129 Sentences With "dust jackets" | Random Sentence Generator

Dramatic lighting and framed dust jackets from my own books enhance the stark effect.

In the 19th century, dust jackets on books were just protective paper wrappers, thrown away after a book was purchased.

Salisbury has identified numerous book illustrators, yet a large number of the dust jackets were unsigned, their creators now anonymous.

Now 75, Wideman is noticeably gentler-looking than the severe ice-grill that has glared from dust jackets for so many years.

Things only got worse when he mentioned that the primary feature of decoration in his "pad" is framed dust jackets of his own books.

Even a cursory glance at the dust jackets of Ferrante's books reveals that the story continues to follow the two women into adulthood and old age.

For hardback books (but also some paperbacks), their typically ragged dust jackets are usually splayed open to expose front, back and spine — more than in the final piece.

On the flip side, other blooks, from ceramic ashtrays to lighters with decorated dust jackets, focused only on the superficial look of a book and do not open at all.

Ms. Maymudes and Mr. Chen have mixed up our library today, swapping the dust jackets on biographies and other books, creating appropriate but quirky new titles for notable life stories.

Far from considering it a golden age, Berg shows instead how concerned an editor had to be, even a century ago, with print runs, dust jackets, advances, marketing, reviews, and sales.

A first edition of F. Scott Fitzgerald's "The Great Gatsby," minus one of the rare-book world's most sought-after dust jackets, was on sale for 20113,000 euros beneath a label reading "I must have you," a nod to the novel's opening epigraph.

In between stopping the inmates from trying to turn hardback dust jackets into roaches, I spoke to some of them to see what they made of the bleak prison welfare statistics, and what—if anything—they think needs to be done about them.

I think of young women like Emma Cline, who push back against having their photos on the dust jackets of their books, or David Hammons, who declines to participate in the accepted machinations of the art world, or Bob Dylan, who took nearly two weeks to even publicly acknowledge that he won the Nobel Prize in literature last year.

American second edition dust-jackets are nearly identical to British, except that Houghton Mifflin is printed at the bottom of the spine instead of George Allen Unwin. The design is basically unchanged from the original 1937 edition of The Hobbit. Dust-jackets declare the impression and often may be used to ascertain at least the approximate printing of the book. Sometimes, however, the publisher put dust-jackets from one printing onto books of a neighboring printing.

Information regarding the editions of the OCCC has been garnered from their front matter and dust jackets.

They are also offered from 2004 onward as "traditional covers" that can be substituted for the original photo dust jackets. Supplied by Wisdens "official dust jacket supplier", these jackets are laminated and are printed in black on yellow (unlike the original jackets issued with the editions from 1965 to 1978 that incorporated colour elements). Replacement dust jackets are also clearly distinguishable from the originals as they are marked on the back cover with the words "REPLACEMENT DUST JACKET". The same supplier offers traditional design dust jackets for editions from 1946 to 1964.

Also lost, damaged or discarded dust-jackets are sometimes replaced with ones acquired elsewhere. Hence the jacket cannot be considered definitive.

Personal information from his books Barren Victories, The Battle of the V-Weapons, Hidden Weapons and The Lion and the Eagle (dust jackets).

Delirium's Hardcover Line features first-edition titles produced in limited editions with full-color dust jackets. Delirium produces true limited-edition hardcovers, as the runs in this line are signed and numbered from less than 50 to 500 copies. The first five Hardcover Line books were released without dust jackets. Beginning in September 2008, the Hardcover Line is published as a subscription of 150 copies.

The dust jackets of the first UK and US editions both feature the same design on the front by Osbert Lancaster. Both dust jackets also have the same photograph on the back by Tom Blau, Camera Press, of Wodehouse walking with a dog. Lancaster and Blau are only credited in the US edition. The story was serialized in The Australian Women's Weekly from 16 December 1970 to 30 December 1970.

Like the other releases from 1997 on, these dust jackets do not have the chronological numbering. Upon their initial release, however, a limited print run (about 1,000 to 1,500) was produced with variant dust jackets that used the original marble-look style and retained the absolute chronological numbering (only on the dust jacket's spine). These carried a $5 higher suggested retail price than the regular editions (typically US $54.99).

Trese was first published independently by Alamat Comics in ashcan (photocopied) and online format. It is currently available in a collected, graphic novel form, published by Visprint, Inc (formerly Visual Print Enterprises). National Book Store rereleased Trese: Last Seen After Midnight and Trese: Midnight Tribunal with dust jackets while Filbars also re-released the first three books with dust jackets. Ebooks of the comics were also sold online.

A 1924 reprinting of the trade edition introduced dust jackets and a slightly reduced size (7½" x 5").M.L. Biscotti, American Sporting Book Series (1994), pp. 77-78.

With the purchase of Blue Ribbon Books came "their stock" of Beverly Gray books. The first Grosset & Dunlap editions were thus actually Blue Ribbon books with Grosset & Dunlap dust jackets. The later Blue Ribbon formats—those printed after the formats using gray or light purple boards—are typically found with Grosset & Dunlap instead of Blue Ribbon Books dust jackets. A number of hybrid printings next emerged as the Blue Ribbon stock was variously exhausted.

Although the publication dates span a decade, Blyton reportedly wrote each of the novels in less than a week. The colourful dust jackets and line illustrations were by Stuart Tresilian.

Many of the dust jackets became science fiction classics; the artists included Hugo Award winners Ed Emshwiller and Virgil Finlay along with Hugo nominees such as Mel Hunter and Alex Schomburg.

Connie Blair at The Series Bookcase Book titles were distinguished with a color in the title such as The Clue in Blue and The Riddle in Red.The Connie Blair Mystery Stories The series was initially published with dust jackets. When the first four titles were republished in the early 1960s, however, costs were cut by dispensing with the dust jackets in favor of full color cover illustrations. All twelve titles were published as paperbacks in the 1960s.

Chauvin's work with stationary images included taking a photograph of author William Faulkner that was published in The Atlantic Monthly magazine and was to be used on dust jackets of Faulkner books.

Crimilda Pontes (March 13, 1926 – January 25, 2000) was an American graphic designer and calligrapher. She designed many book covers and dust jackets, and was responsible for the Smithsonian Institution's "sunburst" logo.

Even late in the nineteenth century there were still some publishers who were not using dust jackets at all (the English publisher Methuen is one example). Some firms, such as subscription houses which sold millions of cheap books door-to-door, probably never used them. Cloth dust jackets became popular late in the nineteenth century. These jackets, with the outer cloth usually reinforced with an underlayer of paper, were issued mostly on ornate gift editions, often in two volumes and often with a slipcase.

The Skira facsimile edition, Minotaure. Revue artistique et litteraire, was published in quarto (4to) format (12.6 x 10 in.), hardbound with dust jackets and slipcases in three volumes: Vol. I, 1933; Vol. II, 1934-1936; Vol.

