems at one time to have been part of a set of Marmontel's works, and bears an (unnumbered) spine label reading “Oeuvres de Marmontel.”

•  Brunet, III, 1440; Cohen de Ricci, Guide de l’amateur de livres à gravures du XVIIIe siècle, 688; Graesse 406; Tchermezine 455.   Binding as above, with edges, extremities, and joints showing minor rubbing. Front pastedown with bookplates as above; front free endpaper with affixed slip of early cataloguing; rear pastedown with small chip out of paper. Light spots of foxing, slightly heavier around plates. All edges gilt.  (25776)

The vellum binding is elaborately tooled in gilt and in-painted in blue, green, and salmon. All edges are gilt and gauffered.

•  Binding as above with light rubbing. A very handsome, interestingly late example of this uncommon binding style.  (26690)

•  Faxon 108. Binding as above, paper scuffed and joints a touch rubbed. Front free endpaper with owner’s name; front pastedown and fly-leaf with pencilled notations. Frontispiece with small chip to outer margin, repaired. Some instances of offsetting surrounding plates and illustrations, pages otherwise clean. An attractive, engaging little book.

A considerable and interesting array of ads for other Griffin publications is appended.

•  Publisher's green textured cloth, extremely neatly rebacked, back cover blind-stamped, front cover gilt-stamped with abstract plant-recalling border and central title amidst flowers; each cover pressure-stamped by now-defunct library, with slight discolorations to upper edges. All edges gilt. Title-page and four others lightly stamped (plates untouched); library pocket on back free endpaper. Small bookseller's ticket on back pastedown; endpaper edges chipped. Plates clean and very pleasing; in fact, it's a pleasing little volume overall.

Click the images for enlargements.

The volume is illustrated with an added engraved title-page and three steel-engraved plates, done by O. Pelton after designs by T.B. Read and Beaume, and by Charles Phillips after Sir Joshua Reynolds.

Signed binding: Hunter green embossed morocco, covers with cherub vignette in foliate frame; the embossed panel was designed by Francis N. Mitchell and engraved by Alex C. Morin, and the binding was done by Benjamin Bradley, with all three names stamped in panel. All edges gilt.

•  Faxon 713. On binding, see: Wolf, From Gothic Windows to Peacocks, 178; Spawn & Kinsella, American Signed Bindings, 53.   Binding as above, extremities with very minor rubbing; frontispiece lacking. Offsetting from plates, two pages with offsetting from now-absent laid-in item, scattered light spotting elsewhere. A gorgeous example of the binding, with interesting reading inside.  (26737)

Click the images for enlargements.

The volume is illustrated with four steel-engraved plates and an additional engraved title-page by various hands.

Signed binding: Hunter green embossed morocco, covers with cherub vignette in foliate frame; the embossed panel was designed by Francis N. Mitchell and engraved by Alex C. Morin, and the binding was done by Benjamin Bradley, with all three names stamped in panel. All edges gilt.

•  Faxon 714. On binding, see: Wolf, From Gothic Windows to Peacocks, 178; Spawn & Kinsella, American Signed Bindings, 53.   Binding as above, showing virtually no wear. A few light spots, pages mostly clean. Dried flower laid in. It is hard to imagine a better copy of this lovely annual.  (26743)

Click the interior image for an enlargement.

Binding:  Publisher's tan cloth, front cover pictorially stamped in black and white; designed by Thomas Watson Ball and with his “B” cipher. The cover depicts a richly dressed man at a tickertape machine. Top edge gilt.

•  Bound as above; black stamping showing light wear: a solid, clean copy.  (22208)

Also included is a woodcut map showing Europe, the Atlantic, and the New World.

•  Palau 159680; Alden & Landis, European Americana, 609/77; Medina, BHA, 123. Old vellum; red leather, gilt-lettered spine label; some staining, and chipping to edges and label. Old, careful repairs to interior worming occasionally cost individual letters (but never sense) or a little loss to an illustration. Old rubber-stamps and red and black ownership label on title-page; inked notations on title-page and front pastedown. All edges speckled red.

