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Santa Cruz: Foolscap Press, 2002. Paperback. 126 of 200 copies. This is an unusual and lovely scroll book, which, according to the Press, follows the written record of a wondrous monument standing in Athens. The Tower has been explained by scholars from antiquity to the present, yet the Tower of the Winds was and still is a mystery to those who study it. The work is original to the Foolscap Press both in content and exterior form, and was created as a biblio-artifact, both a book and an object. The book is in a pre-codex form, allowing the reader to scroll through history viewing the subject along a panorama 25 feet in length. In addition to reproducing historic texts, there are illustrations of the Tower by James Stuart and Nicolas Revett, two important early British architects. The work is printed in Adobe Herculanum type on Zerkall Book and hand made papyrus from Egypt. It is housed in a formed sculptural / architectural case. Each case is a rigid cylinder hinged with cloth and lined with a map of ancient Athens. Issued with handling instructions. It is a stunning and inventive work from this press. PRI/101713. Fine in Fine Box.
Santa Cruz: Foolscap Press, 2010. Hardcover. Number 19 of 200 copies of which 140 were offered for sale. Signed by each author. "As a journalist Ernest Hemingway was trained to cut to the story's essentials, leaving out those words that stand between the writer and his intent. And so we have a Hemingway principle of good writing—the well-hewn sentence. It is said that Ernest Hemingway was challenged to write the shortest of short stories: the ultimate example of brevity in storytelling. Though perhaps apocryphal—no one can tell us who challenged him or on what occasion—this was the result: “For Sale, Baby Shoes, Never Worn.” Writers have attempted to equal this six-word short story with six of their own, but no one has clearly beaten the master. Those six words are just too good. Foolscap Press commissioned six writers each to write a six-page story where only the title was supplied. The writers were free to do whatever they chose within those parameters. We invited three women and three men in order to balance personal experiences and writing styles. The response is these six extraordinary stories stocked with a captivating cast of characters. And, yes, there is a distinction between the men and women writers. And what happens when it comes to dealing with an unmitigated loss (as the title might suggest)? You can read for yourself these six creations spun from six very different imaginative worlds, all in response to those six tantalizing words" (Foolscap Press). A large book bound in light blue Japanese cloth with paper title label on front cover. The book is sewn in an modified accordion structure designed so that each story is presented individually. Each story has its own title page which has been signed by the author. Each title page features a different collaged print of a pair of shoes by Peggy Gotthold on Kitakata paper. Letterpress printed on Frankfurt Cream text paper using hand-set Garamond type. Unpaginated. [60 pages.] PRI/031011. Fine.
Santa Cruz: Foolscap Press, 2015. Paperback. Number 19 of 116 copies. Signed by the poet and calligrapher. A beautiful production from this press. From the book artists' description of this book: "This book is a collaboration between Anglo-Welsh poet, critic and publisher David Annwn and the celebrated San Francisco calligrapher Thomas Ingmire. Originally, they created a truly remarkable unique book with the subject matter Saint John's Fragment. This was great for the owner, but leaves nothing for the rest of us. Weve gone back to the collaborative drawing table with David and Thomas to create our own edition, the result of a second collaboration, and although still sharply limited, it allows something for those of us who want an echo of their astounding original work.The piece of papyrus called the Saint John's Fragment was acquired in an Egyptian market in 1920 by Bernard Grenfell, an English scientist and Egyptologist. It now resides in the collection of the Rylands Library at the University of Manchester in England.This scrap of paper-like material, measuring only 3.5 by 2.5 inches, is made from the pith of the papyrus plant. It is dated from between 100 CE and 150 CE and is generally accepted as the earliest extant record of a canonical New Testament text. Written on both sides of the papyrus, it must have been part of a codex, that is, a collection of sewn and folded leaves, not a scroll or an isolated sheet. That being the case, it would be among the earliest surviving examples of a literary codex. It was written in Greek in a script known as Hadrianic, named after Hadrian (76 CE-138 CE), the Roman Emperor of that era. David Annwn has responded to this fragment in a poem that always seem to bear just below the surface remembrance of a statement from the Rylands Library: “The importance of this fragment is quite out of proportion to its size, . . .” And yet it exists, considering all which could have destroyed it, against the odds. Thomas Ingmire's calligraphy shows the image of the actual fragment, then the restored page, then the English translation of the restored pagein flaps that extend the pages in order to allow for the missing text. The calligrapher has added gold tooling to the title and half-title pages." The book is printed letterpress on Frankfurt Cream paper and bound in heavy brown handmade paper from Cave Paper with cream paper spine label. In fine condition. 8.25 x 6.25 inches. Unpaginated [40 pages]. PRI/022515. Fine.