However, since it is itself relatively fragile, and since dust jackets have practical, aesthetic and sometimes financial value, the jacket may in turn be wrapped in another jacket, usually transparent, especially if the book is a library volume.

Researcher Kevin Ladd compiled much of the biographical information available in the early years of the newspaper's existence into the book Gone to Texas: Genealogical Abstracts from the Telegraph and Texas Register, 1835-1841.Dust Jackets (1994), p. 134.

Richard Wasey Chopping (14 April 1917 – 17 April 2008)Richard Chopping Bibliography at Bookseller World was a British illustrator and author best known for painting the dust jackets of Ian Fleming's James Bond novels starting with From Russia, with Love (1957).

Jones also worked on the children's television series The Woodentops. Most of the works, because of the nature of where they were created, have now disappeared. However many books containing her artwork remain, in the form of dust-jackets and illustrations.

There are, however, enough surviving examples from the 1890s to state unequivocally that dust jackets were all but universal throughout that decade. They were probably issued more often than not by the 1860s and 1870s in Europe, Great Britain, and the United States.

The Sigismondo series received a positive response from many reviewers when it was released, with good reviews appearing in the Sunday Express (London) and the Weekend Telegraph (London), some of which were reprinted on the dust jackets of the later volumes in the series.

The original series of 23 Chip Hilton books has become a popular collectible, with the last few books fetching the highest prices because of their relatively limited print runs. The first six Chip Hilton titles were originally issued in fire- engine red, smooth textured bindings, with blank outer covers and full color picture dust jackets. These first six titles were later re-issued with blank rougher tweed cover bindings and picture dust jackets, as were the first editions of issues #7 through #19. There is an "urban legend" circulating that volume #7 was also originally issued in a fire-engine red binding, but this is unverified.

Petaja also collected examples of Bok's published work – such as magazine covers, interior illustrations, dust jackets, book covers, and more. Additionally, Petaja amassed Bok manuscripts (both published and unpublished fiction and poetry), as well as letters, books, other printed matter and unique, one-of-a-kind objects.

In 2002, Marvel partnered with Barnes & Noble to produce lower-priced trade paperback (typically US $12.95) versions of selected Masterworks volumes. Twelve were produced, without dust jackets, and they utilized the silver cover scheme (based on the initial 2002 dust jacket design prior to the 2003 revamping layout).

Hardcover books are marginally more costly to manufacture. Hardcovers are frequently protected by artistic dust jackets, but a "jacketless" alternative has increased in popularity: these "paper-over-board" or "jacketless hardcover" bindings forgo the dust jacket in favor of printing the cover design directly onto the board binding.

Oliver Onions ca. 1915 Originally trained as a commercial artist, he worked as a designer of posters and books and as a magazine illustrator during the Boer War. Encouraged by the American writer Gelett Burgess, Onions began writing fiction. The first editions of his novels were published with dust jackets bearing full-colour illustrations painted by Onions himself.

Yen Press later announced that future volumes of the series and reprints of the first volume would retain the original artwork while dust jackets would carry the new covers, citing that the redesigned covers were requested by retailers in order to appeal to a wider audience. Yen Press has also licensed the Wolf and Parchment series.

In January 2006, with Atlas Era: Tales to Astonish Vol. 1, Marvel began publishing a third line of Masterworks, reprinting 1950s and early 1960s comics of Marvel forerunner company Atlas Comics. The regular editions of these volumes have red dust jackets instead of silver. The comics reprinted in these volumes were originally produced during a lull in superhero popularity.

However, due to the presentation of Nancy posed crouching in a pencil skirt, the new painting may have shown an indiscreet display of her thigh where the slim skirt crept above Nancy's knees. Presumably, this was deemed inappropriate for American readers and the artwork was shelved. This art later appeared on British dust jackets for this volume in 1960.

The books were published with illustrated hard covers, but no dust jackets. Raymond Burns' line illustrations were done in a single color, which varies from book to book. At one time Whitman published paperback (plus paperback-sized hardback "library edition") formats of some of their book series. It is not certain whether or not Power Boys mysteries were available in these smaller formats.

Dust jackets from the 1920s and later were often decorated in art deco styles which are highly prized by collectors. Some of them are worth far more than the books they cover. The most famous example is the jacket on the first edition of The Great Gatsby by F. Scott Fitzgerald, published in 1925. Without jacket, the book brings $1,000 or so.

Lefferts' original dust jacket art for The League of Frightened Men (1935). Lefferts illustrated books and designed dust jackets for American book publishers in the 1920s and 1930s. Books that credit her as illustrator include Elaine Sterne Carrington's The Gypsy Star (1928) and Laura E. Richards' 1935 book of children's verses, Merry-Go-Round.Richards, Laura E., Merry-Go-Round: New Rhymes and Old.

She is often observed by a menacing figure and appears to be in imminent danger, but her confident expression suggests to viewers that she is in control of the situation.Stowe (1999), 32. Tandy's home was struck by fire in 1962, and most of his original paintings and sketches were destroyed. As a result, the Tandy dust-jackets are considered very valuable by collectors.

Norman, Michael. "Lessons". The New York Times, 27 April 1988, p. B10. Those listing English, which include the dust jackets of his first three books, all occur before 1985, while those listing classics, including the dust jacket of his final book, all occur in or after 1985, suggesting that his position changed during late 1984 or early 1985; however, no source provides clear details.

113 The two children's books were first published with separate dust jackets but sold only in shared slipcases bearing the title Here There Be Dragons/Way Up High . One thousand copies of each book were produced in 1992 signed by Zelazny with illustrations by Vaughn Bodē.Kovacs 2010, p. 119. Zelazny wrote Here There Be Dragons and Way Up High for his children in 1968-69.

Dust jacket of Hermione and her Little Group of Serious Thinkers by Don Marquis, an early work of humour, produced in 1916. Throughout the nineteenth century, nearly all dust jackets were discarded at or soon after purchase. Many were probably discarded in bookstores as the books were put out for display, or when they were sold; there is evidence that this was common practice in England until World War I. The period from the 1820s to 1900 was a golden age for publishers' decorative bookbinding, and most dust jackets were much plainer than the books they covered, often simply repeating the main elements of the binding decoration in black on cream or brown paper. For this reason, most people preferred to display their books in their bindings, much as earlier generations had displayed their library books in their gold-tooled individual bindings, usually in leather or vellum.

Surviving dust-jackets on the first edition are rare. It is not known whether that is because of attrition, because some printings were not jacketed, or because lots directed to some markets did not come with jackets. What is known is that jackets have been reported on more than one of the printings and most commonly on the first printing. The jacket is a medium blue field all around.

