THE TRADE BINDINGS OF MARGARET ARMSTRONG

We offer a collection of more than 250 items of the works of Margaret Neilson Armstrong, the preeminent designer of trade bindings in the United States. Born in 1867, Armstrong was a member of an old New York family.

One of her mother's ancestors was Peter Stuyvesant, and her father's family had been in New York since the mid-1700s. Her sister, Helen, with whom Armstrong sometimes collaborated on designs, was born in 1869 in Florence.

The family had briefly lived in Italy where Margaret's father, Maitland, studied art. In her youth, Armstrong studied painting and also received instruction from a governess.

The family returned to New York in the 1870s and moved to 58 West 10th Street when Armstrong was in her early twenties. Their neighbors at the time included artists Winslow Homer and William Merit Chase. Architect Stanford White was a family friend who helped Maitland make improvements to the residence. Armstrong would live and work in the house and a small adjoining studio for the rest of her life.

According to her brother, Hamilton Fish Armstrong, Armstrong began her art career in 1883 at the age of 16. She created menus and other small pieces for local establishments. Helen soon followed in her footsteps, and the two began designing original Christmas cards for the family. In Those Days, Hamilton wrote that "Margaret was the better at design, Helen at figures." Armstrong's first book design, in 1890, was for the Chicago publisher A. C. McClurg.

During her long career, Armstrong designed for a variety of publishing houses, although she worked most frequently for Charles Scribner's Sons and G. P. Putnam. In 1893, the twenty-five-year-old designer won an award for her book covers, which had been exhibited at the World's Columbian Exposition in Chicago. And the following year, the Grolier Club published a catalog of book artists that described her as a "designer of great versatility and eminent skill" whose "skill in adapting, combining, and creating designs which are almost flawless in excellence has made her book covers famous."

Many of Armstrong's book covers were groundbreaking, especially in the integration of type and image. She developed her own type alphabet, which can be seen in most of her designs from 1895 to 1910. The most readily identifiable aspect of her original typography is a capital R that has an exaggeratedly curving descender. In their invaluable reference Margaret Armstrong and American Trade Bindings, Charles Gullans and John Espey call Armstrong's handling of typography "eccentric, pleasing, and as recognizable as handwriting." It was during this period that the designer also began to incorporate her monogram (MA) into many covers and illustrations.

Armstrong's designs, which often include stylized floral motifs, were undoubtedly influenced by popular Art Nouveau styles of the day. In Artists of the Book in Boston, 1890-1910, Nancy Finlay also points out the specific influences of artists John La Farge, Elihu Vedder (another family friend), Walter Crane, and Kate Greenaway. Armstrong's covers often display a combination of bright, richly colored cloth and contrasting ink. Although her designs were popular and even copied in her day, Armstrong didn't always rely upon a standard formula. Her design for the 1903 Hans Brinker, for example, is quite unusual for her.

Armstrong's popularity led her to design multiple covers for some publishers. This sometimes enabled her to create a particular look for the repeated work of an individual author. Some of her most recognizable designs, including those for the books of Washington Irving, Frances Hodgson Burnett, George Washington Cable, Myrtle Reed, and Henry van Dyke, are examples of such designs. During Armstrong's most prolific period, from 1894 through 1896, she was busy designing covers (and sometimes interior illustrations) for a total of 78 different titles! Her success, which led her to design books by Edith Wharton, Charles Dickens, and Thomas Hardy, inspired many other women designers to join the field.

By the 1910s, dust jackets had become a popular and less expensive alternative to decorated cloth covers. At this time, Armstrong devoted her energies to type design, editing books by her father and brother, and designing covers for her own books. While compiling her Field Book of Western Wild Flowers, Armstrong and her traveling companions even became the first women tourists to visit the bottom of the Grand Canyon.

Although the publishing industry was greatly changed, Armstrong continued to work into her sixties. One of her best-known and most popular later works as a writer was the 1938 biography, Fanny Kemble. In 1954, her sister, Helen, published an account of their childhood, Early in the Morning. In her later years, Armstrong often spent time in Santa Fe, but she was back home in New York when she died in 1944 at the age of seventy-six.

Today, Armstrong's books are included in the collections of UCLA and the Huntington Library. Her designs became scarce and rose sharply in value after UCLA's catalog of her titles was first published in 1968. They have continued to grow in popularity since the 1980s and are widely sought by private collectors. This collection includes examples of work from all periods of Armstrong's career, including books written by Armstrong, those designed in collaboration with her sister, and those mentioned in the above text. It also includes Armstrong's exceptionally fine bindings of works by Paul Laurence Dunbar, the Brownings, and John Greenleaf Whittier.

The price for the collection is $25,000.00

1. Abbott, Jacob. Franconia Stories. Edited by Margaret Armstrong. Illustrated by Helen Maitland Armstrong. New York: Putnam, 1923. Unsigned. The cover lettering and the title page are by Margaret Armstrong.
2. Andrews, E. Benjamin. The Last Quarter Century in the United States, 1870-1895. New York: Scribner, 1896. 2 volumes. Unsigned. Gold on red linen weave cloth. A little rubbing to cover; hinges cracked.
3. Andrews, Mary Raymond Shipman. Bob and the Guides. New York: Scribner, 1906. Unsigned. Light green, red, white, and gold on dark green cloth.
4. Andrews, Mary Raymond Shipman. The Militants. New York: Scribner, 1907. Light green, pale blue, white, and gold on dark green cloth.
5. Armstrong, Margaret. Field Book of Western Wild Flowers. New York: Putnam, 1915. Unsigned. Gold on orange cloth; 500 illustrations in black and white, 48 in color by Miss Armstrong.
6. Armstrong, Margaret. Five Generations: Life and Letters of an American Family, 1750-l 900. New York: Harper, 1930. Gold on beige, linen weave cloth. Cover somewhat worn and slightly soiled.
7. Armstrong, Margaret. Fanny Kemble, A Passionate Victorian. New York: Macmillan, 1938. Unsigned. Silver on red unsized cloth. The cover lettering only. Spine soiled, endpapers stained.
8. Armstrong, Margaret. Trelawny, A Man's Life. New York: Macmillan, 1940. Silver on red, unsized cloth. The cover lettering only. With chipped dj.
9. Armstrong, Margaret. The Man with No Face. New York: Random House, 1940. With stained,chipped dj.
10. Arnold, Sir Edwin. Adzuma, or the Japanese Wife. New York: Scribner, 1893. Unsigned. White, dark green, olive green, and gold on pale green cloth. Attributed to Margaret Armstrong in Commercial Bookbindings, p. 15.
11. Bancroft, Hubert Howe. The New Pacific. New York: The Bancroft Co., 1900. Blindstamping and gold on dark green, vertically ribbed cloth. In some copies a printed slip is enclosed, reading, "This beautiful cover design, by Miss Maitland Armstrong, for THE NEW PACIFIC, stamped in gold on sea green, represents ocean waves and sea-shells, with the Ancient Mariner telling to the Wedding Guest the story of his adventures into the Pacific, and how he killed the Albatross, the bird that made the wind to blow, thus bringing upon himself and others dire misfortune." We have no doubt, despite the apparent attribution to Helen Maitland Armstrong, that this cover is the work of Margaret Armstrong. There is a poster for the book, printed in red and green and measuring 16" x 11 l/4". The lettering of the title and author are taken from the cover of the book, but nothing else is the work of Armstrong.
12. Barclay, Florence. The Rosary, Decorations by Margaret Armstrong. New York: Putnam, (c1910). Gold on blue, moire grained cloth; decorated end papers, half-title, title page, and six repeating flower borders throughout. This is the "Holiday" edition, not to be confused with the first edition of 1909. Illustrated in Gullans/Espey, p. [42]. Spine slightly sunned; ribbon marker detached. The same design used for The Mistress of Shenstone and The Following of the Star.
13. Barclay, Florence.The Mistress of Shenstone. Decorations by Margaret Armstrong. New York: Putnam, (c1910). Gold on blue, moire grained cloth. The lettering does not appear to be authentic.
14. Barclay, Florence.The Following of the Star (1911). Decorations by Margaret Armstrong. New York: Putnam. Gold on blue, moire grained cloth. Spine slightly sunned.
