London: Hacon & Ricketts, 1899. Limited Edition, 1/210 Copies. Demy Octavo, , 2-121,  pages; VG; bound in full green morocco with elegant gilt tooling by Sarah Prideaux, with her mark to the rear pastedown 'S.T.P. 1900'; marbled endpapers; all edges gilt; some wear to hinges, head chipped, rubbing to lower corners; interior clean, with no markings or signs of previous ownership;
In 'A Catalogue of Books Bound by S. T. Prideaux Between MDCCCXC and MDCCCC With Twenty-Six Illustrations,' written by Prideaux in 1900, she includes this book as one of the 26 illustrations, being Plate 18. A description of this book is present on page 17. A copy of the 1979 facsimile is included (#23/300, Nicholas T. Smith, New York, 1979).
OF consignment; shelved case 3.
Shelved Dupont Bookstore
S.T. Prideaux ended up as one of the most distinguished female bookbinders and binding designers of her time, even though she began at age 35. She was lucky enough to receive training from the noted Zaehnsdorf family, and began producing bindings heavily influenced by the Art Nouveau style. “Personally,” she writes, “I like decoration at all time used with great reserve, and strictly confined to very limited proportions. It gives me but little pleasure to see a book covered with a mass of small ‘tooling’ which effectually hides the beauty of the underlying material, and necessitates much study before the design can be distinguished. What is the use of selecting at great cost of money and time the finest and most flawless skins only to overlay them with a glitter of gold?”[The American Bookbinders Museum]