He also created illustrations for the books The Unfinished Song of Achmed Mohammed by Earle Liederman, Blessed Mother Goose by Frank Scully and an edition of Messer Marco Polo by Brian Oswald Donn-Byrne (unpublished). Other art done by Luke included the dust jackets for books published in the 1950s and 1960s. It was through his studio art work that he was recruited for his first movie roles.

Like all Grosset & Dunlap books, the series was printed in Wrap-around Dust Jacket for volumes 1-17. After #18 was published in a picture cover format, #1, 2, 3, 4, 6 & 15 were reprinted in Picture Cover. Dust Jackets editions of the other books were printed in 1962 and had not sold out, they were still available in Dust Jacket from the publisher as late as 1974.

Colet used her etching and printmaking skills to produce a large number of illustrations for the Westminster Synagogue in central London and also to illustrate a number of dust jackets for books. She was married to the musician and music historian Robert Collet and for many years the couple lived at Northwood near London. A memorial exhibition of her work was held in 2003 at the Broughton House Gallery in Cambridge.

Hardcovers typically consist of a page block, two boards, and a cloth or heavy paper covering. The pages are sewn together and glued onto a flexible spine between the boards, and it too is covered by the cloth. A paper wrapper, or dust jacket, is usually put over the binding, folding over each horizontal end of the boards. Dust jackets serve to protect the underlying cover from wear.

Among his works, there is a portrait of the 1912 AJC Queen Elizabeth Stakes winner, Trafalgar. The publication "Racehorses In Australia with paintings by Martin Stainforth" is an important standard reference work in Australian Thoroughbred literature. First published in 1922 with many tipped in plates, a facsimile reprint was issued in 1983 but without any tipping in. Good copies of the original with dust jackets are hard to find.

With The Sub-Mariner Vol. 1, the 32nd Masterwork, Marvel relaunched the line with silver dust jackets in 2003. On the front cover dust jacket, these initial releases had the book's interior contents and creator names on the top of the front cover art image, and the Marvel Masterworks name under the cover art on the bottom, with the volume number on the spine featured in a black-filled square with silver edging, with a silver font labeling the volume number. Post-2003 afterward, Marvel redesigned the look: the Masterworks name with the title and volume number now up on top of the cover image, with the interior contents and creator names listed at the bottom of the cover art, and the dust jacket spine numbering filled in a silver square with black lettering font labeling the volume number. From 2002 to 2004, Marvel brought the 31 now-out- of-print volumes back into print, all with the new silver dust jackets.

All 23 original titles were then re-issued in picture cover versions (later than the stated publication dates for issues #1-#19), without dust jackets, using the original dust jacket illustrations for the picture cover illustrations, with some variations existing for many issues with regard to some of the back cover images and back cover book title listings. There is an active market in the original Chip Hilton hardback books on the eBay auction site, with usually 60-70 copies or partial sets for sale at any one time, with prices ranging from as low as $1–$2 for rough condition copies of the more common copies of tweed binding edition books without dust jackets up to several hundred dollars or more for fine condition copies of Hungry Hurler (#23), of which apparently only about 12,000 copies were printed. In the new paperbacks, the first printing of the first 12 books carry a holographic image of a Chip Hilton logo.

Front cover of the St Cuthbert Gospel, c. 700; the original tooled red goatskin binding is the earliest surviving Western binding. A book cover is any protective covering used to bind together the pages of a book. Beyond the familiar distinction between hardcovers and paperbacks, there are further alternatives and additions, such as dust jackets, ring-binding, and older forms such as the nineteenth-century "paper-boards" and the traditional types of hand-binding.

These include the mirror that first greets Tolly and Tolly's magical Japanese mouse of carved wood, which Diana Boston called "the most important thing in the house." Mrs. Boston said that the sight of the toy, a favourite feature of the novels, would provoke adults to nostalgic tears. In addition to illustrating his mother's books for children, Boston illustrated the dust jackets of L.M. Boston's adult books, Yew Hall (1954) and Persephone (1969).

Jorkens was pictured a number of times, both in magazine and newspaper graphics as well as inside the collected volumes and on dust jackets; these depictions varying considerably. Among the more famous illustrations are those by Dunsany's favourite artist, Sidney Sime, which are, unusually for Sime, done in colour. The originals of these illustrations, which exist for at least the first three Jorkens stories, are still available to see at Dunsany Castle.

Spirits, Stars, and Spells: The Profits and Perils of Magic is a 1966 history book by L. Sprague de Camp and Catherine Crook de Camp, published by Canaveral Press. The book sold slowly, and the remaining stock was taken over by Owlswick Press and sold under its own name with new dust jackets in 1980.ISFDb entry for the Owlswick reissue of Spirits, Stars, and Spells. It has been translated into Polish.

He is regarded as the inventor of the publisher-issued shop window poster and for the blurb (German: Klappentext). His first books were dedicated to lifestyle and world views. In 1907 he created a series of art and photo books creating a new genre of such high-class books produced inexpensively. From 1909 on he used the trademark, "The Blue Book" because his books had been printed with blue dust jackets since 1902.

In Paris, he studied engraving and lithography with S. W. Hayter at Studio 17t two years there. He became friends with the poet Robert Lowell and produced illustrations for some of his books. Nolan was a prolific book cover illustrator, his images enhancing the dust jackets of over 70 publications. In 1965, Nolan completed a large mural (20 m by 3.6 m) depicting the 1854 Eureka Stockade, rendered in enamelled jewellery on 1.5 tonnes of heavy gauge copper.

The company currently publishes more than 60 titles a year, including multi-volume sets. Most titles are digitally typeset, then printed by offset at printers in the United Kingdom, Germany, Italy, and Spain. Until 1954, most Folio books were issued with printed dust jackets, but during the latter half of the 1950s coloured card slip cases were introduced, to protect the books and retain focus on the decorative bindings. Solander boxes are generally used to protect the limited editions.

Grant was still finding unbound sheets in his warehouse twenty years later and binding them for sale, so it was not unusual to see "brand new" copies of Fantasy Press books for sale into the mid and even late 1980s, as much as thirty years after the company had ceased operations. Eshbach also sold Grant a fair quantity of flat dust jackets for Fantasy Press books, some of which are still available on the collector's market today.

The scarcity of jackets of this type, together with the lack of written documentation from publishers of the period, makes it very hard to determine how widely these all-enclosing jackets were used during the period from 1820 to 1850, but they were probably common on ornately bound annuals and on some trade books. The earliest known dust jackets of the modern style, with flaps, which covered just the binding and left the text block exposed, date from the 1850s, although this type of jacket was probably in at least limited use some years earlier. This is the jacket that became standard in the publishing industry and is still in use today. It is believed that flap-style jackets were in general use by the 1880s, and probably earlier, although the number of surviving examples from the 1850s, 1860s, and 1870s is too small to prove exactly when they became ubiquitous, and again, there are no known publishers' records that document the use of dust jackets during these decades.