15. Barrie, James M. Sentimental Tommy. New York: Scribner, 1896. Light green and gold on brown, linen weave cloth.
16. Barrie, James M. Tommy and Grizel. New York: Scribner, 1900. Green, red, black, and gold on brown, linen weave cloth.
17. Bell, Lilian. The Love Affairs of an Old Maid. New York: Harper, (c1893). Unsigned. Gold and silver on blue grey, fine grained cloth. Cover slightly worn.
18. Bingham, Capt. the Hon. D[ennis Arthur]. The Bastille. New York: Pott, 1901. 2 volumes. Signed. Gold on red cloth, with decorated title pages in sanguine and sepia. Illustrated in Checklist, pp. 10-11; in PTLA (1901), p. 2. PW, 60 (September 28,1901). Spine slightly worn. With dj.
19. Bonner, Geraldine. The Pioneer. Indianapolis: Bobbs-Merrill, (c1905). Orange, yellow, pale green, and gold on dark blue cloth. Illustrated in The Argonaut, 56 (May 8, 1905), 319.
20. Bonney, T. G., et al. The Mediterranean.... New York: Pott, 1902. Gold on red, fine diagonally ribbed cloth, spine slightly soiled and worn. Illustrated in PTLA (1902), p. 3: cover design by Margaret Armstrong."
21. Bonney, T. G., et al. The Mediterranean.... New York: Pott, 1902. Gold on blue, fine diagonally ribbed cloth, with dj. Illustrated in PTLA (1902), p. 3: cover design by Margaret Armstrong." See a picture of this book.
22. Bouvet, Marguerite. Sweet William. Illustrated by Helen and Margaret Armstrong. Chicago: McClurg, 1890. Unsigned. Dull white on blue cloth. Some lettering and the ornament on the spine were crudely adapted for her A Child of Tuscany (1895).
23. Bouvet, Marguerite. Prince Tip-Top. Illustrated by Helen Maitland Armstrong. Chicago: McClurg, 1892. Unsigned. Dull white on olive green cloth. The medallion of Cerulea appears on the cover.
24. Bradley, Mary Hastings. The Wine of Astonishment. Signed. New York: A. L. Burt, 1919.
25. Brownell, W. C. Newport. New York: Scribner, 1896. Signed. Cover soiled.
26. Browning, Elizabeth Barrett. Sonnets from the Portuguese. Illustrations by Margaret Armstrong. New York: Putnam, 1902. Gold on pale green vertically ribbed cloth. Half-title, title page, and page decorations throughout in screened colors. The cover is illustrated in Checklist, p. 13. The frontispiece is by Helen Armstrong and is illustrated in PTLA (1902). The cover design was adapted for Alice L. James, Catering for Two (1908, c1898) 16th printing, the title page of which is adapted from Item 76. Slight soiling to spine.
27. Browning, Elizabeth Barrett. Sonnets from the Portuguese. Illustrations by Margaret Armstrong. New York: Putnam, 1902. Gold on white paper vellum with leather spine, the pages hinged. Cover slightly soiled around edges.
28. Browning, Robert. Pippa Passes. Illustrated by Margaret Armstrong. New York: Dodd, Mead, 1900. Gold on green buckram, a canvas onlay across the top of the design, embossed in green, pink or orange, and gold decorated title page, dedication page, Dramatis Personae page, nine full page repeating borders, twenty- nine full-page non-repeating borders, and five small decorations, all overprinted in black on a pale yellow ground. Signed. Slight soiling to spine. See a picture of this book.
29. Bunner, H. C. Jersey Street and Jersey Lane. New York: Scribner, 1896. Dull white and gold on dark blue cloth. "The book is manufactured as handsomely as it should be, and bears one of Miss Armstrong's fortunate covers," The Book Buyer, 13 (1896), 356.
30. Bunner, H. C. "Short Sixes." New York: Puck, Keppler & Schwarzmann, 1891. [due to stylistic similarities, we believe this work may be Armstrong's]
31. Bunner, H. C. Love in Old Cloathes. New York: Scribner, 1896. Gold on red buckram. The ornament from this design was later used on The Stories of H. C. Bunner (1916-17). Slightly worn spine, with tiny loss of cloth on spine.
32. Bunner, H. C. The Poems of H. C. Bunner. New York: Scribner, 1899. Gold on olive green, silk cloth. Spine slightly sunned.
33. Bunner, H. C. Love in Old Cloathes. New York: Scribner, 1898. Dull white and gold on green silk cloth, a design used for several other authors and titles, with varying emblems to differentiate them. Spine sunned.
34. Burnett, Frances Hodgson. A Lady of Quality. New York: Scribner, 1897. Chartreuse, rust, and gold on cream buckram. Late printings are in white on red cloth with most of the design in blind. Illustrated in line block in The Book Buyer, 13 (1896), 192. Cover slightly worn, spine soiled.
35. Burnett, Frances Hodgson. That Lass o' Lowrie's. New York: Scribner, 1896. A new design, but similar to and uniform with Item 49; late issues are also like late issues of Item 49. Cover worn, spine cracked.
36. Burnett, Frances Hodgson. His Grace of Osmonde. New York: Scribner, 1897. Another new design, but similar to and uniform with A Lady of Quality and That Lass o' Lowrie's.
37. Burt, Mary E., and Zenaide A. Ragozin. Odysseus, the Hero of Ithaca. New York: Scribner, 1898. Black and cream on dark red cloth. Spine sunned.
38. Cable, George Washington. John March, Southerner. New York: Scribner, 1894. Dark green and gold on light green cloth. Cover worn, spine stained, some foxing.
39. Cable, George Washington. Bonaventure. New York: Scribner, 1899. Signed. Gold on olive green, silk cloth. Cover soiled and worn, spine sunned, cracked hinge. This is the binding of a uniform edition, which includes 54a-59.
40. Cable, George Washington. Dr.Sevier. New York: Scribner, 1906. Signed. Cover stained, spine sunned, ex-library with faint external library number, dampstains to spine heel.
41. Cable, George Washington. Dr. Sevier. New York: Scribner, 1913. This late printing drops the design from the front cover, retaining it only on the spine. Spine sunned.
42. Cable, George Washington. Old Creole Days. New York: Scribner, 1898. Signed. Spine sunned, torn at crown, hinges cracked.
43. Cable, George Washington. The Grandissimes. New York: Scribner, 1899. Signed. Spine sunned, hinge cracked.
44. Cable, George Washington. Strong Hearts. New York: Scribner, 1899. Gold on olive green silk cloth. Cover stained, spine sunned.
45. Cable, George Washington. The Cavalier. New York: Scribner, 1901. Black and gold on bright red cloth. Spine slightly worn, front hinge cracked.
46. Cable, George Washington. Bylow Hill. New York: Scribner, 1902. Signed. Black and gold on bright red cloth. Small stains on front cover.
47. Cable, George Washington. Kincaid's Battery. New York; Scribner, 1908. Pale blue, black, and gold on bright red cloth. Spine slightly worn.
48. Cable, George Washington. "Posson Jone" and Pere Raphae1. New York: Scribner, 1909. Signed. Cream, aquamarine, and gold on cerulean, vertically ribbed cloth. Illustrated in PW, 76 (December 4, 1909), 1719. Slight wear to spine.
49. Cary, Elizabeth Luther. Browning: Poet and Man, A Survey. New York: Putnam, 1899. Signed. The design was later used for the same author's Emerson (1904), late printings of her Tennyson (1902), and 61a-c. See a picture of this book.
50. Cary, Elizabeth Luther. The Rossettis (1900). New York: Putnam. Signed. Gold on dark blue, vertically ribbed cloth. Slight wear to spine.
51. Cary, Elizabeth Luther. William Morris (1902). New York: Putnam. Signed. Gold on dark blue, vertically ribbed cloth. Slightly rubbed.
52. Cary, Elizabeth Luther. Poems by Dante Gabriel Rossetti, 2 volumes, (1903). New York: Putnam. Gold on dark blue, vertically ribbed cloth. No design on front covers.
53. Crockett, S. R. The Loves of Miss Anne. New York: Dodd, Mead, 1904. Pastel shades of chartreuse, violet, and yellow on dark blue cloth. Front hinge cracked, small punctures to spine.