•  Bibliography of the Fine Books Published by the Limited Editions Club 260.   Publisher's quarter leather over printed paper-covered sides; spine extremities slightly rubbed, in slipcase showing a bit of scraping and refurbished at top fore-edge. Very nice.  (13276)

with a suite of proofs

•  Bound by M. Lortic in red morocco, gilt extra with accents of black; original wrappers bound in; rubbing to joints at top and bottom. Wide turn-ins with gilt dentelles; marbled endpapers. All edges gilt.

The force behind this edition was archbishop Francisco Antonio Lorenzana (1722–1804), a patron of Hogal's press and of the arts, who soon after assuming the archbishopric of Mexico in 1766 saw the need for a concilium. In preparation for it he paid Hogal to publish or republish, as was the case, the acts of the first three provincial councils of Mexico, held respectively in 1555, 1565, and 1585; these appeared in 1769 and 1770. In 1771 he himself held the fourth Mexican provincial synod; ironically, those acts were not published until 1898.

•  Medina, Mexico, 5299; Palau 142387; Sabin 42063.   Recent Spanish sheep mottled in the Valenciana style. Occasional light waterstain in some upper margins, never in text. Paper crisp and printing very sharp. A very good copy.  (26797)

•  Publisher's textured taupe silk binding, front cover with patterned coral silk insert; spine with gilt-stamped title. Dust wrapper and original slipcase present, lower back corner of jacket slightly crumpled; otherwise a gorgeous, clean copy in an undamaged slipcase.  (24683)

The binding is full rusty-brown Nigerian goat, stamped in gold on the spine. The etchings are by Leonard Baskin, a series of five portraits tracing the downward spiral of Willy Loman — a powerful complement to Miller's portrait of a salesman at the end of his career and at the end of his rope! The plates, printed by Bruce Chandler, are each protected by a brown paper tissue guard. The book is designed by Benjamin Schiff, who chose a Bulmer font for the text.

This offering includes the monthly newsletter but not the mailing notice.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 540.   Binding as above. One of the tissue guards is loose but otherwise undamaged. Fine, in the original slipcase. A handsome production of one of the most performed plays in the world!  (21754)

TWO nicely accomplished pen-and-ink drawings of ships

One leaf bears a number of small photographs of young men, labelled “1915” — possibly classmates from St. Paul’s?

•  Publisher’s cloth wrappers, front cover gilt-stamped “Autographs”; edges and extremities chipped. Text block partially separated from spine. Some fading to colored pages, with occasional very slight offsetting or ink smearing.

For more MANUSCRIPTS,  click here.

Binding: Contemporary olive morocco, covers framed in gilt single fillet, spines with gilt-stamped title. All edges gilt.

•  NSTC T1207 (for 1801 and 1809 eds., not citing this ed.). Bound as above; spines darkened (not unattractively), some corners bumped. Front pastedowns each with armorial bookplate, one volume with additional private collector’s bookplate affixed and others with that bookplate laid in. Occasional small spots of faint foxing; one page with two drops of spilled wax.

The illustrations are full-page watercolors, six in all, by Edmund Dulac. The LEC Bibliography says they were "printed in process offset," but this is in error: The mailing notice asserts they were "reproduced in six printings by the Sun Engraving Company," and a member of the family that owned that enterprise observes to us that it did not in fact have offset presses—while it was noted for its color letterpress productions, including the original (1940) Szyk Haggadah.

The design is by John Dreyfus, who chose a monotype Bembo font printed by the University of Cambridge Press; the engraving of the music was done by G.T. Friend. The binding is quarter gold-stamped vellum with marbled paper sides; top edges are gilt. Since Hubert Foss and Edmund Dulac both died during the production of this book, a one-page photo-print from The Times of London's obituary section summarizing the achievements of these two men has been included with this offering. The monthly letter and mailing notice are also present.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 250. Two tiny stains on the fore-edge, a penstroke marking p. 54, and two other pen-point spots. With the original slipcase.

