Resultados de búsqueda: Maritime from Sumner & Stillman

1916. Garden City NY: Doubleday, Page & Company, 1916. [Together, four volumes.] Original light yellow wrappers lettered in green. First Editions, being the American copyright issues -- consisting of only 70 copies each, published separately between October 18th and 30th, 1916. Each volume consists of Kipling's account of specific sea warfare, preceded by an original poem written for the occasion (including Vol I's "Have you news of my boy Jack?"). As with THE FRINGES OF THE FLEET, Kipling wrote these articles with the permission of the British Admiralty, for appearance in British and American newspapers; he ceded copyright so that they could be used for propaganda purposes. Two months later they were all collected in Kipling's book SEA WARFARE. All four volumes are in fine, clean condition (the usual minor rusting of the staples). Richards A287; Stewart 402.

1878. New York: George Munro, 1878. 2 pp undated ads. Original green cloth. First Edition in English of this new and brilliant narrative of adventures by sea and land, embracing exciting incidents of the whale fishery in the Southern Ocean, and the African Slave Trade, all told in the inimitable graphic manner which has made Jules Verne the most popular author of the century [from Munro's contemporary ad, cited in T&M]. Published in France as UN CAPITAINE DE QUINZE ANS, this tale was first published in English, in November 1878, by the American pirate publisher Munro: The 1878 hardcover edition entitled DICK SAND; or a Captain at Fifteen is the best manufactured of all Verne books published by Munro. It is bound in green cloth, extra, illustrated with 20 engravings, including a map, priced at $1.00. [T&M] (The book was also issued by Munro, at the same time, in a two-volume wrappered format.) Sampson Low's authorized London edition was published the following month, in December, at the end of which… Leer más

1903. New York: McClure, Phillips and Company, 1903. 10 pp undated ads. Original blind-stamped dark blue cloth. First American Edition, first printing. These are the three "other stories" that had appeared earlier in 1903 in the UK volume TYPHOON AND OTHER STORIES; "Typhoon" itself had already been published separately the year before in America, where Putnam owned the serial and book rights -- which is why it does not appear here. The story "Falk" is noteworthy as Conrad's most concentrated treatment of his recurrent theme of cannibalism. This is an attractive, near-fine copy (very minor rubbing at the corners). Supino A8.7.0 (this copy); Cagle A8c. Provenance: Sept. 1905 signature of Morris Moskowitz "A Conradian"; discreet bookplate of Conrad bibliographer David J. Supino.

1915. I & II. The Auxiliary Fleet. / III & IV. Submarines. / V & VI. Patrols. [Together, six volumes.] Garden City NY: Doubleday, Page & Company, 1915. Original light yellow wrappers lettered in green. First Editions, being the American copyright issues, limited (according to DP&Co's annotated copy) to 75 copies each. These six articles, written at the instance of the Ministry of Information, were issued separately from November 19th through December 1st, 1915. The English and American book editions were then published sometime in December; a year later, they were collected in Kipling's book SEA WARFARE (December 1916). Each of the six volumes leads off with an original poem written by Kipling for the occasion. The Vol VI poem reads "(Twelve verses omitted.)" between the third verse and the last verse: this "was only a little joke of Kipling's to indicate that it would, of course, take a very lengthy poem to give any idea of the dangers and tribulations incurred by the [North Sea] patrol"… Leer más

1900. [still in unbound gatherings] New York: Doubleday & McClure Co., 1900. Original light green cloth decorated in dark green. First American Edition of what is arguably Conrad's greatest work. This copy has the title page in the second and usual (cancelled) state: at the time this was being published, Doubleday & McClure was dividing into two entities (Doubleday Page and McClure Phillips), with uncertainty as to which firm would retain the rights to LORD JIM. Thus, in the first (integral) state the copyright is "1900 by Doubleday, Page & Co.", while in the cancelled state the copyright is "1899 and 1900 by Joseph Conrad." Supino A5.11.0; Cagle A5b(2). This is a curious incompletely-bound copy, consisting of the complete casing (the usual decorated light green cloth stamped in dark green, glued onto the boards and backstrip), PLUS all 25 separate folded sheets (gatherings -- each sheet containing 16 pages of text). The gatherings have NOT been stitched together, their edges have NOT been trimmed,… Leer más