54. Dana, Mrs. William Starr. According to Season. New York: Scribner, 1894. Unsigned. Pink, yellow, and silver on light green cloth. Illustrated in Crichton, p. 77. Spine slightly worn, lightly soiled.
55. Dana, Mrs. William Starr. How to Know the Wild Flowers. New York: Scribner, 1895. Signed. Silver and dull green on brown, unsized linen weave cloth. Illustrated in Strange, p. 52. Sizing spotted, endpapers foxed, dampstained pages, pressed wildflower in back.
56. Daskam, Josephine Dodge. Whom the Gods Destroyed. New York: Scribner, 1902. Signed. Black and gold on bright red cloth. See Item 3. Spine lightly soiled, front cover cloth creased.
57. Daviess, Maria Thompson. The Rose of Old Harpeth. Indianapolis: Bobbs- Merrill, (c1911). Dark green and white on light green cloth. With dj, chipped with small tears. Spine somewhat sunned, front hinge cracked, missing flyleaf.
58. Dickens, Charles. A Christmas Carol. New York: Putnam, 1900.Signed. See Item 76. Spine worn, cover lightly soiled, detached ribbon marker.
59. Dickens, Charles. The Chimes. New York: Putnam, 1911. [Due to stylistic similarities, we believe this design to be Armstrong's.]
60. Dickens, Charles. The Cricket on the Hearth. New York: Putnam, 1900. Dark green, red, and gold on white, linen weave cloth; decorated title page. This title, with Item 75, advertised as a set designed by Margaret Armstrong. The design was used later on Elizabeth Kent, The House Opposite, New York: Putnam, 1902. Cover slightly stained, spine slightly worn, hinges cracked.
61. Dodge, Mary Mapes. Hans Brinker or the Silver Skates. "New Amsterdam Edition" New York: Scribner, 1903. Signed. Dull white and gold on dark blue cloth. See a picture of this book.
62. Du Maurier, George. Peter Ibbetson. New York: Harper, 1892 (c1891). Unsigned. Dark green and gold on light green cloth. Cover soiled, spine slightly worn.
63. Du Maurier, George. Trilby. New York: Harper, 1894. Olive green and gold on tan, linen weave cloth. Mary Kyle Dallas wrote a parody, Billtry, New York: The Merriam Co., (c1895). The cover is a parody of Miss Armstrong's design. Cover slighlty worn, spine stained.
64. Dunbar, Paul Laurence. Candle-Lightin' Time. Decorations by Margaret Armstrong. New York: Dodd Mead, 1901. Brown, pale yellow, dark green, and gold on light green, rough linen weave cloth; decorated half-title and title page, with decorations and borders in pale green and black. Pages 14 and 15 illustrated in Thompson, p. 140; discussed in Crichton, p. 55. The border from p. 14 is used for an advertisment for S. R. Crockett, Cinderella, in New York Times Saturday Review of Books and Art, 6 (November 30, 1901), 894. Slight wear to spine. See a picture of this book.
65. Dunbar, Paul Laurence. When Malindy Sings. Decorations by Margaret Armstrong. New York: Dodd Mead, 1903. Cream, red, light green, and gold on brown, diagonally fine ribbed cloth (one of three bindings). Decorated half-title and title page, with decorations and border throughout in pale blue. Frontispiece and title page illustrated in Thompson, p. 141. Small stains to front cover.
66. Dunbar, Paul Laurence. Li'l' Gal. Decorations by M. Armstrong. New York: Dodd Mead, 1904. Signed. Cream, orange, pale green, and gold on yellowish tan cloth; decorated half-title and title page, with decorations throughout in pale orange.
67. Earle, Alice Morse. Costume of Colonial Times. New York: Scribner, 1894. Grey, green, and gold on a salt and pepper, pale blue cloth. Illustrated and attributed to Miss Armstrong in Strange, p. 49.
68. Earle, Alice Morse. Home Life in Colonial Days. New York: Macmillan, 1898. [We believe this design may be Armstrong's]
69. Earle, Alice Morse. Colonial Days in Old New York. New York: Scribner, 1909. Cerulean blue and gold on white buckram. Illustrated in line block in 77te Book Buyer, 11 (1894-1895), 552. Flyleaf torn.
70. Eggleston, Edward. The Hoosier Schoolboy. See Item 248 Elliott, Henry W. Our-Arctic Province (1897).
71. Elliott, Henry W. Our Arctic Province. New York: Scribner, 1897. Part of the "Library of Contemporary Exploration and Adventure." Cover stained and slightly worn, some foxing.
72. Ely, Helen Rutherford. Another Hardy Garden Book. New York: Macmillan, 1909 reprint. White on light green, linen weave cloth.
73. Ely, Helen Rutherford. A late printing of Mrs. Ely's The Practical Flower Garden. New York: Macmillan, 1928 (c1911).
74. Field, Eugene. With Trumpet and Drum. New York: Scribner,1903. The design is to the left, printed in pale blue on cream cloth; the forward halves of the front and back covers are bound in pale blue cloth. Illustrated in line block in The Book Buyer, 12 (1895), 854.
75. de Koven, Reginald. Songs of Childhood. Verses by Eugene Field, Music by Reginald de Koven and Others New York: Scribner, 1898. The title page is signed "Margaret Armstrong" and the single decorative border "MA." The border, banners, and lettering of the cover are by Margaret, although the drawing of the figures on the cover is signed "H.M.A." The title page is illustrated in The Book Buyer, 13 (1896-7), 712.
76. Field, Eugene, The Eugene Field Book (1914). W/chipped dust jacket. See Item 252. Front cover bumped.
77. Field, Henry M. The Barbary Coast. New York: Scribner, 1893. Cream and red on dark blue cloth, the spine in gold. The cover ornament is illustrated in line block in The Book Buyer, 11 (1894-5), 361.
78. Field, Henry M. Our Western Archipelago. New York: Scribner, 1895. Dark green and brown on tan linen weave cloth. Soiled cover, ex-library.
79. Finck, Henry Theophilus. Wagner and His Works. New York: Scribner, 7th ed., 1904, (c1893). 2 volumes. Gold on green cloth. Rear hinge cracked on each volume, ex-library.
80. Forbes, Archibald. Czar and Sultan. New York: Scribner, 1895. Green, black, and silver on reddish brown, smooth, sized cloth. Cover somewhat worn, lightly stained.
81. Ford, Paul Leicester. Wanted-A Match Maker. Decorations by Margaret Armstrong. New York: Dodd Mead, 1900. Signed. Dark green, light green, white, red, and gold on yellowish green cloth. Half-title, title, decorations, and borders throughout in green and black. See a picture of this book.
82. Ford, Paul Leicester. Wanted-A Match Maker. Decorations by Margaret Armstrong. New York: Dodd Mead, 1900. Signed. Dark green, light green, white and red on light bluish green cloth with tissue dj, in a box, boxcover broken.
83. Ford, Paul Leicester. Wanted -A Chaperon . Decorations by Margaret Armstrong. New York: Dodd Mead, 1902. Dark green, gold, and white on light green, diagonally fine ribbed cloth. The plates by Howard Chandler Christy have been reworked in line. Decorated half-title, title, and decorations and borders throughout in screened tones of light green, light yellow, and rust. The reworking of the plates for the Christy illustrations tells us that the title went through many printings. Light wear to spine, front hinge cracked, flyleaf missing.
84. Ford, Paul Leicester. Wanted -A Chaperon . Decorations by Margaret Armstrong. New York: Dodd Mead, 1902. Purple and white on lavender, vertically fine ribbed cloth. Since this design eliminated the gold, it is presumably a cost- cutting issue. Spine slightly worn, some foxing.
85. Ford, Paul Leicester. Love Finds the Way. Decorations by Margaret Armstrong. New York: Dodd Mead, 1904. Signed. Light green, white, and gold on dark green, diagonally fine ribbed cloth. Decorated half-title and title page with decorations and borders throughout in three color process. Illustrated in Checklist, frontispiece; discussed in Crichton, p. 55. Spine slightly worn.
86. Fox, John, Jr. Blue Grass and Rhododendron. New York: Scribner, 1901. Signed. Rust, dark brown, very dark blue green, and gold on dark brown cloth.
