KIPLING, RudyardBiblio.com
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1913ref. 187925New York: Doubleday Page & Company 1913-1926. A stately array of bindings The Seven Seas Edition number 63 of 1050 sets printed on watermarked paper and signed by the author on the half-title of Volume I. Intended as the American counterpart to Macmillan's Bombay Edition this deluxe signed limited edition was issued in 27 volumes. This set has been finely bound likely by the publishers in 51 slimmer and more readable volumes. 27 vols expanded to 51 octavo. Title pages printed in red and black rubricated initials in some vols illustrations to text of children's works. Likely publisher's deluxe red crushed morocco spines lettered in gilt compartments and corners of boards richly gilt wide turn-ins with multiple gilt rolls dark blue crushed morocco doublures with richly gilt frames cream silk flyleaves top edges gilt fore and bottom edges uncut cream bookmarkers. Bookplate of John Francis Neylan 1885-1960 attorney to William Randolph Hearst to first blanks. Spots of rubbing hear hinge of From Sea to Sea volume I part II cracked. Overall a fine set. Richards D15; Stewart pp. 573-4. hardcover
1907ref. 896Q1New York: Doubleday Page & Company 1907 . First edition. Cloth. Very Good. 8.5" by 6". None. The first edition of Kipling's book of collected verse with the author's ink annotations and edits. Bound in the publisher's original burgundy cloth. An extremely scarce-to-see copy of this collection of Rudyard Kipling's poetry with annotations and edits by the author throughout. This work was originally published in October 1907. From the library of A. P. Watt & A. S. Watt of A. P. Watt and Son literary agent of Rudyard Kipling.Throughout this copy of collected verse Kipling reworked the order layout contents and the occasional wording of the poems. Some of the changes to wording such as substituting "hansoms" for "traffic" in the final verse of 'The Broken Men' made the final version of the poem however others such as changing the name "Mary Pollock" to "Margaret Pollock" in 'The Derelict' did not showing Kipling's thought process in his editing. Annotations include: A line through the publisher on the title page. A line through the page opposite the title page entitled "Other Books by Rudyard Kipling". The third verse of "The Fires" has been removed xi. Punctuation amendments to most pages substituting comas exclamation marks and semi-colons. The occasional change to the wording used such as alternating "hansoms" for "traffic" in the final verse of "The Broken Men". On page 85 Kipling has written "To printer smaller type for all these sub-heads of song of the English R. K." "The Sacrifice of Er-hets" has a vertical line through it p168. "Service Songs" has been crossed out p190. The second verse of "The Gift of the Sea" has been crossed out p248.Pencil annotation not in Kipling's hand to p1 with "Dedication from "Barrack Room Ballads"" crossed out. On page 8 "Song of the Wise Children" is directed "To follow Sestina of the Tramps Royal" with similar directions given to "Buddha at Kamakura" p10 "The Broken Man" p13 "The "Mary Gloster"" p45 "South Africa" p118 "Dirge of Dead Sisters" p126 "Cleared" p132 "General Joubert" p145 "Before a Midnight Breaks in Storm" p193 "The Lesson" p200 "Rimmon" p210 "The Three-Decker" p220 "The Rhyme of the Three Captains" p222 "The Conundrum of the Workshops" p227 "Evarra and his Gods" p229 "In the Neolithic Age" p231 "The Story of Ung" p233 "The Fires" p236 "The Legends of Evil" p238 "Tomlinson" p241 "The Explanation" p246 "The Answer" p247 "The Gift of the Sea" p248 "The King" p250 and "The Last Rhyme of True Thomas" p252. Bound in the publisher's original burgundy cloth. Externally very good with light bumping to the extremities and a little rubbing to the head and tail of the spine. The occasional mark to cloth mainly to the rear board. Internally firmly bound. Pages bright with the author's ink edits and annotations throughout. Very Good Doubleday, Page & Company hardcover
ref. 122541London Macmillan and Co. 1902. . First edition first impression second issue binding; large 4to 240 x 190 mm; 22 full-page illustrations by the author faint partial offsetting to endpapers faint contemporary gift inscription to front flyleaf discreet bookseller's label to front pastedown occasional minor thumb-soiling to blank fore-margins a hint of spotting to fore-edge of text block; publisher's red decorated cloth lettered in white minor rubbing to spine tips and corners front cover only slightly bowed pictorial dust-jacket a few closed tears and nicks to extremities loss to head of spine panel costing two letters small triangular area of loss to centre of spine panel long closed tears to head of front and rear panels discreetly repaired on verso traces of earlier repair to corners and head and foot of spine early inscription in black ink to front panel; a very good copy in the rare dust-jacket. A