Zemire en Azor
MARMONTEL, Jean François and Pieter PIJPERS.

Amsterdam, Jan Helders, Abraham Mars, 1783. 8vo. Contemporary half calf, gold-tooled spine with one brown and one green morocco spine-label and fleurons in the remaining compartments, sprinkled-paper sides. With an engraved title-page including a vignette by H.L. Meyling, a letterpress title-page with an emblematic engraved vignette by Reinier Vinkeles.

Splendid copy, luxuriously extra-illustrated 5 years after the original publication, of the first edition of Pijpers’s Dutch adaptation of Marmontel’s 1771 Zémire et Azor, a version of the fairytale, Beauty and the Beast. It is signed in brown ink by the author, and on the last page by G. de Visscher (one of the delegates of the Amsterdam theatre) as a warrant of authenticity, with the privilege to the printers Helders and Mars, dated “Amsteldam, den. 6 Augustus, 1783”.

Aesop
Vita Et Fabellae, Cum Latina Interpretatione. Basel: Johann Froben, January 1518

5 parts in one volume, 8vo (176 x 119mm.), Greek text with Latin translation on facing pages except for Galeomyomachia in Greek only, titles within woodcut ornamental borders, woodcut printer’s device at end of each part, manuscript annotations on free endpapers, seventeenth-century calf, early manuscript fragments used as pastedowns, some browning, wormholes at edges of title and first few leaves, tear to foot of title, ownership inscription at foot of title erased, rebacked.

fewmorepages:

Hans Christian Andersen’s Fairy Tales, early 20th Century

Both volumes in this set of Hans Christian Andersen’s Fairy Tales are bound in transparent vellum over pale green paper with a panel design in art nouveau style. Each volume has a heart-shaped centerpiece featuring characters from the fairy tales, with the theme repeated on the lower covers. The spines are decorated in similar art nouveau style and are lettered in blue.

Source: National Library NZ on Flickr Commons

(via fuckyeahbookarts)

Fairy Tales by Hans Christian Anderson

Frst trade edition, 12 mounted colour plates and other illustrations by Kay Nielsen, original light blue cloth, elaborately stamped in gilt, corners slightly bumped, dust-jacket chipped and frayed, 4to, [1924].

B-A Note: Hmm, that’s the second book illustrated by Kay Nielsen that I’ve found in as many days. I need to do further research on him.

In Powder and Crinoline
Sir Arthur Quiller-Couch. Illustrated by Kay Nielsen. Hodder & Stoughton, 1913.

Number 127 of 500 copies signed by the artist, 26 tipped-in colour plates and illustrations by Kay Nielsen, captioned tissue guards, pastedowns and endpapers lightly foxed, original pictorial green dyed vellum, gilt.

B-A Note: In searching for additional information, I came across Nocloo which has scanned many of the lovely illustrations from this book. And I now have another interesting website to browse.

ghoulnextdoor:

NYPL Digital Gallery | The Goblin Spider, translated by Hearn, Lafcadio
(the whole book is available in the NYPL Gallery)

I do believe this is my second choice for a Halloween costume.  Still open to ideas, though!

Fairy Book: Fairy Tales of the Allied Nations. Dulac, Edmond. London: Hodder & Stoughton, [1916].

15 tipped-in color plates. 4to. Original pictorial cloth gilt. Limited edition, no 300 of 350 copies signed by Dulac

Edmund Dulac (born Edmond Dulac, October 22, 1882 – May 25, 1953) was a French book illustrator prominent during the so called “Golden Age of Illustration” (the first quarter or so of the twentieth century). His enchanting illustrations grace such hard-to-find classics as his Fairy Book, Arabian Nights, Sinbad the Sailor, and The Rubaiyat of Omar Khayyam.

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willowsmarika:

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