87. Grant, Robert. The Art of Living. New York: Scribner, 1895. Signed. Green and gold on light green, linen weave cloth. Spine stained, cover somewhat stained
88. Grant, Robert. The Bachelor's Christmas. Ne w York: Scribner, 1895. Gold on red buckram in a format used for several other authors and titles. See Item 46.
89. Grant, Robert. Unleavened Bread. New York: Scribner, 1900. Signed. Gold on green cloth.
90. Grant, Robert. Unleavened Bread. New York: Scribner, 1900. Signed. Gold on red cloth. Spine slightly stained.
91. Grant, Robert. The Undercurrent. New York: Scribner, 1904. Signed. Gold on cerulean blue cloth Illustrated in Scribner's advertising preliminaries in The Critic, 45 (December, 1904). Cover slightly worn, front hinge cracked.
92. Hamm, Margherita Arlina. Builders of the Republic. New York: Pott, 1902. Signed. Black and gold on blue green diagonally fine ribbed cloth. Some rubbing to cover. See a picture of this book .
93. Hardy, Thomas. A Group of Noble Dames. New York: Harper, 1891. Unsigned. Silver and gold on very dark brown, diagonally fine ribbed cloth. Later used on Anthony Hope, The Intrusions of Peggy (1902). Spine somewhat stained, some foxing.
94. Hardy, Thomas. Tess of the D'Urbervilles. New York: Harper, 1892. Black and gold on reddish brown cloth.
95. Harland, Marion. Where Ghosts Walk: The Haunts of Familiar Characters in Literature and History. New York: Putnam, 1898. Green and gold on grey, diago- nally fine ribbed cloth. The design was also used on the new series of the same title which was published in 1900.
96. Harland, Marion. Marion Harland's Complete Cook Book. New Edition, Revised and Enlarged. Indianapolis: Bobbs-Merrill, (c1906; 2d ed.) Cover worn and stained, front hinge cracked.
97. Hayward, Walter. The Commuter's Garden. New York: Crowell, (c1914). Signed. Pale orange and light green on dark green cloth. The lettering, which ill fits the space, is by another hand. There is every reason to think that this is an earlier design adapted to this use, and none to think that Miss Armstrong designed any book covers in 1914, when she was most seriously involved in finishing the work for Field Book of Western Wild Flowers. Spine worn.
98. Healy, G. I? A. Reminiscences of a Portrait Painter. Chicago: McClurg, 1894. Unsigned. Gold on grey or red brown, linen weave cloth, or dark blue on smooth white cloth Illustrated in Checklist, p. 19.
99. Henderson, William James. What Is Good Music? NewYork: Scribner, 1898. Unsigned. Gold on green cloth. Spine worn at crown and heel.
100. Herrick, Christine Terhune. First Aid to the Young House-keeper. New York: Scribner, 1900. Pale greyish blue on cream paper over boards. Cover stained and somewhat worn, hinges cracked, corners worn, one rear corner bumped.
101. Herrick, Francis Hobart. The Home Life of Wild Birds. New York: Putnam, 1901. Light green, dark green, and gold on brown cloth. The bird ornament and title of the front cover, in gold, are blindstamped on the back cover. Hibbard, G. A. Lenox. See Item 105. Hill, Headon. See Item 161, and George L. Myers. Back cover somewhat stained.
102. Hope, Anthony. Comedies of Courtship. New York: Scribner, 1896. The binding of Item 46 with an appropriate new emblem.
103. Hornung, E. W. The Rogue's March. New York: Scribner, 1896. Signed. Orangeish red and black on tan, linen weave cloth
104. Irving, Washington. Bracebridge Hall. "Surrey Edition" New York: Putnam, 1896. 2 volumes. Blindstamping and gold on dark blue cloth. One is yellow, pale green, and gold on cream cloth. Decorated title pages and borders throughout in pale green. Signed. " . ..the page borders, to be printed in colors, have been drawn by Margaret Armstrong," The Book Buyer, 13 (1896), 455. The design is mentioned and attributed to Miss Armstrong in The Critic, 29 (November 12, 1896), 341.
105. Irving, Washington. Bracebridge Hall. "Surrey Edition" New York: Putnam, 1896. 2 volumes. Yellow, pale green, and gold on cream cloth. Somewhat stained at edges, one volume front hinge cracked. Decorated title pages and borders throughout in pale green. Signed. " . ..the page borders, to be printed in colors, have been drawn by Margaret Armstrong," The Book Buyer, 13 (1896), 455. The design is mentioned and attributed to Miss Armstrong in The Critic, 29 (November 12, 1896), 341.
106. Irving, Washington. Astoria. "Tacoma Edition" New York: Putnam, 1897. 2 volumes. Tan and gold on cream buckram. Spines lightly stained, one volume front hinge cracked. Decorated title pages and borders throughout in rust, signed. The spines are uniform with Item 134. See a picture of this book.
107. Irving, Washington. Astoria. "Tacoma Edition" New York: Putnam, 1897. 2 volumes. Gold on dark red buckram. Decorated title pages and borders throughout in rust, signed. The spines are uniform with Item 134.
108. Irving, Washington. The Adventures of Captain Bonneville. "Pawnee Edition" New York: Putnam, 1898. 2 volumes. Reddish brown and gold on cream buckram. Decorated title pages and borders throughout in grey blue. The spines are uniform with Item 133.
109. Irving, Washington. The Adventures of Captain Bonneville. "Pawnee Edition" New York: Putnam, 1898. 2 volumes. 1 of 50 Japan paper proofs, quarter leather, leather split, chipped, and broken; with dj. Decorated title pages and borders throughout in grey blue. The spines are uniform with Item 133.
110. Irving, Washington. Rip Van Winkle. New York: Putnam,1899. Green, red, yellow, and gold on white buckram. Cover somewhat stained, hinges cracked. Decorated title page and borders throughout in rose or pale green. Illustrated in Strange, p. 54. PTLA (1899, 1900): advertised as a set with 135b. See a picture of this book .
111. Irving, Washington. Rip Van Winkle. New York: Putnam,1899. Gold (the line block only) on dark red buckram. Decorated title page and borders throughout in rose or pale green. Illustrated in Strange, p. 54. PTLA (1899, 1900): advertised as a set with 135c.
112. Irving, Washington. The Legend of Sleepy Hollow, designed by "Miss Armstrong." New York: Putnam,1899. The same design is used on both volumes. White buckram, somewhat stained spine and slightly worn, rear hinge cracked. Other on red buckram.
113. Irving, Washington. The Legend of Sleepy Hollow, designed by "Miss Armstrong." New York: Putnam,1899. The same design is used on both volumes. Red buckram.
114. Isham, Frederic. Under the Rose. Indianapolis: Bobbs-Merrill, (c1903). Signed. Blindstamping, cream, light blue green, and gold on olive, vertically ribbed cloth. Illustrated in Bobbs-Merrill advertisement, PW 64 (August 1, 1903), 195. The lettering is not by Miss Armstrong. Cover frayed at heel.
115. King, Captain Charles. Cadet Days. New York: Harper, 1894. Unsigned. Black, silver, and gold on grey blue diagonally fine ribbed cloth. Cover somewhat rubbed.
116. Kingsley, Florence Morse. The Transfiguration of Miss Philura. "Hour-Glass Stories Edition" New York: Funk and Wagnalls, 1902. Pink and dark green on lemon yellow, vertically ribbed cloth. The design was adapted for Ellen V. Talbot, The Courtship of Sweet Anne Page (1902), and Clara Morris, The Trouble Woman (1904). The design is shown as the binding of Margaret Hannis, The Emancipation of Miss Susana (1907), in Monthly List of the Latest Books ("Books for Presents," Christmas, 1907), p. 29.
117. Kirk, Ellen Olney. The Story of Lawrence Garthe. Boston: Houghton Mifflin, 1894. Unsigned. Gold and black on rust, linen weave cloth. Spine somewhat worn, rear hinge cracked.
118. Krehbiel, Henry Edward. How to Listen to Music. New York: Scribner, 1908 (14th printing). Gold on dark blue cloth. See a picture of this book.
119. Kuhns, [Levi] Oscar. Switzerland. New York: Crowell, (c1910; 2d ed.). White, purple, and gold on light blue cloth. Cover faintly stained. With dj, separated at folds, loss to heel and crown.