1906. London: Methuen & Co., (1906). 40 pp ads dated August 1906. Original green cloth decorated in gilt. First Edition (consisting of 1,511 copies) of Conrad's first volume of nonfiction, a rambling discourse about life on the sea. Though originally planned as a collection of sketches, during preparation for publication Conrad converted it into a continuous book. As he wrote to his agent: "My idea is a sort of reminiscent discourse running on like this: I. II. III. IV. etc etc XX. XXI. and so on, with no titles or blank or half blank pages between; something, in short, like poor Gissing's Ryecroft papers; and only the headings at the top of pages being changed according to the matter created." ... Conrad's method, which was mainly followed, was exceptionally shrewd as a way of getting around the unmarketability of short pieces or even short stories. A continuous book, even his, stood some chance of sales" [Karl]. This was the first of the five Conrad titles that Methuen bound in this… Leer más

1906. London: Methuen & Co., (1906). 40 pp ads dated October 1906. Original green cloth with spine decorated in gilt. First Edition of Conrad's first volume of nonfiction, a rambling discourse about life on the sea. Though originally planned as a collection of sketches, during preparation for publication Conrad converted it into a continuous book. As he wrote to his agent: My idea is a sort of reminiscent discourse running on like this: I. II. III. IV. etc etc XX. XXI. and so on, with no titles or blank or half blank pages between; something, in short, like poor Gissing's Ryecroft papers; and only the headings at the top of pages being changed according to the matter created. "Conrad's method, which was mainly followed, was exceptionally shrewd as a way of getting around the unmarketability of short pieces or even short stories. A continuous book, even his, stood some chance of sales" [Karl]. This copy has October ads; some have ads dated July or August, but the book was not actually published until… Leer más

1906. New York and London: Harper & Brothers, 1906. Original blue cloth pictorially decorated in yellow, grey and brown. First (American) Edition, published on the same day as the London one. This was Conrad's first volume of autobiographical non-fiction. This copy is in Cagle's binding "a," with the smaller (17x11mm) anchor-and-rope device on the front cover -- probably the earlier binding state, and certainly the one more-frequently encountered. This is a near-fine copy, with just a touch of rubbing at the extremities. Cagle A11b.

1906. New York and London: Harper & Brothers, 1906. Original blue cloth pictorially decorated in yellow, grey and brown. First (American) Edition, published on the same day as the London one. This was Conrad's first volume of autobiographical non-fiction. This copy is in Supino's binding state "A" (Cagle's binding "a") with the smaller (17x10mm) anchor-and-rope device on the front cover -- the more-common and perhaps earlier binding state. This is a fine clean copy, with just the slightest of rubbing at the tips; atypically, the yellow pigment of the sky is not at all eroded. Supino A11.7.0 (this copy); Cagle A11b. Provenance: discreet bookplate of the Conrad bibliographer David J. Supino.

1891. Translated from the French by A. Estoclet. Illustrated by L. Benett. New York: Cassell Publishing Company, n.d. [1891]. Original mint green cloth pictorially decorated in black and gilt. First American Edition (and first edition in English) of this tale involving shipwreck off the coast of Aboriginal Australia. After her husband John has gone to sea and she loses her only child, San Diego resident Dolly Branican goes mad. When she recovers four years later, she discovers that her husband's ship was lost at sea. As heir to a substantial fortune during her madness, Dolly uses these resources to finance the discovery of the whereabouts of her husband's ship the Franklin, because she doesn't believe he is dead. Years later a clue to the fate of the Franklin is discovered in Australia; Dolly quickly goes there to discover that her husband may still be alive in a remote part of northwestern Australia. [Kytasaari] This undated Cassell edition was published in November 1891 -- the first Verne book to… Leer más

