4to, pp. [2 (blank)], , 13-116, , [3 (blank)], with numerous woodcut illustrations in text, 6 colour plates tipped in with tissue guards, one additional print signed by Leigh and loosely inserted; a very good copy, partially unopened in publisher’s red cloth, upper board blocked in gilt on black morocco panel, spine lettered in gilt, top-edge gilt; lightly rubbed, recapped.
Added to your basket:
The Western Pony … Foreword by James L. Clark.
First edition of Leigh’s finely printed account of the Western pony. A painter known primarily for his scenes of the American West, William Robinson Leigh (1866-1955) produced several equine paintings, here reproduced in colour by Max Jaffé of Vienna.
You may also be interested in...
The Art of Taming and Educating the Horse: A System that makes easy and practical the Subjection of wild and vicious Horses, heretofore practiced and taught by the Author as a Secret, and never before published, indorsed by leading Citizens and Committees of Experts in the principal Cities and Towns of the United States as unqualifiedly the simplest, most humane and effective in the World with Details of Management in the Subjection of over forty Representative vicious Horses, and the Story of the Author’s personal Experience, together with Chapters on Feeding, Stabling, Shoeing, and the practical Treatment for Sickness, Lameness, etc., with a large Number of Recipes heretofore sold as great Secrets.
Second edition of Magner’s much expanded work on horse taming and training. Promoting techniques similar to the Rarey method, the text is closely based on the New System, though with substantially more material and illustration.
INSCRIBED LEWIS, Wyndham.
The Art of Wyndham Lewis. Edited by C. Handley-Read with an Essay on Detail in the Artist’s Style, a chronological Outline and Notes on the Plates. With a critical Evaluation by Eric Newton.
First edition, inscribed ‘To Geoffrey Bridson from W. L.’ The first monograph devoted to Lewis. The absence of some of the plates is curious – some were evidently cut out by Bridson, but there is no sign of the frontispiece ever having been in this copy, nor anything after plate 42. Was it perhaps an early proof?