120. Leroux, Gaston. The Phantom of the Opera. Indianapolis: Bobbs-Merrill, (cl911). Unsigned. Blindstamping and cream on rust cloth. Cover slightly stained, front hinge cracked.
121. Litchfield, Grace Denio. Mimosa Leaves. Illustrated by Helen and Margaret Armstrong. New York: Putnam, 1895. Unsigned. Green and gold on light green cloth; eighty-one black and white decorations, many of them repeating tail pieces; decorated half-title and title page. Spine somewhat worn.
122. Longfellow, Henry W. The Song of Hiawatha. Indianapolis: Bobbs-Merrill, 1906. [This design may be Armstrong's.]
123. McCutcheon, George Barr. The Sherrods. New York: Dodd Mead, 1903. Red, white, green and black on greyish blue cloth. Slight wear to spine.
124. McCutcheon, George Barr. The Day of the Dog. Decorations by Margaret and Helen Maitland Armstrong. New York: Dodd Mead, 1904. White, yellow, and black on red, vertically ribbed cloth, a bulldog head with cupid wings in the central, heart shaped panel. Somewhat stained and worn, ex-library. The colored endpapers are signed "H.M.A.,"and the title page is signed, "M.A." The decorations are the mixed responsibility of the two.
125. McCutcheon, George Barr. The Day of the Dog. Decorations by Margaret and Helen Maitland Armstrong. New York: Dodd Mead, 1904. Pale yellow, light green, and gold on dark green, vertically ribbed cloth; the words, "A Love Story," replacing the bulldog in the central panel. We believe the second binding to be partly by some other hand, since the new lettering is not authentic. It is probable that the dog led readers to believe that the novelette was a dog story rather than a love story. Both bindings occur with both states of the decorations, i.e., before and after the correction of "Cave Canum" to "Cave Canem" on p.6, and before and after the replacement of the drawing on p.XX with an ornament. The colored endpapers are signed "H.M.A.,"and the title page is signed, "M.A." The decorations are the mixed responsibility of the two.
126. MacGrath, Harold. The Grey Cloak. Indianapolis: Bobbs-Merrill, (c1903). Unsigned. White, rose pink, black, and gold on grey cloth. Illustrated in the Bobbs-Merrill advertisement, PW, 64 (July 11, 1903), 38. Flyleaf missing.
127. MacGrath, Harold. The Man on the Box. New York: Grosset & Dunlap (c1904). Light green, orange, and black on blue green, linen weave cloth. Illustrated in PW, 66 (November 5, 1904), 1050. Cover somewhat worn.
128. McSpadden, J. Walker. Stories from Wagner. New York: Crowell, (c1905). Unsigned. Red, white, blue, and gold on green cloth; decorated end papers, signed. There are two reissues of 1914, one as above, and one with different colors and with a title page that reads The Stories of Wagner's Operas, although the cover title and the listings in the US Catalog and PTLA are as above. Spine worn, some foxing.
129. Martin, Edward Sandford. Windfalls of Observation. New York: Scribner, 1894. Unsigned. Light green and gold on dark green cloth. Few scratches and stains to cover.
130. Martin, Edward Sandford. Cousin Anthony and I. New York: Scribner, 1895. Unsigned. Light green and gold on dark green cloth. Spine slightly worn.
131. Meredith, George. Selected Poems. New York: Scribner, 1897. Signed. Gold on olive green silk cloth. Spine sunned.
132. Meriwether, Lee. Afloat and Ashore on the Mediterranean. New York: Scribner, 1892. Unsigned. Black and gold on reddish brown cloth. Somewhat stained and worn.
133. Michelson, Miriam. In the Bishop's Carriage. Indianapolis: Bobbs-Merrill, (c1904). Cream and dark green on bright red linen weave cloth. Spine slightly worn, some foxing.
134. Miller, Alice Duer. Calderon's Prisoner. New York: Scribner, 1903. Blue green, dark blue, white, and gold on greenish tan, linen weave cloth.
135. Miller, Alice Duer. The Modern Obstacle. New York: Scribner, 1903. Signed. Green, white, black, and gold on blue green cloth.
136. Miller, Elizabeth [Jane]. The Yoke. Indianapolis: Bobbs-Merrill, (c1904). Blindstamping, orange, and gold on dark blue, diagonally fine weave cloth. Some wear to cover.
137. My Farm of Edgewood. New York: Scribner. Illustrated in The Book Buyer, 11 (May, 1894), 180.
138. Morris, Clara. The Trouble Woman (1904). New York: Funk and Wagnalls. See Item 140. With dj, torn and dampstained. Dampstained cover.
139. Muller, [Friedrich] Max. Memories. New Illustrated Edition, with Pictures and Decorations by Margaret and Helen Maitland Armstrong. Chicago: McClurg, 1906. White and gold on pale blue cloth. Cover lightly stained. End papers, title page, chapter headings, and borders throughout by Margaret Armstrong, signed. Illustrated in Monthly List of the Latest Books (December, 1906), p. 61.
140. Muller, [Friedrich] Max. Memories. New Illustrated Edition, with Pictures and Decorations by Margaret and Helen Maitland Armstrong. Chicago: McClurg, 1906. An edition in calf. Some sunning to spine. In box, cover broken. Illustrated in Monthly List of the Latest Books (December, 1906), p. 61.
141. Nevin, Ethelbert. Songs from Vineacre. Op. 28. New York, Cincinnati: The John Church Co., (c1899). Unsigned. Chartreuse and rust on cream paper. This printing includes one of the six songs contained in the complete versions to Op. 28: "The Nightingale's Song." The cover, with wide margins around the design, no advertising copy on the back, and no printed information below the imprint, is believed to be the earliest printing.
142. Nevin, Ethelbert. Un Giorno in Venezia, "for Pianoforte" Op. 25. New York, Cincinnati: The John Church Co., 1898. Gold and silver on purple covers; with five illustrations, the fourth signed "MA 1896."
143. Page, Thomas Nelson. Elsket, and Other Stories. New York: Scribner, 1891. Unsigned. Silver and gold on light green cloth. Few small stains to cover.
144. Page, Thomas Nelson. The Burial of the Guns. New York: Scribner, 1894. Unsigned. Pale green, red, and gold on cream cloth. Some stains to cover, spine somewhat worn.
145. Page, Thomas Nelson. In Ole Virginia. New York: Scribner, 1894. Green, yellow, and gold on cream buckram; decorated title page, signed. The title page is illustrated in The Book Buyer; 13 (1896), 709. The poster for the book made use of the background design of the cover only. Nothing of the lettering is by Miss Armstrong. Spine worn.
146. Page, Thomas Nelson. Marse Chan. New York: Scribner. Signed. 1903, cream and silver on dark blue cloth, signed, some wear to cover.
147. Page, Thomas Nelson. Marse Chan. New York: Scribner. 1892, black and gold on cream w/chipped and torn dj. This earlier edition may be by Margaret Armstrong.
148. Page, Thomas Nelson. Meh Lady, A Story of the War. New York: Scribner, 1893. Pale green and gold on cream cloth. Also used on Polly and Unc' Edinburgh. Cover stained, some foxing.
149. Page, Thomas Nelson. Social Life in Old Virginia Before the War. New York: Scribner, 1897. Gold on green silk cloth. Cover somewhat stained, spine sunned.
150. Page, Thomas Nelson. Red Rock. New York: Scribner, 1899. Signed. Gold on dark green, linen weave cloth. The red and black of earlier editions are omitted, and the design has been noticeably redrawn. See Item 3. Light wear to spine, rear hinge cracked.
151. Page, Thomas Nelson. The Old Gentleman of the Black Stock New York. Scribner, 1900. Signed. Gold on blue green cloth, a cream paper onlay across the top of the design overprinted in black and gold. Cover somewhat stained and worn.
152. Page, Thomas Nelson. Gordon Keith. New York: Scribner, 1903. Pale blue and gold on dark blue cloth, signed. Shaken, some wear to cover, front hinge cracked, spine cracked.
153. Page, Thomas Nelson. Gordon Keith. New York: Scribner, 1903. The monogram is missing. Light wear to cover.
153. Page, Thomas Nelson. Under the Crust. New York: Scribner, 1907. Signed. Green, yellowish green, white, and gold on dark green cloth.