Sir Brian Caldwell Cook Batsford (18 December 1910 – 5 March 1991) was an English painter, designer, publisher and Conservative Party politician. Born at Gerrards Cross in Buckinghamshire as Brian Caldwell Cook, he adopted his mother's maiden name, Batsford, in 1946. As Brian Cook, he was well known as the illustrator/designer of the dust jackets of the highly collectible Batsford books from the 1930s to the 1950s. He was educated at Repton School, 1924-28 where he started to paint.

The short stories adapted for Please, Jeeves were originally published between 1919 and 1930. Authorized by the P. G. Wodehouse estate, Please, Jeeves was serialized in the bimonthly manga magazine Melody, published by Hakusensha, between 2008 and 2014. It was also released in five volumes by the same publisher, under the company's Hana to Yume Comics label. The first three volumes, which are numbered as a set with white dust jackets, were published in March 2009, December 2010, and October 2012, respectively.

After publishers' cloth bindings started coming into common use on all types of books in the 1820s, the first publishers' dust jackets appeared by the end of that decade. The earliest known examples were issued on English literary annuals which were popular from the 1820s to the 1850s. These books often had fancy bindings that needed protection. The jackets that were used at this time completely enclosed the books like wrapping paper and were sealed shut with wax or glue.

66, pp. 589–90. as an illustrator of pulp romances and magazines, writing south sea yarns for magazines, and finally, illustrating books and dust jackets, including the first edition of Tarzan and the Lost Empire by Edgar Rice BurroughsRobert R. Barrett, "To Bora-Bora and Back Again:The Story of Armstrong W. Sperry." Burroughs Bulletin, Number 11 (New Series), July 1992, pp. 3–8. in 1929 and the first of several books he would illustrate by Helen Follet, Magic Portholes in 1932.

After the war, Ellis and Rosemary continued with their artistic collaborations. In 1946 they designed the entrance area to the Britain Can Make It exhibition at the Victoria and Albert Museum and between 1945 and 1982 they designed 86 covers and dust jackets for the New Naturalist series of books and monographs. The couple signed these jackets, and other works, C&RE; to reflect their joint and equal involvement. Ellis continued, until 1972, as head of the Bath Academy of Art.

There were ten collections of Jane stories, finishing with Jane at War (1947). Price, however, did not take kindly to Jane stories being referred to as a copy of the William series. She went on record saying she "had never heard of William", even though William stories were regularly advertised on Jane book dust jackets. The famous illustrator Thomas Henry illustrated both Jane and William books, but signed the illustrations for the Jane books as "Marriott", to distinguish the two series.

Commercial artist Russell H. Tandy was the first artist to illustrate Nancy Drew. Tandy was a fashion artist and infused Nancy with a contemporary fashion sensibility: her early style is that of a flatfoot flapper: heeled Mary Janes accompany her blue flapper skirt suit and cloche hat on three of the first four volume dust jackets. As styles changed over the next few years, Nancy began to appear in glamorous frocks, with immaculately set hair, pearls, matching hats, gloves, and handbags.Stowe (1999), 15.

In 1946 the Ellises designed the entrance and a mural to the Britain Can Make It exhibition at the Victoria and Albert Museum. Between 1945 and 1982 they designed a total of 86 covers and dust jackets for the New Naturalist series of books and monographs published by Collins. The British Museum, the London Transport Museum and the Victoria and Albert Museum hold examples of Ellis's designs. The Victoria Art Gallery and Bath Record Office hold archives of the Ellises papers and designs.

Later in the 1950s, Piper produced pioneering designs for furnishing fabrics for Arthur Sanderson & Sons Ltd and David Whitehead Ltd, as part of a movement to bring art and design to the masses. He also designed a number of dust jackets for books, frequently depicting both natural and architectural forms, often in a state of decay, within theatrical framing. He also designed windows for Eton College Chapel, which were executed by Reyntiens. Piper continued to write extensively on modern art in books and articles.

The two men collaborated on several novels, including The Boy Hairdresser, which were not published until after their deaths. From January 1959, Orton and Halliwell were involved in the theft and defacement of public library books. Halliwell became an illicit collage artist, while Orton wrote the fake blurbs for the flyleaf of the dust jackets. After their trial in 1962 the two men were given custodial sentences, Halliwell was sent to HM Prison Ford in Sussex for six months; Orton went to Eastchurch in Kent.

Pontes was an apprentice to John Howard Benson in Rhode Island after she graduated from college. She held the title Illustrator General at the Naval War College from 1951 to 1954, and taught art at Rosary Hill College from 1954 to 1957. In 1959, she inscribed the dedication in the book that American president Dwight D. Eisenhower gave to French president Charles de Gaulle at a summit in Paris. Pontes designed book covers and dust jackets, working at Yale University Press from 1959 to 1964.

Rasch had worked for the publishers, Kosmos Verlag as a freelance contributor since 1962, providing illustrations for children's and young people's books. In 1969 she came across the first two volumes in the new series, "Das Gespensterschloss" ("The Secret of Terror Castle") and "Die flüsternde Mumie" ("The whispering Mummy") – based on Alfred Hitchcock films – with dust jackets by , and she questioned their impact. She did not think they stood out particularly. She submitted alternative cover designs of her own, but these were met with initial suspicion.

Seven of her paintings were adapted as dust jackets for editions in the Virago Modern Classics series. A large mural by Balmer is situated in Cumbernauld Town Hall. Balmer had a solo exhibition at the Aberdeen Art Gallery during 1995 and 1996. She was a regular exhibitor at the Royal Scottish Academy, the Society of Scottish Artists and the Royal Scottish Society of Painters in Watercolour and also with the Glasgow Group and regularly at the Richard Demarco Gallery in Edinburgh, where she had a solo show in 1970.

The series is divided into two distinct – yet broadly encompassing – categories, identified by colour coding. Firstly, those presented in a yellow- and-silver themed dust jacket relate to ‘non-motor-propelled’ ships. This group tracks the development of ship design from The Ships of Christopher Columbus, through to the end of the age of sail (those designed or constructed approximately up until the 1860s), such as the HMS Beagle: Survey Ship Extraordinaire, 1820–70, by Karl Heinz Marquardt. Ships thereafter, powered by steam and screw propulsion, are represented in silver-and-blue themed dust jackets.

It's supposed to be a scary place, in theory, full of brooding criminals and impossible choices, but it's really a relic of the American past, one as sentimental and archaic as a Norman Rockwell painting . . . The Associate is high-calorie comfort food, a thriller that doesn't actually thrill." Joshua Rozenberg of The Observer said, "Suffice it to say that The Associate bears many similarities to The Firm, even down to the two dust jackets, which both show shadowy young lawyers on the run. Plagiarism? No, because both books are by John Grisham.