•  Lipperheide, Katalog der Freiherrlich von Lipperheide’schen Kostumbibliothek, 285m. Contemporary quarter morocco with marbled paper–covered sides, spine with gilt-stamped title; joints and edges rubbed, joints cracked and leather chipped at spine extremities. Front free endpaper separated but present; front pastedown and free endpaper institutionally rubber-stamped. Pages clean. Absorbing.

Montes de Oca's plates are particularly detailed and moving when they show the saint in Japan being abused and tortured, but all are strong and striking.

Uncut.

•  Palau 363045.   Late 19th-century plain sheep binding. Uncut; lacking two plates and two with minor worming as noted above; all plates well impressed, as would be expected of a work that the artist himself saw through the press! A very good copy of a scarce and important work.  (25095)

An excellent, unsigned, copper engraving of Our Lady of Sorrows opposite the first page of the dedication represents each of the Seven Sorrows as a long sword piercing Her heart; “Meditacion I” with an absolutely charming headpiece.

No U.S. library reports ownership of this edition.

•  Medina, Mexico, 2685; DeBacker-Somervogel, V, 1275.   Contemporary vellum over paste boards, lacking the ties; vellum stained and worn through at board edges; text block loose in binding. Finger soiling in foremargins, old ink stains and some areas of light waterstaining here and there, some light foxing, instances of light dust-soiling. Ownership inscriptions in lower margins of two leaves inked over. Minor worming at inner margins at rear of book, touching some letters.  (26870)

Provenance: Inscription to Ellie Bond Robinson (from her cousin Elizabeth); elegant small booklabel, “Gardner.”

•  Publisher’s textured cloth, framed in blind, front cover with gilt-stamped title; covers and corners showing very slight traces of wear. Front free endpaper with small booklabel and with inked gift inscription dated 1887. One flap (“Circumspection”) lacking, with all other flaps present and working. An attractive copy of an uncommon item.

Binding:  Publisher's embossed brown cloth in pattern incorporating foliage, heraldic shields, and the words “National Illustrated Library”; spine with gilt-stamped title and floral decorations.

•  Binding as above, cloth gently faded and partially split over joints, corners and spine tips rubbed. Ex–social club library: 19th-century bookplate, inked call number on front free endpaper, no other markings. Back pastedown with London bookseller's ticket. Sewing going, two signatures separated and other leaves starting. One leaf with tear from lower margin, extending into text with loss of one or two letters; one section with small edge chips. Pages age-toned.  (26411)

•  Publisher's brown marbled, textured paper–covered boards, front cover with gilt-stamped title. Clean and unworn. Not a commonplace copy!  (26833)

Binding:  Publisher's olive-brown vermiform cloth of Krupp's style Mis1, spine with gilt-stamped series and individual title.

•  Sabin 32058. On binding: Krupp, Bookcloth in England and America, 1823--50, Mis1.   Binding as above, head of spine chipped, front joint with small spot of insect damage. Ex–social club library: 19th-century bookplate and small call-number ticket on front pastedown, title-page pressure-stamped, no other markings. First map creased, outer edge slightly tattered. Pages age-toned. A nice copy.  (26418)

Binding:  Crimson straight-grain morocco, covers framed in blind and panelled in quadruple gilt fillets with gilt-stamped corner fleurons, board edges and turn-ins with gilt rolls. All edges gilt.