154. Parkhurst, H. E. The Birds' Calendar. New York: Scribner, 1894. Unsigned. Light green and gold on dark green cloth. Light wear to cover
155. Parkhurst, H. E. Song Birds and Water Fowl. New York: Scribner, 1897. Signed. Pale blue green and gold on dark green cloth.
156. Parsons, Frances Theodora [Smith Dana]. How to Know the Ferns. New York: Scribner, 1927. Gold on green cloth. Signed w/ signed dj, 1927.
157. Parsons, Frances Theodora [Smith Dana]. How to Know the Ferns. New York: Scribner, 1927.Yellow green and gold on pale yellowish brown cloth. Spine somewhat worn. See a picture of this book .
158. Parsons, Frances Theodora. According to Season. New York: Scribner, 1902. Pale yellow, dark green, and gold on green cloth. Illustrated in Crichton, p. 77 and discussed p. 54.
159. Perry, Bliss. Salem Kittredge and Other Stories. New York Scribner, 1894. Unsigned. Grey frame, gold, and black lettering on pale yellow cloth. Cover stained. The design was used again on a variety of titles, including Noah Brooks, Tales of the Maine Coast (1894), William Henry Bishop, A Pound of Cure (1894), William Henry Shelton, A Man without a Memory (1895 and William Scoville Case, Forward House (1895).
160. Perry, Bliss. The Plated City. New York: Scribner, 1895. Signed. Dark brown and silver on light brown, linen weave cloth. Cover somewhat worn.
161. Reed, Myrtle. Love Letters of a Musician. New York: Putnam, 1899. Gold and pale green with blindstamping on pale gray cloth; a head of St. Cecilia in gold on a white cloth onlay. The Huntington Library copy is pale yellow on pale green. Another copy of the first printing has been seen in pale blue on pale grey, vertically ribbed cloth. Illustrated in Strange, p. 55, and discussed with admiration on p. 48. See a picture of this book .
162. Reed, Myrtle. The Spinster Book. New York: Putnam, 1901. Signed. Blindstamping and gold on olive green, vertically ribbed cloth. Some wear to spine, hinges cracked.
163. Reed, Myrtle. Lavender and Old Lace. New York: Putnam c.1902. Signed. 1904 printing, white and gold on lavender, vertically ribbed cloth, the spine with a flower and leaf pattern similar to the front cover. Spine slightly sunned. Illustrated in PTLA (1902), p. 29. The design was adapted for the 9th printing of 204b.
164. Reed, Myrtle. Lavender and Old Lace. New York: Putnam c.1902, 1906. Signed. I n a slipcase; the design of the front cover is printed on both sides of the slip case. Illustrated in PTLA (1902), p. 29. The design was adapted for the 9th printing of 204b.
165. Reed, Myrtle. The Shadow of Victory, which was not in the first instance designed by Miss Armstrong. (c1903, 1912 ed.) The design was reused on Love Affairs of Literary Men (1907) and 204b. Slight wear.
166. Reed, Myrtle. Happy Women (1913). Signed.
167. Reed, Myrtle. The Master's Violin. New York: Putnam. Unsigned. 1904, slipcased. White and gold on lavender, vertically ribbed cloth with a printer's ornament of a gladiolus not designed by Miss Armstrong. Illustrated in PTLA (1904), p. 6. See a picture of this book.
168. Reed, Myrtle. At the Sign of the Jack o'Lantern. New York: Putnam. Signed. 1905 printing with blindstamping, white, and gold on lavender, vertically ribbed cloth. Front hinge cracked, cover somewhat worn, spine slightly soiled.
169. Reed, Myrtle. At the Sign of the Jack o'Lantern. New York: Putnam. Signed. 1907 printing pale yellow, white, and gold on pale grey, vertically ribbed cloth. Front hinge cracked, some wear.
170. Reed, Myrtle. At the Sign of the Jack o'Lantern. New York: Putnam. Signed. 1905 edition in limp leather, signed, with decorative end papers.
171. Reed, Myrtle. A Spinner in the Sun. New York: Putnam, 1906. White and gold on pale grey, vertically ribbed cloth. Spine slightly stained. The illustration in PTLA (1906), p. 23, differs considerably in detail and in the distribution of the lettering from the published design. Apparently one S. H. was hired to rework the design.
172. Reed, Myrtle. A Spinner in the Sun. New York: Putnam, 1906. White and gold on lavender, vertically ribbed cloth. Front hinge cracked, slight wear. The illustration in PTLA (1906), p. 23, differs considerably in detail and in the distribution of the lettering from the published design. Apparently one S. H. was hired to rework the design.
173. Reed, Myrtle. Love Affairs of Literary Men. New York: Putnam, 1907. White and gold on lavender, vertically ribbed cloth. Illustrated in Monthly List of the Latest Books ("Books for Presents," Christmas, 1907), p. 23. Originally issued only in cloth, but available by 1909 in all four bindings. Cover somewhat worn and stained.
174. Reed, Myrtle. Flower of the Dusk. New York: Putnam, 1908. With broken slipcase. Purple, white, and gold on lavender, vertically ribbed cloth.
175. Reed, Myrtle. Old Rose and Silver. New York: Putnam. 1909. Signed. Pink and silver on lavender, vertically ribbed cloth, with the spine in gold. With slipcase.
176. Reed, Myrtle. Old Rose and Silver. New York: Putnam. Signed. October 1910, 7th printing, in limp red morocco with decorative endpapers.
177. Reed, Myrtle. The Master of the Vineyard. New York: Putnam, 1910. Purple and gold on lavender, vertically ribbed cloth. Signed, in decorative slipcase. See a picture of this book .
178. Reed, Myrtle. A Weaver of Dreams. New York: Putnam, 1911 reprint.Unsigned. Pink, pale green, white, and gold, on lavender, vertically ribbed cloth.
179. Reed, Myrtle. The White Shield. New York: Putnam, 1912. Signed. Purple, cream, and gold on lavender, vertically ribbed cloth.
180. Reed, Myrtle. Threads of Grey & Gold. New York: Putnam, 1913. Pink and gold on lavender, vertically ribbed cloth. With signed, chipped dj. Illustrated in Checklist, p. 27.
181. Reynolds, Cuyler. The Banquet Book. New York: Putnam, 1902. Gold on dark green or dark red cloth. Some wear, hinges cracked.
182. Riley, James Whitcomb. A Defective Santa Claus. Indianapolis: Bobbs- Merrill, (c1904). Pale green and red on olive green, silk cloth. The design was reused on Mary Raymond Shipman Andrews, The Better Treasure, but only the early printings; and the center frame was reused on Lillian Nicholson Shearon, The Little Mixer (1922). Some sunning to spine and edges.
183. Riley, James Whitcomb. Out to Old Aunt Mary's. Indianapolis: Bobbs-Merrill, 1904. The cover is not by Miss Armstrong, but the decorated endpapers, signed, half-title, title page, and borders are hers.
184. Riley, James Whitcomb. The Girl I Loved. Indianapolis: Bobbs-Merrill, (c1910). With a chipped and torn dj. The cover is not by Miss Armstrong. Aside from three small decorations in the early pages and the decorated endpapers, which are new, this consists of the title page and the two border designs from Item 217, printed in negative, with the addition of two clusters of grapes on the title page. In the lettering of the endpapers, Miss Armstrong adopts for the first time a new and distinctive capital R, on which the tail depends from the bowl and has a single curve, concave on the upper side. This is her preferred form of R from 1910 on.
185. Roland de la Platiere, Marie Jeanne. The Private Memoirs of Madame Roland. Second Edition. Chicago: McClurg, 1901 (c1900). Black and gold on blue green cloth. Cloth torn at crown and worn at heel.
186. Roland de la Platiere, Marie Jeanne. The Private Memoirs of Madame Roland. Second Edition. Chicago: McClurg, 1901 (c1900). Black and gold on red cloth with slightly sunned spine.
187. Seawell, Molly Elliot. Francezka. Indianapolis: Bobbs-Merrill, (c1902). White, light green, and gold on green linen weave cloth. Light wear to cover. See a picture of this book .
188. Seawell, Molly Elliot. The Fortunes of Fifi. Indianapolis: Bobbs-Merrill, (c1903). Pink, pale green, cream, and gold on grey, linen weave cloth. Illustrated in PW 64 (October 3, 1903), 743. Cover has light wear.