New York: The Macmillan Company, 1934. Original black cloth lettered in gilt, with dust jacket. First Edition of this book-length ballad for which (per the preliminary "Acknowledgement") "The author's thanks and acknowledgements are gratefully tendered to John Steinbeck, author of "Cup of Gold," for his generous permission to use certain incidents from that novel." Berton goes on to quote in full a brief letter from Steinbeck giving that permission, saying "Please feel free to use what you wish of my work, subconsciously or consciously...". In this copy Berton Braley added to Steinbeck's printed letter, in ink, "With the further and personal thanks of [signed] Berton Braley." The front paste-down of this copy bears the ink-stamp "THIS BOOK BELONGS | TO CAROL AND | JOHN STEINBECK". Thus this copy must have been the one Braley sent to Steinbeck, with his "further and personal thanks" for permission to borrow from CUP OF GOLD. This volume's condition is very good-plus, with some wear at the head of the… Leer más

1914. London: Mills & Boon, (1914). [4]+32 pp ads. Original dark green cloth. First English Edition. This tale, serialized as "Sea Gangsters," involves a mutinous voyage around Cape Horn. London hoped to explain his own "Snark" voyage's failure by laying the blame on Anglo-Saxons' problems with the tropics (per the theories he had read in Woodruff's EFFECTS OF TROPICAL LIGHT ON WHITE MEN). Jack wrote THE ELSINORE soon after he and Charmian returned from his "Millergraph" trip to New York City; their five-month return was on the clipper ship "Dirigo," out of Baltimore around Cape Horn, in mid-1912. (His last acts on shore were to shave his head bald and to have a photograph taken of himself standing by Poe's grave.) Since there was no alcohol on board, Jack went through withdrawal from his dependence upon it, and proclaimed that he was not an alcoholic -- though Charmian knew that would last only until the pain in his kidneys and bowels would again become unbearable.[Sinclair] Jack, with major… Leer más

1914. With Frontispiece. New York: The Macmillan Company, 1914. 8 pp undated ads. Original orange cloth decorated in blue and grey. First Edition. This tale, serialized as "Sea Gangsters," involves a mutinous voyage around Cape Horn. London hoped to explain his own "Snark" voyage's failure by laying the blame on Anglo-Saxons' problems with the tropics (per the theories he had read in Woodruff's EFFECTS OF TROPICAL LIGHT ON WHITE MEN). Jack wrote THE ELSINORE soon after he and Charmian returned from his "Millergraph" trip to New York City; their five-month return was on the clipper ship "Dirigo," out of Baltimore around Cape Horn, in mid-1912. (His last acts on shore were to shave his head bald and to have a photograph taken of himself standing by Poe's grave.) Since there was no alcohol on board, Jack went through withdrawal from his dependence upon it, and proclaimed that he was not an alcoholic -- though Charmian knew that would last only until the pain in his kidneys and bowels would again become… Leer más

1898. London: William Heinemann, 1898. 4 pp undated ads plus 16 pp ads dated Autumn 1897. Original dark grey cloth with life preserver in gilt. First English Edition of Conrad's third novel (the slightly earlier American edition was titled THE CHILDREN OF THE SEA); 1,519 copies were printed, and the actual date of publication was in late 1897. This tale was the novel which he saw as a turning point in his imagination and in his career... [It] was to shift his concern from Malay subjects to a much deeper and more intense concern with life and death, the mythical sea and the transient individual, survival itself, themes which in ensuing years would become his major subject matter [Karl]. Conrad planned THE NIGGER to be a short story, to accompany several others he was writing (which would become TALES OF UNREST) -- first referring to it as consisting of "25,000 words at least," six days later projecting it to consist of 30,000, and ultimately bringing it in at well over 50,000. This copy has the ad… Leer más

1904. London and New York: Harper & Brothers, 1904. Original dark blue cloth decorated in light blue. First Edition of Conrad's great novel involving a South American silver mine, and the corruption and dishonesty fostered by its riches. Conrad was extending his "Lord Jim" theme: that the man who slowly grows rich can be a victim of the silver, not its conqueror; that wealth is not something gained but a trap for those who relinquish, however momentarily, their sense of themselves... It was no coincidence that Conrad was in severe financial straits during the years that he wrote these novels. Despite (or perhaps reflecting) the two and a half years Conrad spent laboring over NOSTROMO, the book was not widely acclaimed upon its publication: The reviews were nearly all bound to discourage the reader. [John] Buchan's estimation is characteristic: "It is not a book which the casual reader will appreciate. The sequence of events has to be sought painfully through the mazes of irrelevancy with which the… Leer más

