KIPLING, RudyardBiblio.com
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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
1902ref. 49105London: Macmillan & Co 1902. First Edition. Hardcover. Fine/very good. 249p quarto illustrated. A fine bright copy in a very good dust jacket. The design on the dust jacket differs from the design on the covers of the book. Just So Stories was Kipling's only self illustrated book. A fine bright copy with none of the usual flaking to the white pigment on the binding; armorial bookplate of George Jefferson Mersereau with the bookplate of A. Edward Newton above it on the front paste down. The extremely rare dust jacket is complete with only minor wear and tear and with a few archival tape reinforcements o the inside of the spine. Preserved in a custom cloth chemise and morocco-tipped slipcase Macmillan & Co hardcover
1902ref. 33101Toronto: George S. Morang & Co. Limited 1902. 1st Edition. Rudyard Kipling. Rudyard Kipling. 1st Edition. Signed by Author. From TBCL's Children's Bookcase. Kipling Rudyard. JUST SO STORIES FOR LITTLE CHILDREN. Signed. Illustrated by the Author. Toronto: George S. Morang & Co. Limited. 1902. Unique Copy. First Canadian Edition. Sm. 4to. 249p. With 22 plates & many in-text illustrations. Cream cloth covered boards with titles & illustrations on the spine & upper cover stamped in black. An extraordinary example with three key manuscript highlights tipped-in: 1 - Opposite page 141 Kipling on a piece of club size stationery has written out in fact decoded the runes of Taffimai in 2 columns of 18 lines with the added "This is the identical tusk-on-uitch the tale of Taffimai ouas ritten. Etched by the author. / See Page 141 / Just So Stories / Double Day Page Edn 1902." 2 - Tipped opposite page 197 on a piece of club size stationery Kipling has deciphered the runes on the Mutton Bone illustrated in the story: The Cat That Walked By Himself. Inscribed: "On the mutton bone / page 197. Just So Stories". Two columns of decoding followed by: " I Rudyard Kipling drew this but because there was no mutton bone in the house I faked the anatomy from memory. R.K." 3 - One page als true copy neatly written & signed in blue fountain pen on the letterhead of the Canadian Copper Company Sussex dated Nov. 30th 1912 addressed to: David H. Brown esq. " Dear Sir / Many thanks for your amusing letter of the 12th. I am sorry that any of my handicraft should have disturbed your dinner. I should imagine it would be quite hopeless to find one in the small drawing what the runes meant but I have looked up the original pictures and found that on the cross bar of the H I put myself on record as having also written all the plays ascribed to Mrs. Gallop. I hope now that you and your friends will be able to return to their respective vocations. / Yours very sincerely / Rudyard Kipling". An extremely good example showing light use. Stewart 261. Notes binding is usually brown/orange cloth. First published in London by Macmillan in 1902 this is the uncommon Canadian edition of Kipling's most famous collection of twelve animal stories & twelve poems including "How the Camel Got His Hump" and "How the Leopard Got His Spots" "How the Whale Got his Throat" "The Elephant's Child" & "The Butterfly That Stamped." "Just So Stories has achieved nursery immortality because a genius has married two of the most tried and trusted media - the fable and the fairy-story" Muir 107. Stewart 260. BMC No.1 1984; 'Edwardian Children's Books'. 30820. George S. Morang & Co., Limited unknown
1943ref. 123104Chicago: Consolidated Book Publishers Inc. 1943. First edition second issue of this classic World War II-era short story collection containing J.D. Salinger's third published short story and first appearance in book form. 12mo original illustrated boards illustrated. Complied by R.M. Barrows edited by E. X. Pastor and with contributions from J.D. Salinger Richard Armour Hurd Barrett Pat Frank O. Henry Rudyard Kipling Jack Leonard and Damon Runyan among others. Signed by J.D. Salinger on the first page of his contribution The Hang of It on page 332. A commercial tale of a soldier who just can't seem to get "the hang of it" the story was first published in the July 12 1941 issue of Collier's magazine and subsequently in the 1942 and 1943 editions of The Kit Book For Soldiers marking Salinger's first appearance in book form. Salinger was drafted into the army in the spring of 1942 several months after the United States entered World War II where he saw combat with the 12th Infantry Regiment 4th Infantry Division. He was present at Utah Beach on D-Day in the Battle of the Bulge and the Battle of Hurtgen Forest. During the campaign from Normandy into Germany Salinger arranged to meet with Ernest Hemingway who was then working as a war correspondent in Paris. The meeting had a profound effect on Salinger and the development of his writing style; Hemingway was impressed by what Salinger shared with him of his early writing and the two corresponded frequently throughout the war. Salinger was later assigned to the 4th Counter Intelligence Corps in which he used his proficiency in French and German to interrogate prisoners of war and later witnessed the liberation of one of the Dachau Concentration Camps. In very good condition. Housed in the original box which is in near fine condition. Housed in a custom half morocco clamshell box. From the collection of a WWII soldier who had this signed by Salinger while the two were stationed overseas at the time of publication. An exceptional example signed by Salinger at a pivotal time in his life and before his almost complete withdrawal from society. Best-known for his novel The Catcher in the Rye American author J.D. Salinger published several short stories and five books throughout his lifetime. In a contributor's note Salinger gave to Harper's Magazine in 1946 he wrote: "I almost always write about very young people" a statement that has been referred to as his credo. Adolescents are featured or appear in all of Salinger's work from his first published short story "The Young Folks" 1940 to The Catcher in the Rye and his Glass family stories. In 1961 the critic Alfred Kazin explained that Salinger's choice of teenagers as a subject matter was one reason for his appeal to young readers but another was "a consciousness among youths that he speaks for them and virtually to them in a language that is peculiarly honest and their own with a vision of things that capture their most secret judgments of the world." For this reason Norman Mailer once remarked that Salinger was "the greatest mind ever to stay in prep school." Consolidated Book Publishers, Inc. hardcover books
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).
