With the Fifth Army Air Force - First Edition - Signed - James Gallagher - Bauman Rare Books

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Bauman Rare Books

With the Fifth Army Air Force

James GALLAGHER | Perry John DAHL

Item#: 110142 We're sorry, this item has been sold

With the Fifth Army Air Force

With the Fifth Army Air Force

SIGNED BY WWII ACE PERRY DAHL

GALLAGHER, James. With the Fifth Army Air Force. Baltimore: Johns Hopkins University Press, (2001). Oblong quarto, original cloth, original dust jacket.

First edition of this airman’s photobook of his experiences in the Pacific Theatre of World War II with the Fifth Army Air Force, inscribed and signed on the half title "Perry J. Dahl, P-38 — 9 victories, 475 FG."

Perry "PJ" Dahl racked up nine victories flying a P-38 Lightning in the Pacific Theatre from 1943-45. "Any real fan of World War II aviation will appreciate Gallagher's photos. During his service, Gallagher came into contact with almost every famous unit of the Fifth Air Force… Aircraft photographed, very well, include the major planes in the Pacific, such as the P-38, P-40, P-47, B-24, and B-25. But there was an avalanche of aircraft in the theater, and Gallagher picks up the odd ones as well: a B-26 of the Silver Fleet, an A-24, a Supermarine Walrus, a Black Widow, an Australian Mosquito, a late-war A-26 Invader, and a Tigercat. Gallagher even encountered a fighter from the Mexican Expeditionary Air Force. His photos of Japanese aircraft will also interest aircraft enthusiasts. The photos show the planes the way they really looked… The planes he dealt with daily and often photographed were worn, scratched, and dented. Planes that in today's Air Force would be junked instantly soldiered on. There was a war to be won. As much as I like Gallagher's photos, I am partial to his economical and elegant prose" (Foreword). Foreword by Eric Bergerud, author of several histories of the PTO, including Fire in the Sky: The Air War in the Pacific.

Lower corners very gently bumped. About-fine condition.

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Aquatint Copperplate process by which the plate is “bitten” by exposure to acid. By changing the areas of the plate that are exposed and the length of time the plate is submerged in the acid bath, the engraver can obtain fine and varying shades of gray that closely resemble watercolor washes. Although the name contains the word “tint”, this is a black-and-white printing process; aquatint plates can often be hand colored, however.
Armorial Used to describe a binding bearing the coat of arms of the original owner, or with bookplates incorporating the owner’s arms.
Association Copy copy that belonged to someone connected with the author or the contents of a book.
Boards Hard front and rear covers of a bound book which are covered in cloth, leather or paper. “Original boards” refers to cardboard-like front and back boards, from about 1700 to 1840, used as temporary protection for books before their purchasers would have them bound. Of particular value to collectors as evidence of a very early form of the book.
Book-Plate Label, generally affixed to the front pastedown, identifying a book’s owner.
Broadside Sheet printed on one side, typically for public display, usually larger than folio size (a folio being a broadside-size sheet printed on both sides and folded once, to make four pages).
Calf Binding material made from cowhide—versatile, durable, usually tan or brown in color, of smooth texture with no or little apparent grain. Readily marbled (“tree calf”), mottled, diced, colored, polished, tooled in gilt or blind, even scented (known as “russia”). Reverse calf, with a distinctive suede-like texture, is occasionally used.
Chromolithograph Lithograph printed in colors, typically three or more.
Collation Process by which the contents of a book are inspected for completeness, checking against internal evidence, the table of contents and/or plate list, and reference works. Also a shorthand bibliographical description of a book’s composition by its leaves and signatures, rather than its pages. A-C, for example, would indicate a quarto volume composed of three signatures or gatherings of eight pages each for a total of 24 pages.
Colophon Printed note at the end of a text containing information about the printing of the book.
Doublure Pastedowns made not of paper but of leather, for decorative purposes.
Duodecimo (12MO) Smaller than an octavo, typically less than six inches tall; smaller formats, such as 24mo and 32mo, are uncommon.
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Engraving Illustration produced by carving lines into a metal plate. This is an intaglio process, in which ink is poured over the plate, then wiped from the surface, leaving ink only in the recesses made by the engraver’s tools. The image is then transferred by pressing thick dampened paper against the metal plate with great force—requiring engravings to be printed on a separate stock and separate press from any text.
Errata List of mistakes and corrections noted after printing, often compiled on a separate sheet or slip and inserted into the text block.
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Lithograph Illustration produced by transferring an image drawn on a carefully prepared stone to paper. The process allowed illustrations to more closely resemble the original drawings, paintings or sketches, as it gave the lithographer a freedom of line impossible to achieve in earlier intaglio and relief processes. It does not require the same sort of pressure as an engraving to transfer the image, but still has to be printed on separate stock from the text
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Period-Style binding executed with materials, tools and techniques to approximate the look of a contemporary binding from the period of the book’s publication. The term implies that the binding is modern, or recent, unless otherwise specified.
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Trade Edition Printing or printings of a book made available for purchase by the general public on publication day (as opposed to a limited edition, often available only by subscription).
Uncut When the edges of the text block (most apparent at the fore and lower edges) have not been trimmed to a uniform size, and are therefore characterized by a ragged or deckle edge. A book may be uncut but opened—i.e., with a paper-knife—but all unopened books (see below) are by nature uncut as well.
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Wood-Engraving Engraving made with the graver or burin on the cross-section of a piece of boxwood; the harder wood and finer tools allow for more delicate, finely detailed images, while the block can still be set in the page alongside text and printed on the same stock as the text. While much older, wood engravings enjoyed an important renaissance in the late eighteenth century through Thomas Bewick and continued in popularity thorugh the nineteenth century.
Wormhole Tiny pinhole-sized trails left by bookworms as they eat through a text block. Much more common in older books printed on handmade papers with a high rag content than in books printed on manufactured papers made from wood pulp with a higher acidic content.
Wrappers Paper coverings—plain, marbled or printed—attached by stitches, staples or glue to a text block to identify it and afford it some protection (though much more fragile than a binding in plain, cloth or leather-covered boards). More typical of slim and/or inexpensive volumes such as pamphlets. “Self wrappers” are leaves, blank or printed, that are integral to the text block, conjugate with other leaves and from the same stock. “Original wrappers,” those attached at the time of issue, are scarce and extremely desirable to most collectors.