lovely copy in the exceptionally rare dust-jacket which unusually for the period reproduces an image different from that of the blocking on the boards. With a contemporary gift inscription to the front flyleaf: 'Alice M. L. Russell / from / John S. Russell / October 1902'. Followed by another endearing inscription presumably from the mother of the recipient to the front panel of the dust-jacket: 'This is the first edition of / Just So Stories / Dad went to great trouble to get it / therefore keep carefully'. Kipling's famous stories include: How the Whale Got His Throat How the Camel Got His Hump How the Rhinoceros Got His Skin How the Leopard Got His Spots The Elephant's Child The Sing-Song of Old Man Kangaroo The Beginning of the Armadilloes How the First Letter Was Written How the Alphabet Was Made The Crab that Played with the Sea The Cat that Walked by Himself and The Butterfly that Stamped. The Chinese white pigment commonly used for the decorative blocking on the first issue binding famously tended to flake off and a new ink was used for the more commonly encountered second issue. Richards A181. London, Macmillan and Co., 1902. hardcover
1927ref. 1833Paris, François-Louis Schmied, 1927. Un volume in-4, reliure plein maroquin bleu, doublure et gardes de soie brochée gris-bleu sertie d’un jeu de filets dorés, dos lisse orné, couverture, tranches dorées, étui bordé de même maroquin (G. Cretté succ. de Marius Michel). Édition originale et tirage unique de ce conte oriental de Joseph Charles Mardrus magnifiquement illustrée et ornementée par François-Louis Schmied qui assura lui-même la mise en page et l'impression de ce chef d'œuvre du livre Art déco : le trait des planches a été gravé sur bois, la peinture en a été exécutée à la main, d'après les originaux, dans les ateliers de laquage de Jean Dunand. Cette illustration se compose d'une couverture illustrée, un frontispice, 7 illustrations à pleine page, une grande planche dépliante formant un triptyque, 29 bandeaux horizontaux dont 22 grands, la plupart en-tête, 32 lettrines ornées ou petites vignettes dans le texte, 6 petits bandeaux verticaux et de nombreux bandeaux et lettres mis en couleurs et dorés. TIRAGE UNIQUE À 25 EXEMPLAIRES SUR JAPON, SIGNÉS PAR SCHMIED. Celui-ci (n° XXV) comporte l’une des rares suites des bois tirés en noir sur Japon. L'ouvrage est entièrement monté sur onglet.
1926ref. 1290Paris, [Schmied], 1926. Un volume in-4 (27,7 x 20 cm), en feuilles, 102 pages, n.ch., couverture rempliée, chemise et étui décoré de l’éditeur, emboîtage de maroquin vert doublé de maroquin jonquille, dos titré (G. Cretté succ. de Marius Michel). Édition originale de la plus grande rareté, tirée à seulement 20 exemplaires numérotés sur japon. Splendide illustration en couleurs de François-Louis Schmied: environ 50 bois dont 18 de très grande taille, dans le texte, TOUS ENTIÈREMENT PEINTS À LA MAIN dans les ateliers de laquage de Jean Dunand ; près de 300 lettrines et bouts de lignes peintes à la main dans le texte, dans des harmonies de couleurs variant selon les pages, avec rehauts d'or, d'argent ou de blanc, traçant des motifs géométriques ou érotiques. Tirage unique à 20 exemplaires numérotés et signés du monogramme en rouge de FLS, tous sur papier Japon, celui-ci n° 13. Conservé à l'état d'origine dans un splendide coffret en maroquin doublé de Cretté. - Notes bibliographiques (pour ceux qui prennent le temps): « La Princesse Boudour est regardée par ceux qui savent voir, comme le livre capital de ce premier quart de siècle. Par sa graphie et sa technique générale, elle est une exception préméditée dans le faire de son auteur. Pour la réaliser, il s’est véritablement amusé, cette fois – en tant que lecteur enthousiaste des Mille nuits et une nuit - à commenter graphiquement le texte qu’il connaît si bien et dont il est comme imbibé [...]. Il nous a [...] octroyé le délectable cadeau de trois cent quatre-vingt-dix vignettes et en couleur, et toutes différentes, et qui se rapportent au texte [...]. Et cette munificence schmiedienne n’est-elle pas, en définitive, l’exaltation de notre modernité, et en conformité avec nos goûts, du faire des imagiers incomparables de l’Orient ? [...]. Avec quel attendrissement, avec quelle passion sourde et contenue, qui n’appartient qu’à lui, il a rendu, au moyen des fragiles outils du graveur et du coloriste, la grâce masculine des adolescents, et la tendre chair de banane des radieuses jouvencelles ! [...] Je pense que s’il fallait absolument appliquer une épithète au sourire des adolescentes schmiediennes, et même à celui des adolescents, rien ne leur conviendrait mieux que le mot ambigü... Une atmosphère de pures délices enveloppe cette oeuvre boudourienne, multiple, voluptueuse, spirituelle, et d’une telle essence d’authentique Orient qu’elle nous fait vraiment respirer tous les parfums de l’Arabie. » (Préface du catalogue de l’exposition Schmied à la galerie Arnold Seligmann Rey à New York, mars 1927, pp. 34-37).