The most valuable jackets are usually those on the high spots of literature. Condition is of paramount importance to value. Other examples of highly prized jackets include those on most of Ernest Hemingway's titles, and the first editions of books such as Harper Lee's To Kill A Mockingbird, J. D. Salinger's Catcher in the Rye and Dashiell Hammett's The Maltese Falcon, among many others. Prices for dust jackets have become so inflated in recent years that even early reprints of certain titles in jacket can command good prices.

The original 1933 artwork is by the fashion illustrator Russell H. Tandy, illustrator for the Nancy Drew series from 1930 to 1949. Tandy's original dust jacket artwork remained in print until 1962, long after most early volume dust jackets had been modernized for 1950s readers by illustrator Bill Gillies. The original art shows Nancy in a genuflection position wearing a very full, loose dress. Collectors speculate publisher Grosset & Dunlap commissioned an updated illustration of the same scene during the transition from Gillies to new series artist Rudy Nappi in 1953.

University of Illinois Press, University of Georgia Press, Chapel Hill, Military History, American History Illustrated, Napoleon Journal, Soldats Napoleonien, Le Livre Chez Vous and other publishing houses have all featured his work on their covers and dust jackets. His works are also in the collections of the National Park Service, the United States Army, the Andrew Mellon Foundation, the Pentagon, the Atlanta Historical Society, the United States House of Representatives, Gettysburg National Park, the City of Fredericksburg, Virginia, the National Guard Heritage Collection, and the U.S. Army War College.

Jason Van Hollander (born September 9, 1949) is an American illustrator, book designer and occasional author. His stories and collaborations with Darrell Schweitzer earned a World Fantasy Award nomination. Van Hollander's fiction and nonfiction have appeared in Weird Tales, Interzone, The Magazine of Fantasy & Science Fiction, The New York Review of Science Fiction and other publications. Van Hollander has created morbid and grotesque artwork which adorns dust jackets of books published by Arkham House, Golden Gryphon Press, PS Publishing, Subterranean Press, Cemetery Dance Publications, Tor Books, Night Shade Books and Ash-Tree Press.

In 1964 Frederick Thorpe began publishing standard print titles with type set twice the size of the original printing. The books were given plain dust jackets, color-coded to indicate categories like mysteries (black), general fiction (red), romances (blue), Westerns (orange), etc. These physically large editions were difficult for some readers to handle and in 1969 Thorpe's company, Ulverscroft, began producing the books in 16 point type and normal-sized bindings. In 1990 Ulverscroft expanded their large print output by acquiring the Yorkshire based large print publisher Magna Publishing.

Biff Brewster is the central character in a series of 13 adventure and mystery novels for adolescent boys written by Andy Adams. The series was published by Grosset & Dunlap between 1960 and 1965. Most titles were published in hardcover with full color dustjackets, but, like other Grosset & Dunlap juvenile series of the era, production costs were cut by dispensing with the dust jackets and featuring full color cover illustrations in their stead. This occurred only with the last three books in the series, and later reprints of the first three.

In December 2005, Peach Pit announced that they were working on a new shōjo manga series called Shugo Chara! The first chapter was published in the February 2006 edition of Nakayoshi magazine. The first volume collection was then republished on July 6, 2006 by Nakayoshi publisher Kodansha. In addition to the regular volumes, the series was released in limited editions in Japan, each of which included different cover art from the regular editions, metallic foil sleeves, and a set of postcards featuring Amu in various outfits and poses following the color theme of the dust jackets.

After finishing his schooling, Chaplin spent a short time working in the art department of the school, before continuing to the Watford School of Art to study graphic design, gaining his National Diploma of Design. He followed this with a postgraduate course in Printmaking at the Brighton School of Art, now the University of Brighton Faculty of Arts. Chaplin's first work as a professional artist, while still a student, was to create woodcut pictures for the dust-jackets of books. He became a professional artist at the end of the 1960s, selling his first picture for seven Guineas.

His publicity methods were innovative, too; with arresting advertisements and dust jackets, and a monthly publication called Wireless, which was widely circulated among his readers. Jenkins' first publication was Willie Riley's first novel Windyridge, and the firm went on to publish most of Riley's 39 books, ending with The Man and the Mountain in 1961, the year of Riley's death. In 1915 Jenkins published A. S. Neill's first book, A Dominie's Log, launching his career as a famous teacher and writer of books on education. Herbert Jenkins Ltd published many of P. G. Wodehouse's novels, starting with Piccadilly Jim in 1918.

The works were first published by the Historical Division, Department of the Army, from March 28, 1950 called the Office of the Chief of Military History and from June 15, 1973, the Center of Military History. They are in a large format, 7¼” x 10”, with green cloth covers and no dust jackets. The cover has only the eagle insignia of the Army; the title, author, and other data are on the spine. Many volumes have been reprinted by the Center of Military History in the same format beginning in the 1980s, and most are available as PDF downloads.

Lustig maintained a successful professional relationship with New Directions Publishing for almost a decade, producing some of his most iconic and innovative work for the independent publishing company. He designed more than seventy dust jackets for the New Classics literary series from 1945 until his death in 1955. His abstract designs incorporated a modern design sensibility with a groundbreaking approach to typeface design and the unconventional dust jacket became a hallmark of New Directions publications. His artwork was featured on the covers of classic works of modernist literature, including the works of James Joyce, Gertrude Stein, William Carlos Williams, and Ezra Pound.

In 1960, this volume was given entirely new artwork, including eight ink drawings and a color frontispiece, which served as the jacket illustration, all by Polly Bolian, for the Reader's Club (Cameo) edition. In 1962, the publisher eliminated dust jackets and the books were issued with the art directly on the cover with yellow spines and backs using Bill Gillies' artwork. In 1965, the cover art was updated with an illustration by Rudy Nappi, featuring the same dress Nancy wears on Gillies' cover for The Secret of the Wooden Lady. The internal illustrations remained intact and unchanged.

The papers of Tom Stoppard are housed at the Harry Ransom Center at the University of Texas at Austin. The archive was first established by Stoppard in 1991 and continues to grow. The collection consists of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications.

Multiple copies of Junior were printed with boards and pages acquired from Blue Ribbon; A. L. Burt was named on the copyright pages, Blue Ribbon Books on the title pages, and Grosset & Dunlap on the spines and dust jackets. Orient saw similar treatment, with leftover Blue Ribbon pages bound into green boards produced by Grosset & Dunlap, while some copies of Senior had Blue Ribbon pages bound into orange Grosset & Dunlap boards. Other examples of hybrid printings likely exist, although they are infrequently found; their existence reflects not the production of entire printing runs, but rather the using up of leftover materials.