1904. New York and London: Harper & Brothers, 1904. Original green cloth decorated in orange and black. First American Edition of Conrad's well-known novel involving a South American silver mine, and the corruption and dishonesty fostered by its riches. Conrad was extending his "Lord Jim" theme: that the man who slowly grows rich can be a victim of the silver, not its conqueror; that wealth is not something gained but a trap for those who relinquish, however momentarily, their sense of themselves... [Karl] This copy is bright and just about fine, with a touch of rubbing at the tips. Supino A10.6.0 and Plate 11; Cagle A10b.

1904. New York and London: Harper & Brothers, 1904. Original green cloth decorated in orange and black. First American Edition of Conrad's well-known novel involving a South American silver mine, and the corruption and dishonesty fostered by its riches. Conrad was extending his "Lord Jim" theme: that the man who slowly grows rich can be a victim of the silver, not its conqueror; that wealth is not something gained but a trap for those who relinquish, however momentarily, their sense of themselves... [Karl] This copy is fine and bright -- and is rather uncommon thus. Supino A10.6.0 and Plate 11 (this copy); Cagle A10b. Provenance: bookplates of Eugene S. Brewer Jr. and of the Conrad bibliographer David J. Supino.

1896. New York: D. Appleton and Company, 1896. 10 pp undated ads. Original green cloth decorated in red and black. First American Edition of Conrad's second book, issued as #198 in Appleton's "Town and Country Library." Books in the "Town and Country Library" were issued in three formats: this standard one in cloth (priced at $1.00), one for half that price in wrappers, and a deluxe one (actually a separate printing) in half leather. "Because it was to be included in the family-oriented Town and Country Library, this edition was severely bowdlerized, by eliminating all scenes referring to love or sex" [Supino]; the editors inserted their own linking passages. This is a fine, bright copy. Supino A2.10.0 and Plate 2 (this copy); Cagle A2b.2. Provenance: discreet bookplate of Conrad bibliographer David J. Supino.

1896. New York: D. Appleton and Company, 1896. Original marbled boards with half maroon roan gilt, spine decorated in gilt. First American Edition of Conrad's second book, issued as #198 in Appleton's "Town and Country Library." "Because it was to be included in the family-oriented Town and Country Library, this edition was severely bowdlerized, by eliminating all scenes referring to love or sex" [Supino]; the editors inserted their own linking passages. This copy is in the publisher's "deluxe" binding of half roan gilt; most copies were sold either in wrappers (at fifty cents each) or in cloth (at a dollar each), but copies were also available in this binding for those willing to pay even more. Deluxe copies actually constituted a separate printing (as the wove paper is of a different texture than the paper in the cheaper copies). Cagle says about the two printings that "we are led to the conjecture that they were made either simultaneously or one immediately after the other," and Supino concurs… Leer más

1896. London: T. Fisher Unwin, 1896. 1 page preliminary undated ads. Original dark green cloth. First Edition of Conrad's second book, preceded only by (and containing many of the same characters as) ALMAYER'S FOLLY. After Edward Garnett (then a reader at Unwin's) had "discovered" Conrad and had published his first book, he worked very closely with Conrad on this one -- so much so that some biographers have suggested that Garnett's name should have appeared on the title page as co-author. AN OUTCAST is considered the middle volume of Conrad's only trilogy; the third volume, which he began right after AN OUTCAST but could not complete for almost a quarter of a century, was ultimately published in 1920 as THE RESCUE. The number of copies issued (including those for the colonial market) is uncertain but has been estimated between 3,000 and 6,000. This is quite a bright copy, in very good-plus condition (a couple of tiny nicks in the spine ends and a few cover marks and edge-dents). Supino A2.1.0 (this… Leer más