BRENAN, Gerald. The Face of Spain. London: Turnstile Press. 1951. 8vo. Second impression. Publisher’s pale red cloth lettered in gilt to the spine, in the fabulous wraparound dust jacket designed by Stephen Russ. Printed dedication to Gamel, i.e. Gamel Woolsey, the author’s partner. With sixteen plates and a map. A very good copy. The cloth clean and bright, the binding tight and gently rolled. Some mild spots to the textblock closed edges, offsetting to endpapers, and light and occasional scattered foxing throughout. The dust jacket unclipped (15s net) with small chips around spine head, a few short nicks and closed tears, and some mild rubbing to joints.
A handsome copy of Brenan’s portrait of postwar Spain, told via his day-to-day encounters with ordinary Spanish folk. It displays his ‘persistent curiosity into the fundamental nature of Spanish culture and civilization’. The wraparound design on the jacket is certainly one of Russ’s most unusual designs and, much like the torn posters and notices depicted, is itself usually heavily torn and rubbed but here largely clean.
BRENAN, Gerald. The Face of Spain. London: Turnstile Press. 1951. 8vo. Second impression. Publisher’s pale red cloth lettered in gilt to the spine, in the fabulous wraparound dust jacket designed by Stephen Russ. Printed dedication to Gamel, i.e. Gamel Woolsey, the author’s partner. With sixteen plates and a map. A very good copy. The cloth clean and bright, the binding tight and gently rolled. Some mild spots to the textblock closed edges, offsetting to endpapers, and light and occasional scattered foxing throughout. The dust jacket unclipped (15s net) with small chips around spine head, a few short nicks and closed tears, and some mild rubbing to joints.
A handsome copy of Brenan’s portrait of postwar Spain, told via his day-to-day encounters with ordinary Spanish folk. It displays his ‘persistent curiosity into the fundamental nature of Spanish culture and civilization’. The wraparound design on the jacket is certainly one of Russ’s most unusual designs and, much like the torn posters and notices depicted, is itself usually heavily torn and rubbed but here largely clean.