Foolscap Press, 2016. Hardcover. Number 16 of 100 copies. The Snails is a short story by Patricia Highsmith (author of The Talented Mr. Ripley) about giant snails with huge teeth that inhabit a remote island. When an out-of-shape professor decides to visit the island in hopes of capturing one of the snails in order to secure fame for himself, his plans go awry. A seemingly peculiar topic for a story, it was perfect for Highsmith who kept snails as pets and was known to take them to parties on leaves of lettuce in her handbag. The book is housed in a brick red cloth box with a cast-paper sculpture of a snail shell to the top cover. The book is bound in tan cloth with an illustration of a snail pasted down to the front cover. Within the folds of the accordion structure binding are smaller gatherings of pages, which include the text. Illustrations of snails roaming the island and encountering the professor are printed on the larger pages. An interesting structure, as is frequent with books issued by the Foolscap Press. Letterpress printed from polymer plates. In fine condition. Unpaginated. [44 pages] PRI/022217. Fine.
Santa Cruz: Foolscap Press, 1990. Hardcover. 1 of 150 copies. This story by humorist Stephen B. Leacock (1869 - 1944) was originally published in 1911 in a collection of stories called "Nonsense Novels." Leacock "forces us to face our still-uncertain future, but we find ourselves enjoying the experience" (introduction). Fine in blue Japanese cloth boards wth white paper label to spine and front cover. Designed, printed, and bound by Peggy Gotthold and Lawrence G. Van Velzer as the first book from their Foolscap Press. Printed on a Hacker Hand Press on Mohawk Superfine paper in Monotype Sans Serif type. 28 pages. PRI/033111. Fine.
Santa Cruz: Foolscap Press, 2019. Hardcover. Number 22 of 90 copies, numbered and signed by the binder and printer. The press describes the book: "The Travels of Sir John Mandeville follows a journey that began in 1322 and continued on for more than thirty years. This edition commences as Mandeville leaves the Holy Land and travels east to the lands beyond Egypt, which were mostly unknown to Western Europeans at that time. It is a strange journey and one that has kept his book alive and in print since it was first published in manuscript form in 1357.... His was a piece of European literature rather than a history of exploration... The book was carried aboard ship by Christopher Columbus and others on their voyages of discovery, adding to their confidence that they could safely circumnavigate the globe. Our edition is illustrated and illuminated by Peggy Gotthold following Mandeville’s observations of strange flora and fauna and the remarkable beings he encountered; and especially of the wondrous and powerful kingdoms he chanced upon, which held more gold and jewels and strange customs than his contemporaries could imagine; here are kings and emperors with power at their finger tips beyond the reach of any autocratic ruler in Medieval Europe. Our text is based mainly on the Cotton MS, a translation that was first edited in 1725 and continues to be a starting point for serious study of Sir John Mandeville. Though imperfect, it adheres very closely to the original... As no inventive travel book should be made without including a map or two, we have supplemented Mandeville’s narrative with five imaginative maps created for this edition. These are maps that would make sense to a fellow traveler of Mandeville’s time. They are not modern maps where one might expect to identify one’s place on land or the sea. There are no precise coordinates of latitude and longitude. These maps are also narrative and allow the reading traveler to follow Sir John Mandeville, whoever he was, through an unfamiliar landscape. The modern reader will also discover the bizarre and unexpected in the world and share in Mandeville’s amazement and curiosity while traveling alongside him." Bound in flexible red paper covered boards with paper title label to front cover. Includes five double-page maps printed on handmade linen paper from Papeterie St. Armand. Hand-applied illuminations appear throughout. Letterpress printed on paper handmade at the University of Iowa's Center for the Book under the direction of Timothy Barrett in Silentium text, designed by Jovica Veljovic. Housed in a red cloth covered clamshell box. Size of book: 9 x 12.75 inches. 104 pages. PRI/061319. Fine.