She first exhibited a wood engraving in 1924 at the Society of Wood Engravers and continued to do so on a regular basis until 1976. Greg produced wood cut, or sometimes lino cut, designs for book dust jackets and endpapers, for calendars and also decorated piano rolls, often with musical subjects. She illustrated several books mostly with natural history or countryside themes and contributed illustrations to the magazine Country Life. Greg exhibited on a regular basis at the Royal Academy, with the New English Art Club, the Royal Society of Painter-Etchers and Engravers, the Royal Hibernian Academy and the Royal Watercolour Society.

London: British Library. Boswell’s first book is believed to be Edward and Gumbo, published in 1943. Amongst her best known works are the dust jackets she produced for Enid Blyton’s “flower” and “holiday” book series during the 1940s and 1950s. Boswell illustrated a popular 1963 edition of Robert Louis Stevenson’s A Child's Garden of Verses, while her own books included The Little Birthday Horse published in 1950 and Little Crazy Car published in 1965. Hilda Boswell’s Treasury of Nursery Rhymes, published by Collins in 1960, was the first in her “treasury” series of titles, which also included a Treasury of Fairy Tales and a Treasury of Poetry.

Some collections of loose prints were issued at this period in printed paper wrappings, again intended to be temporary. In the first two decades of the nineteenth century, publishers started issuing some smaller books in bindings of printed paper-covered boards, and throughout the 1820s and 1830s some small popular books, notably annual gift-books and almanacs, were issued in detachable printed pasteboard sheaths. These small boxes are sometimes loosely and erroneously referred to as the first dust jackets. True publisher's bindings in cloth and leather, in which all, or a substantial part of, an edition were bound, were also introduced shortly before 1820, by the innovative publisher William Pickering.

Further in a deal with the Canadian Government, Penguin had agreed to exclusively publish editions for their armed forces for which they were paid in tons of paper.Wood, A Sort of Dignified Flippancy, 1983, p. 23. By January 1942 the Book Production War Economy Agreement regulations came into force which determined rules on paper quality, type size and margins, consequently Penguin eliminated dust jackets, trimmed margins and replaced sewn bindings with metal staples. Aside from the noticeable deterioration in the appearance of paperbacks it became a practical impossibility to publish books of more than 256 pages resulting in some titles falling out of print for want of material.

He built a barrow which converted into the theatre which he would erect on village greens, in schools or wherever he could find an audience. He carried his tent on his barrow and spent the summers camping in the countryside. He was a popular author in the 1930s and 1940s, receiving positive reviews from D. H. Lawrence, J. B. Priestley and other contemporary critics.Puppets in Yorkshire – Geoffrey Bles, London (1931) He illustrated the end papers and dust jackets of his books himself with annotated maps; his last published book "Puppets in Wales" also contains some of his drawings within the text of the manuscript.

MacRae Smith Co. of Philadelphia published Jean Plaidy titles in the United States. Foreign language editions of Jean Plaidy books began appearing in 1956: in French by Éditions Robert Laffont, Paris; in Spanish by Guillermo Kraft Limitada, Buenos Aires; and in Dutch by Uitgeverij A.J. Luitingh, Amsterdam. In 1951, Canadian paperback publishers Harlequin reprinted Jean Plaidy's Beyond the Blue Mountains in paperback to achieve their greatest commercial success to that date: of the 30,000 copies sold, only 48 were returned.Hemmungs Wirten (1998), p. 63. Robert Hale published eight Kathleen Kellow crime and mystery novels between 1952 and 1960 in hardcover with dust jackets by Philip Gough.

Mysterious Press was founded in 1975 by Otto Penzler, and was one of the first genre publishers to use high-quality materials like acid-free paper, full-cloth bindings, and full-color dust jackets, uncommon in a time when such books were often printed as cheaply as possible. Many of the books it published were done in both trade and limited editions. In 1989, the company was sold to Warner Books, which was then bought by Hachette in 2005. Penzler, who had since created a new imprint, Otto Penzler Books, at Carroll & Graf Publishers (later moved to Houghton Mifflin Harcourt), re-acquired the Mysterious Press name in 2011 and it became an imprint at Grove/Atlantic, Inc.

Bok's work graced the pages of calendars and early fanzines, as well as dust jackets from specialty book publishers like Arkham House, Llewellyn, Shasta Publishers, and Fantasy Press. His paintings achieved a luminous quality through the use of an arduous glazing process, which was learned from his mentor, Maxfield Parrish. Bok shared one of the inaugural 1953 Hugo Awards for science fiction achievement (best Cover Artist). Today, Bok is best known for his cover art which appeared on various pulp and science fiction magazines, such as Weird Tales, Famous Fantastic Mysteries, Other Worlds, Super Science Stories, Imagination, Fantasy Fiction, Planet Stories, If, Castle of Frankenstein and The Magazine of Fantasy & Science Fiction.

This is not a true facsimile as the back cover does not reproduce the "List of Articles" of the original, but instead on the inside there is an advertisement for Wisden reprints from the Willows Publishing Company and on the back a celebration of 150 years of Wisden. At the bottom of the back cover information is provided about the reprint: "This reprint of the first edition of Wisden was produced in 2013 for the publisher, John Wisden & Co, an imprint of Bloomsbury Publishing Plc. Printed and bound by MPG Books." Facsimile dust jackets are available for editions of Wisden from 1965 to 2003 to replace those that have been lost or damaged.

The Lomaxes moved to the "House in the Woods" outside Dallas as their permanent residence, then drove away in her Plymouth on a scouting tour of the Southern states. It was Ruby Lomax's first trip in the capacity of "chauffeur, valet, buffer, machine operator, disk-jockey, body-guard, doctor and nurse, wife and companion," a role she would reprise on later occasions, including the 1939 Southern States Recording Trip. Ruby Terrill Lomax's role in the success of the 1939 Southern States Recording Trip cannot be overemphasized. Nearly all written documentation relating to the collection was composed by her. Read her notes on the records’ dust jackets, her transcriptions of song texts, and her fieldnotes.

In 1960, the Stratemeyer syndicate rewrote most of the older volumes, many of which became almost unrecognizable in the process. This was concurrent with the release of a new edition of the series, with picture covers, no dust jackets, and a lavender spine and back cover (replacing earlier various green bindings). Many of the cover paintings were dust-jacket paintings added in the 1950s (for earlier versions, a single common dust-jacket painting was used throughout an edition), but most were new with the "purple" edition. In all, twenty were completely rewritten, all but two with modernized titles, while sixteen were never released in this edition, evidently deemed to be dated beyond repair.

Petaja's Photoplay Edition is composed of a checklist of books, with each entry detailing the book's movie title (which sometimes differed from the title of the novel), as well as its author, publisher, date of release, the motion picture company which produced the film, its leading actors, and the number of illustrations included within the book. Illustrating Petaja's guide are dozens of dust jackets and scene stills, each of which graced the original editions. Petaja also offers a short prologue, a longer history of photoplay books, and an anecdotal chapter telling the story of the author's involvement in collecting these books. Photoplay Edition has been surpassed by later, more comprehensive, illustrated guides.