•  Faxon 1497.   Binding as above, edges and extremities lightly rubbed with corners bumped, joints and edges darkened, lower spine compartment discolored. Title-page and two others institutionally pressure-stamped. Pages gently age-toned with a few scattered light spots, generally clean.  (26033)

•  Publisher's cloth, covers and spine gilt-stamped; corners and extremities very slightly rubbed, dust-jacket lacking, otherwise a beautiful copy. (18414)

•  Publisher's blue cloth, front cover and spine with gilt-stamped title; spine slightly sunned, dust-jacket lacking. (18410)

The binding is full grey paper–covered boards with printed paper labels on the spine and front cover. It is rather bleak-looking — which is perfectly appropriate given the nihilistic theme of the play.

This offering includes the monthly newsletter.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 525.   Binding as above. Fine, in a fine slipcase.  (21758)

Provenance:  Front pastedown with inked ownership inscription of Ida M. Hardy, dated 1867. The book itself, alas, provides no indication whether Ms. Hardy was a traveller of the actual or armchair sort.

•  Sabin 57368. Not in Phillips, List of Maps of America.   Publisher's brown cloth of Krupp's style Lea8, covers blind-stamped, front cover with gilt-stamped title; a little sunned with corners bumped and binding slightly cocked. Front pastedown with inscription as above, front free endpaper with mostly erased pencilled inscription. Mild smudging to some page edges; a few leaves with light waterstaining to lower outer portions. One leaf torn, repaired some time ago with cellophane tape, touching but not obscuring five words; map with short tear from lower edge, upper edge a bit crumpled. A solid copy, with map and all plates.  (26666)

Illustrated with 22 engraved plates (each with protective tissue guard), an added engraved title-page (in color), and in-text engravings used as chapter tail-pieces. Text printed within an engraved decorative border, repeated throughout.

•  Publisher's full red morocco, elaborately stamped in gilt. Spine with raised bands, gilt center devices and lettering in spine compartments. Front cover bears a gilt image of the Blessed Virgin framed in an oval, with “Mary A. Dunigan” stamped in gilt beneath it; back cover bears a gilt-stamped crucifix within an oval. All edges gilt. Rubbing at edges and joints. Front joint starting and weak. Scratch-marks. Some spotting to plates and tissue guards. Very light waterstaining in margins of later pages. Chip at top margin of two leaves, only. Very good condition, without ownership markings.  (14268)

Uncommon.  OCLC and NUC Pre-1956 find only four U.S. holdings.

•  Brunet 13064.   Contemporary vellum, covers framed and panelled in blind with blind-tooled central lozenge, spine with hand-inked title; front cover slightly warped, binding dust-soiled. Front pastedown institutionally rubber-stamped. Scattered spots of light to moderate foxing. Errata (final page) lined through in ink.  (24490)

The copper-engraved, oversized frontispiece map shows Baffin's Bay, Barrow's Straits, Prince Regent's Inlet, and the North Georgian Islands, as well as the bay named after Parry's two ships.

•  Arctic Bibliography 13145; Hill (2nd ed.) 1311; Sabin 58860. Recent quarter calf over marbled paper–covered sides, spine with gilt-stamped leather title and author labels, and gilt-stamped anchor decorations in compartments. Title-page and a few others, plus reverse of 1 map, lightly stamped by a now-defunct institution. Pages gently age-toned, with occasional offsetting from engraving and the odd spot or smudge. One map with small portion of inner margin reinforced; final two leaves with inner margins reinforced; one plate with tears into image and mounted. Final advertisement leaf bound in before final text leaf. All edges marbled.

•  Contemporary quarter black sheep with black ribbed cloth–covered sides, spine with gilt-stamped title; spine much rubbed, corners and edges far less so. Front pastedown with inscription as above. Pages and plates clean.  (27050)

Click the images for enlargements.

Signed binding:  Black sheep in imitation of morocco, covers framed in heavy gilt borders surrounding gilt-stamped arabesque designs, spine gilt extra; front free endpaper with bookbinder Bradley's small pressure-stamp. All edges gilt.