189. Sedgwick, Anne Douglas. The Dull Miss Archinard. New York: Scribner, 1902. Gold on red vertically ribbed cloth. Slight sunning to spine.
190. Shearon, Lillian Nicholson. The Little Mixer. Indianapolis: Bobbs-Merrill, 1922. Faint stains to cover, light sunning.
191. Sheridan, Richard Brinsley. The Rivals. New York: Crowell, (c1907). Signed. Gold on olive green silk cloth. Illustrated in PTLA (1907), p. 8. Sunning to spine and top edge.
192. Sousa, John Philip. Pipetown Sandy. Indianapolis: Bobbs-Merrill, (c1905). Dark green, white, and gold on dark, yellowish brown, vertically ribbed cloth. Hinges cracked, front corner bumped, some wear to spine.
193. Springsteed, Anne Frances [Anne Frances (Springsteed) Cole, i.e., Mrs. Thomas Cole]. The Expert Waitress. New York: Harper, 1894. Red and black on blue grey cloth. Cover somewhat worn and stained, front hinge cracked, missing flyleaf.
194. Springsteed, Anne Frances [Anne Frances (Springsteed) Cole, i.e., Mrs. Thomas Cole]. The Expert Waitress. New York: Harper, 1903. Black on grey cloth. Spine sunned, slight stains to cover.
195. Spyri, Johanna. Moni the Goat Boy (c1914).Unsigned. Yellow, blue, orange, and gold on blue cloth. Also used on Heidi, 1914. Spine worn, cover somewhat worn.
196. Stevenson, Robert Louis. David Balfour. New York: Scribner, 1893. Unsigned. Reddish brown and silver on beige, linen weave cloth, spine in gold. Spine sunned, cover somewhat soiled.
197. Stevenson, Robert Louis. Poems and Ballads. Signed. New York: Scribner, 1896. Gold on olive green, silk cloth. Spine sunned.
198. Stevenson, Robert Louis. Weir of Hermiston. New York: Scribner, 1896. Signed. Gold on olive green, silk cloth. Illustrated and discussed in Ernest Dressel North, "Bookbinding as a Fine Art," The Outlook, 57 (December 4, 1897), 812, 815. Spine and front cover sunned and somewhat soiled.
199. Stevenson, Robert Louis. St. Ives. New York: Scribner, 1897. Unsigned. Yellow green and gold on brown, linen weave cloth. Rear hinge cracked.
200. Stevenson, Robert Louis. The Stevenson Song Book, Verses from A Child's Garden...with Music by Various Composers. New York: Scribner, 1897. Pinkish red and pale green on cream paper over boards, with the design on front and back; title page and decorative border in black, signed. Illustrated in The Book Buyer, 15 (1897-8), p. 427. Boards worn at corners and along edges.
201. Stimson, Frederic Jessup. Mrs. Knollys and Other Stories. New York: Scribner, 1897. Signed. The same binding as Item 48 with the emblems varied. Spine sunned, slight worming to spine edge.
202. Stockton, Frank R. The Watchmaker's Wife. New York: Scribner, 1893. Unsigned. Orange on yellowish light brown cloth, spine in gold. "In unique binding, or uniform with the author's other works," PW, 44 (September 30, 1893), 417. Shaken, cover somewhat soiled and worn.
203. Stockton, Frank R. The Adventures of Captain Horn. New York: Scribner, 1895. Black and gold on dull green or red, linen weave cloth. Illustrated in The Book Buyer, 12 (1895), 365. Sun to spine, missing flyleaf.
204. Stockton, Frank R. Mrs. Cliff's Yacht. New York: Scribner, 1896. Signed. Black and gold on dull green, linen weave cloth. Illustrated in Finlay-II, p. 47, and discussed. Shaken, sizing spotted.
205. Stockton, Frank R. A Story-Teller's Pack. New York: Scribner, 1897. Signed. The same design as Love in Old Cloathes with the emblems varied. Copies have been seen in purple cloth with the design as usual. Sun to spine and edges.
206. Stockton, Frank R. The Girl at Cobhurst. New York: Scribner, 1898. Black and gold on dull green, linen weave cloth. Light foxing.
207. Storm, Theodore. Immensee. Illustrated and Decorated by Margaret and Helen Maitland Armstrong. Chicago: McClurg, 1907. Limited, large paper edition, the illustrations hand colored; half calf; half morocco. Illustrated in Monthly List of the Latest Books ("Books for Presents," Christmas, 1907), p. 66. Faint stains to cover.
208. Stratton-Porter, Gene. The Song of the Cardinal. Indianapolis Bobbs-Merrill, (c1912). Unsigned. Violet, green, and gold on red, vertically ribbed cloth.
209. Sullivan, T. R. Tom Sylvester. New York: Scribner, 1893. Unsigned. Dark green and silver on light green cloth. Sunning to spine.
210. Swinburne, Algernon Charles. The Tale of Balen. New York: Scribner, 1896. Gold on olive green silk cloth. Faint stains to cover, spine somewhat sunned.
211. Tarbell, Ida. Madame Roland. New York: Scribner, 1896. Signed. Gold on dark blue cloth. Slight wear to spine.
212. Tennyson, Alfred, Lord. Idylls of the King. New York: Putnam, n. d. Signed. (missing first 20 or so pages; presumably 1st vol. of 2). Red, white, and gold with embosing on blue cloth. Also known to appear as embossed gold on white, linen weave cloth and in red limp leather or illuminated cloth; sometimes 1 volume. The date, 1902, is taken from the American Catalog. Illustrated in PTLA (1904), p. 13: "popular one volume edition illustrated by Gustave Dore." Front hinge cracked, wear at crown and heel.
213. Tennyson, Alfred, Lord. Maud. Illustrated by Margaret and Helen Maitland Armstrong. New York: Dodd Mead, 1905. Gold on white cloth; decorated endpapers, half-title, title page, borders, and poem openings throughout. Faint stains to cover.
214. Thanet, Octave [i.e., Alice French]. An Adventure in Photography. New York: Scribner, 1893. Unsigned. Dull red and cream on a yellowish, dark green cloth. Illustrated in The Book Buyer, 11 (August, 1894), 360. Some wear to cover.
215. Thanet, Octave. The Heart of Toil. New York: Scribner, 1898. Signed. The same design as Item 48 with varied emblems. Spine sunned. See a picture of this book .
216. Thanet, Octave. The Man of the Hour. Indianapolis: Bobbs-Merrill, (c1905). Blindstamping, cream, and gold on dark green cloth. Somewhat worn spine and rubbed cover.
217. Thomas, Edith M. A Winter Swallow with Other Verse. New York: Scribner, 1896. Gold on green cloth, a circular paper onlay overprinted in pink and gold. Foxing throughout, spine worn at crown and heel, some small stains.
218. Thoreau, Henry David. Cape Cod. Illustrated by Clifton Johnson. New York: Crowell, (c1908). Red and gold on dark green, sized cloth. Illustrated in PW 74 (December 5,1908), p. 1698. PTLA (1914). Spine sunned, some spotting to sizing.
219. Thoreau, Henry David. The Maine Woods. Illustrated by Clifton Johnson. New York: Crowell, (c1909). Brown and gold on dark green cloth. Illustrated in PTL.A (1909), p. 12.
220. Thoreau, Henry David. The Maine Woods. Illustrated by Clifton Johnson. New York: Crowell, (c1909). Brown and gold on dark green cloth. Signed. Cover has title shortened to "Maine Woods" to allow space for "Illustrated by Clifton Johnson." See a picture of these books.
221. Thoreau, Henry David. Walden. Illustrated by Clifton Johnson. New York: Crowell, (c1910). Pink and gold on green cloth. The design was used, but printed in yellow and gold on yellow green cloth, for the Harrap edition in London of Items 266-270. Spine worn.
222. Thoreau, Henry David. A Week on the Concord and Merrimac Rivers. Illustrated by Clifton Johnson. New York: Crowell, (c1911). Unsigned. Red and gold on dark green cloth. Hinges cracked. Spine worn.