The contract, initially for one book a year at an advance of £30 a title, was later revised to 2 books a year when the books proved successful. Mills and Boon, a London publisher that specialised in low-priced, paperback, romantic novels brought out 10 romance novels from 1956 to 1962 that Hibbert wrote under the pen name Eleanor Burford. Gerald G Swan published the first Jean Plaidy book in 1945 but every one after that was published by Robert Hale. Starting with Beyond the Blue Mountains (1948) and extending over the entire course of her lifetime, Robert Hale published a total of 90 Jean Plaidy books in hardcover with dust jackets illustrated by specialist artist Philip Gough.

Much of Abbé's commercial work was to design the dust jackets for books from for publishers such as Ward Lock & Co, Collins, Thomas Nelson, Thornton Butterworth, Methuen, John Murray, Skeffingtons, Hamish Hamilton, Nash and Grayson and Herbert Jenkins. Because his work for publishers was so prolific, he designed the jackets of many notable books published in the 1920s and 1930s, including the first "Saint" book by Leslie Charteris (Meet the Tiger, Ward Lock, 1928), The Mystery of the Blue Train by Agatha Christie (William Collins, Sons, 1928) and the first two novels by Dorothy L. Sayers (T. Fisher Unwin). In the 1950s he illustrated several children's books for Dent, including Treasure Island, Tanglewood Tales, Little Women and Good Wives.

To celebrate the fifth anniversary of the magazine, Viz also introduced hardback "Collector Editions" of some of the magazine's most popular series as a part of their main "Shonen Jump" manga imprint. The new editions were larger sized, with color dust jackets and higher quality paper than the normal volumes. They also included several full- color pages not seen in the initial releases. Viz also released Shonen Jump Fifth Anniversary Collector's Edition, a hardcover book containing chapters from its best selling series, along with various articles and interviews that appeared in the magazine during its first five-year history, a timeline tracking the history of manga, and essays written by editors from Shonen Jump and Weekly Shōnen Jump.

Gladys Malvern, sketched by Corinne Malvern, appearing on dust jackets of early books Having learned the discipline of writing from her 12 years as an advertising writer and copy editor, Malvern produced several successful novels for young adults in the first years following her return to New York. In 1943, Gladys Malvern penned Curtain Going Up, a widely read biography of 20th-century actress and legend, Katharine Cornell.Barbara Sicherman, Carol Hurd Green, Notable American Women: the Modern Period, Volume 4, retrieved from Google Books The same year, Malvern won the Julia Ellsworth Ford Foundation Award for the historical novel, Valiant Minstrel: The Story of Sir Henry Lauder. Gladys Malvern continued writing biographies of other performers, including Joseph Jefferson, Anna Pavlova and Rossini.

Barker's sketches, drawings, and paintings of children were given to friends or to the parents of the subjects, donated to charitable institutions and church sponsored events, or exhibited through various art organizations. She illustrated magazine covers, dust jackets, and produced series of postcards for Raphael Tuck and other publishers such as Picturesque Children of the Allies (1915), Seaside Holidays (1918), and Shakespeare's Boy and Girl Characters (1917, 1920). Her own Old Rhymes for All Times (1928) and The Lord of the Rushie River (1938), a tale about a girl who lives among swans on a riverbank, were critically well received. Set about 1800, Groundsel and Necklaces (1943) tells of a girl named Jenny who rescues her family from poverty through the agency of the fairies.

He then spent a year taking a post-graduate teacher training course before gaining a diploma in the history of art from the University of London. In 1928, Ellis returned to Regent Street Polytechnic as a teacher and continued to teach there until 1936. During this period he married Rosemary (1910–1998), and the couple began working together on a number of artistic projects and commissions. Their work included posters for London Transport and the General Post Office, and several designs for book covers and dust jackets, most notably for the long-running New Naturalist series published by Collins. For Shell-Mex, starting in 1934 with Antiquaries Prefer Shell, they designed the 'Professions' series of posters including, for example, Anglers Prefer Shell.

Wright's work featured in the Baillieu Library Exhibition, Murderous Melbourne: A Celebration of Australian Crime Fiction and Place, The University of Melbourne (10 June to 7 September 2008). The exhibition involved architecture students designing new dust jackets for Wright's book Faculty of Murder. Her books also feature in Highlights and Lowlifes (29 June to 31 August 2015), an exhibition on the Holdings in the Australian Detective Fiction Collection at Fisher Library, The University of Sydney which showcased 19th century crime writers such as Fergus Hume (“Mystery of a Hansom Cab”); the early Boney novels of Arthur Upfield; and Australia's under recognised female crime writers such as Ellen Davitt and Mary Fortune through to the 20th century's Pat Flower, Pat Carlon, Margot Neville and June Wright.

Before the 1820s, most books were published unbound and were generally sold to customers either in this form, or in simple bindings executed for the bookseller, or in bespoke bindings commissioned by the customer. At this date, publishers did not have their books bound in uniform "house" bindings, so there was no reason for them to issue dust jackets. Book owners did occasionally fashion their own jackets out of leather, wallpaper, fur, or other material, and many other types of detachable protective covers were made for codices, manuscripts, and scrolls from ancient times through the Middle Ages and into the modern period. At the end of the 18th century publishers began to issue books in plain paper-covered boards, sometimes with a printed spine-label; this form of binding was intended to be temporary.

As dust jackets became more attractive than the bindings, more people began to keep the jackets on their books, at least until they became soiled, torn, or worn out. One bit of evidence that indicates when jackets became saved objects is the movement of the printed price from the spine of the jacket to a corner of one of the flaps. This also occurred in the 1910s and early 1920s. When jackets were routinely discarded at point of purchase, it did not matter where the price was printed (and many early jackets were not printed with any price), but now if book buyers of the 1910s and 1920s wanted to save the jacket and give a book as a gift, they could clip off the price without ruining the jacket.

"Books and Authors"; The New York Times, June 17, 1928 With the coming of the downturn of the economy in 1929, Vanguard Press steadily moved away from radical political publications and toward more mainstream literary titles as well as apolitical titles of topical interest, such as studies of Charles Lindbergh and organized crime in Chicago. Vanguard maintained its offices on Fifth Avenue in New York City, initially occupying space at 80 Fifth Avenue before moving to 100 Fifth Avenue in 1928.Addresses derived from the dust jackets of Vanguard Press publications, specifically John Haldan Blackie, The ABC of Art (1927) and Anna J. Haines Health Work in Soviet Russia (1928). In the mid-1930s the firm moved to a new building in New York City, located at 424 Madison Avenue.