•  Faxon 224. Not in Hamilton, Early American Book Illustrators. On binder's stamp, see: Spawn & Kinsella, American Signed Bindings, 55f.   Binding as above, minor wear to corners, spine with tiny scuff towards foot; binding clean and bright. Pages with varied degrees of foxing/staining and age-toning. Very spiffy.  (26673)

This book bears an ornate, emblematic engraved title-page, with portraits of St. Brendan and Boyl and more, and no fewer than 18 leaf-filling plates by Wolfgang Kilian. These plates, which mixfancy and realism in entirely engaging ways, include a portrait of Columbus, a scene of St. Brendan celebrating mass on the back of a whale, botanical images of the marvelous Peruvian potato, and numerous views of the missionaries’interaction with the natives, some friendly, and some not—the unfriendliest being notably violent and gory. Also, on p. 35–36 is given an example of purportednative American music, with both words and notation. This copy is one (probably the first) of two states of this sole edition (with only three leaves in the preliminaries), without the additional foldout plate found in some copies.

•  Alden & Landis, European Americana, 621/100; Sabin 63367; Palau 224762. Binding as above and shown at left (distortion noted), chipped on corners and at head and foot of spine. Small wormholes visible on inside of covers, running into margins of pages and plates, and a few closed tears, neither affecting print or plates. Engraved title remounted. Small stains, light spots of waterstaining, and light soiling. A very covetable illustrated Americanum of the early 17th century, in an enjoyable copy.

•  Wellcome Catalogue, IV, 412; Graesse, Trésor de Livres rares, V, 398; Alden & Landis 725/158; not in Sabin; ESTC T111989; Pritzel 7258n; Junersforgg & Hasenkamp, Coffee, 1177– 1179.   Recent full calf antique-style with gilt concentric panels on covers and gilt corner devices on same; round spine with raised bands, each accented by gilt rules. Some plates closely trimmed at foremargin. A very pleasing copy.  (21774)

Provenance: With the printed and folding ex-proemium of J.J.S. van Goltstein van Hoekenburg, Jan. 1819.

•  DeBacker-Sommervogel, VI, 976. Binding as above. All edges marbled. A very good copy; text block very slightly skewed in binding.

"Porta's system . . . leads him constantly to conclusions of analogies between plants, animals and men. Similar humours are found in various apparently unrelated organisms. Plants and animals that correspond in shape are interrelated. A leaf formed like a stag horn shares the character of the deer. The horse is a noble animal, therefore it is a sign of nobility to walk erect with the head held high. Men who resemble a donkey are like that animal: timid, stupid, nervous. He who looks like an ostrich is akin to it in character: he is timid, elegant, vicious, stolid. A man who reminds us of a swine is a swine, eating greedily and having all the other characteristics, such as rudeness, irascibility, lack of discipline, sordidness, lack of intelligence [and] modesty. In a similar way, men who look like ravens are impudent; those who resemble oxen are stubborn, lazy, irascible; men who have lips shaped like those of a lion are hearty, magnanimous, courageous; others who make us think of a ram are timid, malicious and humble. When practising medicine, Porta had many occasions to observe his patients, and to study their character and complexion; the results of this studious inquiry are laid down in his book." (Seligmann)

This work was written in Latin and first published in 1586 under the title De humana physiognomia. It saw 19 editions before 1701, and has been translated into Italian (1598; translation by Salvatore Scarano), German (1651), French (1655), and English (1817). This tenth Italian edition is replete with a large number of intriguing (and humorous) woodcuts. The first is a portrait of Porta, and, while some of the rest show anatomical figures, the vast majority contrast the shapes of faces and bodies of animals and men. The title-page vignette is of Aesculapius, the Greco-Roman god of healing.

Appended to Della fisionomia humana are the Fisionomia naturale of Giovanni Ingegneri († 1600), the Physionomia of Polemon (ca. a.d. 88 – a.d. 145) in an Italian translation, Porta’s Della celeste fisionomia (a repudiation of astrology), and two short related treatises by Livius Agrippa and Luigi Settala (1552–1633). Della celeste fisionomia has a number of interesting woodcuts showing pagan gods and constellations.