223. Trask, Katrina. Christalan. New York: Putnam, 1903. The cover is clearly not by Miss Armstrong, but the decorated title page is signed, and we have no doubt about the authenticity of the lettering. Boxed with a torn, undecorated paper dj, a few spots of foxing. See Item 109.
224. Van Dyke, Harry Weston. Through South America. New York: Crowell, 1912. Light blue, yellow green, and gold on dark blue cloth. Spine worn, front corner bumped.
225. Van Dyke, Henry. Little Rivers. New York: Scribner, (c1895). Pale blue, olive green, and gold on pale yellowish green cloth. 1898 reprint, with some foxing. A poster for the book shows an enlargement of the book cover without any additional lettering or information. This is the only poster that we know to have been made from a design by Miss Armstrong.
226. Van Dyke, Henry. Fisherman's Luck. New York: Scribner, (c1899; 1916 printing). Signed. Green, light blue, and gold on pale dark blue cloth.
227. Van Dyke, Henry. The Toiling of Felix. New York: Scribner, (c1900; 1911 reprint). Signed. Gold on olive green, silk cloth; decorated title page.
228. Van Dyke, Henry. The Ruling Passion. New York: Scribner, (c1901) 1901. Green and gold on dark blue cloth. Items 278, 279, 281, and 287-291 are all in similar format on dark blue cloth.
229. Van Dyke, Henry. The Blue Flower. New York: Scribner, 1902. Blue, green, and gloss and matte gold on dark blue cloth. PTLA (1903,1904). Illustrated in The Book Buyer, 25 (1902), 349; and in the advertising preliminaries of The Critic, 41 (November, 1902), iv.
230. Van Dyke, Henry. Little Rivers. New York: Scribner, (c1903) White, green, and gold on dark blue cloth. 1903 edition, corners bumped, some wear, spine frayed at heel and crown. Illustrated in the advertising preliminaries in The Critic, (December 1904).
231. Van Dyke, Henry. Music and Other Poems. New York: Scribner, 1904. Unsigned. Gold on olive green, silk cloth; decorated title. Signed. Spine sunned.
232. Van Dyke, Henry. The Spirit of Christmas. New York: Scribner, 1905. Unsigned. Gold on olive green, silk cloth. Sunned. The U.S. Catalog also lists this in cream cloth.
233. Van Dyke, Henry. The Spirit of Christmas. New York: Scribner, 1905. Unsigned. White on purple paper over boards, cream cloth spine lettered in purple. Some sunning. The priority of the binding states is unknown, but they are probably just alternate bindings for a Christmas gift book.
234. Van Dyke, Henry. The Van Dyke Book. NY: Scribners, 1914. Signed. Rear hinge cracked.
235. Van Dyke, Henry. Days Off and Other Digressions. New York: Scribner, 1907. Pale blue, pale green, white, and gold on dark blue cloth. See a picture of this book .
236. Van Dyke, Henry. Out-of-Doors in the Holy Land. New York: Scribner, 1908. Unsigned. Yellowish green, light green, reddish pink, and gold on dark blue cloth. Discussed in Crichton, p. 54.
237. Van Dyke, Henry. The Unknown Quality. New York: Scribner, 1912. Signed. Orange, pale yellow, and gold on dark blue cloth.
238. Van Dyke, Henry. Fighting for Peace. New York: Scribner, 1917. Unsigned. Gold lettering only on dark blue cloth. Somewhat worn, top corners bumped.
239. Van Dyke, Henry. The Valley of Vision. New York: Scribner, 1919. Orange, white, and gold on dark blue cloth.
240. Van Dyke, Henry. Camp-Fires and Guide-Posts. New York: Scribner, 1921. Orange, pale blue, and gold on dark blue cloth. Spine worn.
241. Van Dyke, Henry. Companionable Books. New York: Scribner, 1922. (w/matching, chipped dj) Aquamarine, greyish blue, and gold on dark blue cloth.
242. Van Dyke, Henry. The Golden Key. New York: Scribner, 1926. Orange, greyish blue, and gold on dark blue cloth. W/matching dj. Illustrated in Checklist, p. 35.
243. Van Dyke, Henry. Chosen Poems. New York: Scribner, 1927. Signed. Orange, light blue, and gold on dark blue cloth. Some wear to spine and bottom edges.
244. Van Dyke, John C. Art for Art's Sake. New York: Scribner, 1893, Unsigned. Gold on dark red cloth. Slight wear to cover, some foxing.
245. Van Dyke, John C. Nature for Its Own Sake. New York: Scribner, 1898. Unsigned. Gold on green cloth.
246. Van Dyke, John. C. The Desert. New York: Scribner, 1901. (2d ed. 1907) Unsigned. Gold on brown cloth. Pages waterstained, sizing spotted on cover.
247. Van Dyke, John C. The Opal Sea. New York: Scribner, 1906. Unsigned. Matte and gloss gold on dark blue cloth.
248. Van Dyke, John C. Studies in Pictures. New York: Scribner, 1907. Unsigned. Matte and gloss gold on maroon cloth.
249. Van Rensselaer, Mrs. Schuyler. Art Out of Doors. New York: Scribner, (c1893; 1907 reprint). Unsigned. Grey on green cloth, spine in gold. Illustrated in Matthews, p. 173: "Designed by Margaret Armstrong." Attributed to her in Commercial, p. 15. Illustrated in Octave Uzanne, L'Art dans la Decoration Exterieure des Livres de ce Temps (Paris, 1898), p. 133. Ex-library copy, some wear to cover.
250. Wallace, Edna Kingsley. The Quest of the Dream. New York: Putnam, 1913. Signed. White and gold on cerulean blue, vertically ribbed cloth. Illustrated in The Argonaut, 69 (November 11, 1913), 334. Front hinge cracked. See a picture of this book .
251. Warren, Charles. The Girl and the Governor: New York: Scribner, 1900. Light green, black, and gold on blue-green, linen weave cloth.
252. Wells, Carolyn. Folly for the Wise. Indianapolis: Bobbs-Merrill, (c1904). Signed. White and gold on greyish blue, linen weave cloth. Spine sunned and somewhat worn, sunned along edges.
253. Wharton, Edith. Italian Backgrounds. New York: Scribner, 1905. Cream, greenish yellow, light blue, and gold on dark green cloth. Cloth creased on front cover, some rubbing, bottom edge worn and nicked.
254. Wharton, Edith. In Morocco. New York: Scribner, 1920. Yellow, reddish pink, and green on dark blue cloth. Ex-library, no exterior markings, spine somewhat worn.
255. Whittier, John Greenleaf. The Tent on the Beach. Boston: Houghton Mifflin, 1899. Signed. Gloss, matte, and embossed gold on dark blue cloth. Illustrated and discussed in Crichton, pp. 77 and 55, and in Finlay-1, pp. 56-7.
256. Whittier, John Greenleaf. The Tent on the Beach. Boston: Houghton Mifflin, 1899. Signed. Gloss, matte, and embossed gold on olive green cloth. Illustrated and discussed in Crichton, pp. 77 and 55, and in Finlay-1, pp. 56-7
257. Whittier, John Greenleaf. The Tent on the Beach. Boston: Houghton Mifflin, 1899. Signed. 3 copies: Gloss, matte, and embossed gold red cloth. Illustrated and discussed in Crichton, pp. 77 and 55, and in Finlay-1, pp. 56-7
258. Williamson, CN & AM. Rosemary in Search of Father. NY: McClure, Phillips, 1907. Due to stylistic similarities, we believe this design to be Armstrong's. See a picture of this book .
259. Woods, Robert A., et al. The Poor in Great Cities. New York: Scribner, 1895. Black and gold on greenish grey, linen weave cloth. Keith A. Kamm was the first to identify this title as the work of Margaret Armstrong. Cover worn and somewhat soiled, front hinge repaired, cloth worn away at heel and crown.
260. Zangwill, Israel. The Mantle of Elijah. New York: Dodge, (c1900). "Special Limited Edition" Reddish brown and white on light tan, linen weave cloth. Some copies have "A Wessels" at the spine's foot. The lettering is not by Armstrong. Spine sunned, cover stained and somewhat worn, rear hinge cracked.
261. Edey, Marion. Early in the Morning. New York: Harper & Bros., 1954. 1st Ed. With a chipped dj. This is an autobiography written by Margaret Armstrong's sister.