During the 1920s, Heartfield produced a great number of photomontages, many of which were reproduced as dust jackets for books such as his montage for Upton Sinclair's The Millennium. It was through rotogravure, an engraving process whereby pictures, designs, and words are engraved into the printing plate or printing cylinder, that Heartfield's montages, in the form of posters, were distributed in the streets of Berlin between 1932 and 1933, when the Nazis came to power. His political montages regularly appeared on the cover of the communist magazine Arbeiter-Illustrierte-Zeitung (AIZ, Workers' Illustrated Newspaper) from 1930 to 1938, a popular weekly whose circulation (as many as 500,000 copies at its height) rivaled any other contemporary German magazine. Since Heartfield's photomontages appeared on this cover, his work was widely seen at newsstands.

The initial reviews for At Swim-Two-Birds were not enthusiastic. The Times Literary Supplement said that the book's only notable feature was a "schoolboy brand of mild vulgarity"; the New Statesman complained that "long passages in imitation of the Joycean parody of the early Irish epic are devastatingly dull" and the Irish novelist Seán Ó Faoláin commented in John O'London's Weekly that although the book had its moments, it "had a general odour of spilt Joyce all over it." However, most of the support for At Swim-Two-Birds came not from newspaper reviewers but from writers. Dylan Thomas, in a remark that would be quoted on dust- jackets in later editions of the book, said "This is just the book to give your sister – if she's a loud, dirty, boozy girl".

When Amu wishes for the courage to be reborn as her would-be self, she is surprised to find three colorful eggs the next morning, which hatch into three Guardian Characters: Ran, Miki, and Su. In December 2005, Peach Pit announced that they were working on a new shōjo manga series called Shugo Chara! The first chapter was published in the February 2006 edition of Nakayoshi magazine and ran until the January 2010 edition. The first volume collection was then republished on July 6, 2006 by Nakayoshis publisher Kodansha. In addition to the regular volumes, the series was released in limited editions in Japan, each of which included different cover art from the regular editions, metallic foil sleeves, and a set of postcards featuring Amu in various outfits and poses following the color theme of the dust jackets.

Other RBS collection arrangements assist the study of various formats, genres, materials, and physical features such as sewing structures, endpapers, and dust-jackets. An unusual feature of some of these collections is the presence of multiple copies (sometimes as many as a dozen or more) of the same (or almost the same) book—a duplication valuable not only for facilitating group viewing in the classroom but also for demonstrating the bibliographical principle that almost exactly the same can be another way of saying quite different. RBS also maintains a library of about 2,000 recently published books on various aspects of the history of the book: paper making, typefounding, typography, printing, illustration, binding, publishing, bookselling, collecting, the antiquarian book trade, and related areas. This non-circulating reference collection ensures that the most useful books for RBS's purposes are always close at hand.

The Spiral Press worked with a variety of clients, including Henry Holt & Co., Random House, Robert Frost, The Limited Editions Club, The Museum of Modern Art, President Franklin Roosevelt, The Metropolitan Museum of Art, and the Pierpont Morgan Library. The press was also known for taking on a range of work: not only the invitations, bookplates, and limited editions expected for a small press but also typography for large trade editions, indicating the expanding interest in well-designed books. From the start, the Spiral Press found work doing typography, often for large publishers like Henry Holt who ordered designs for dust jackets, title pages, advertising, etc. Printing and composing were sometimes delegated to outside plants that had higher capacity, but for more exclusive jobs, the Spiral Press acquired production equipment such that Blumenthal could attend to every detail of typesetting, ink, paper, and presswork.

The books were written by a number of different authors, each writing from one to seven of the books; the authors included Benjamin Appel, Jim Kjelgaard, Earl Schenck Miers, William O. Steele, and others. Each book's byline also lists a separate "historical consultant", who was a specialist in the historic topic covered by that particular book. The historical consultants were typically college professors or, in the case of war-related stories, retired military officers; among the more noteworthy consultants for the series were the historians Bruce Catton, Walter Prescott Webb and A. B. Guthrie, Jr. The books are illustrated with black-and-white line art, with color drawings on the dust jacket. The dust jackets of the original printings of the books describe the series as follows: > We Were There books are easy to read and provide exciting, entertaining > stories, based upon true historic events.

Thomas Mann's great love for his German Shorthaired is told in the book Bashan and I. Robert B. Parker's most popular mystery series features a Boston detective known only as Spenser who has had a series of three solid-liver German Shorthairs, all named Pearl: one who stood with him during a bear charge in his rural youth; one given to his girlfriend by her ex-husband; and the third Pearl, to keep company with Spenser and his girlfriend in their late middle age. Author Parker appears on many of the Spenser dust jackets with a solid- liver GSP male identical to the three incarnations of Pearl in the series. Rick Bass's ruminations on living and hunting with a German Shorthaired Pointer in Montana can be found in the book Colter: The True Story of the Best Dog I Ever Had. Sportswriter Mel Ellis' memoir Run, Rainey, Run, explores the extraordinary relationship he had with an extremely intelligent and versatile hunting German Shorthaired Pointer.

Swan River specializes in publishing high quality editions with dust jackets, printed boards, sewn binding, and head and tail bands on its hardbound books, with all booklets being hand-sewn. The press is financed by the sales of the books and by patrons who can sign up at various levels of support. Swan River Press has worked with artists such as Lorena Carrington, Brian Catling, Brian Coldrick, John Coulthart, Dave McKean, Mike Mignola, Alisdair Wood, and Jason Zerrillo to create distinctive covers and designs. The publisher features contemporary authors such as Mark Valentine, and Helen Grant in the Uncertainties anthology series as well as classic works by writers including Bram Stoker, J. S. Le Fanu, B. M. Croker, Thomas Leland, and George William Russell (A.E.). The two sides are united by the press in William Hope Hodgson’s The House on the Borderland, which features an introduction by Alan Moore and an afterword by Iain Sinclair.

While developing his skills as an etcher and lithographer in the early 1920s Blampied continued to work extensively for magazines and contributed hundreds of political cartoons and decorative drawings to The Bystander magazine between 1922 and 1926; he illustrated short stories by E.F. Benson and other authors in Hutchinson’s Magazine, and continued to design book jackets for publishers including Hodder & Stoughton, Herbert Jenkins, T. Fisher Unwin, Eveleigh Nash, William Collins and Constable. The books for T. Fisher Unwin included dust jackets for new impressions in 1923 of eleven of E. Nesbit's famous children’s novels and James Hilton's rare second novel called Storm Passage. Blampied also illustrated a film edition of Black Beauty by Anna Sewell and a new edition of The Roadmender by Michael Fairless. Blampied held his first exhibition of paintings and drawings, rather than prints, at the Leicester Galleries in February 1923 while continuing regularly to exhibit his prints at the annual shows of the Royal Society of Painter Etchers and Engravers and the Senefelder Club of British lithographers, named after Alois Senefelder, the inventor of the method.