•  Seligmann, The History of Magic, 319. On physiognomy, see: Thorndike, History of Magic and Experimental Science, VII, 448 & following. On Porta, see: Webster’s New Biographical Dictionary 811. Vellum over paste boards, soiled and cockled with a little chipping and front joint opening. Ex-library: paper labels on spine and rubber-stamps, including one on title-page. Pages cockled with traces of soiling on top edges; a few edges bumped. Plates in very clear, strong impressions.

•  Publisher’s cloth, spine with gilt-stamped title (attractively oxidized); cloth rubbed at extremities, spine with small spot of faint discoloration from a now-absent label. Front pastedown institutionally rubber-stamped (no other markings). Erratum slip tipped in. A cleaner copy than most seen on the market.

Click the image for an enlargement.

•  Publisher's cloth, virtually pristine, in excellent dust wrapper with minimal rubbing to spine extremities.  (26317)

The binding is full marbled sheep (pasta española) with gilt-stamped red spine-labels and raised bands accented with gilt rules.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 275. Original red slipcase; rubbed, chipped and splitting along edges, with some paper loss at corners; case spine sunned. Spine leather a bit darkened, bottom of front joint starting. A very good copy, in a good slipcase.

For the LIMITED EDITIONS CLUB,  click here.

Uncommon: OCLC and NUC Pre-1956 locate only four holdings, all in the U.S.

•  Publisher's printed paper wrappers, front wrapper with early inked inscription in upper portion; paper just starting at foot of spine. Age-toned, otherwise clean and fresh.  (25501)

•  Publisher's acid-stained sheep, round spine with gilt tooling and two spine labels; rubbed at corners and extremities and with evidence of old worm attack at lower part of front joint. Interior clean; in
fact, a very good copy.   (25094)

The twelve unsigned woodcut plates are full of energy both emblematic and artistic.

•  Publisher's quarter tan cloth with blue paper-covered sides; boards stained and chipped with paper peeling, all extremities rubbed, and paper spine label mostly lost. Front hinge cracked, back hinge starting. Front pastedown with institutional bookplate; title-page with private owner's stamp in upper margin and old cataloguing excerpt affixed to lower margin. Lower outer corners waterstained in first half; pages cockled, with occasional faint spotting; first text page with newsprint blurb about Priest affixed in upper margin. A compromised copy, but an extraordinary production; interesting from a variety of perspectives.  (15630)

So many and various are these illustrations that we SIMPLY couldn't decide which to photograph!

Click the images present, for enlargements.

Provenance:  Front free endpaper with inked ownership inscription dated 1943 and with rubber-stamp of Kanter's Magic Shop, a famed but now-defunct emporium in Philadelphia.

•  Publisher's gray-brown cloth without dust-jacket, front cover with black-stamped title and dummy vignette; spine very slightly darkened, edges and extremities with minor shelfwear. Front free endpaper as above. Pages age-toned. A nice copy.  (26622)

Edmund Dulac created the book's enchanting illustrations, consisting of 10 full-page and six in-text watercolors, a two-color decorative title-page, and decorative head- and tailpieces, and initials, also in two colors. Ernest Ingham designed the book using a monotype Poliphilus font.

The binding is full Russian-red cloth with apolished brass design of a cockerel set in the front cover and a gilt-lettered title on the spine. This edition is limited to 1500 copies and this offering includes the monthly mailing notice.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 205.   Binding as above. In a glassine wrapper with shallow edge tears and chips, contained within a chemise covered with Russian-red paper with gilt cockerel design with gilt-lettered spine; spine sunned and paper chipped. The whole in an unevenly sunned slipcase, with slight loss of paper to top edge at mouth and spine. A fine book, in a good+ slipcase.  (22314)