Toronto: Cheshire Cat Press, n.d. Number 114 of 125 copies signed and numbered by the book artist. A charming broadside from master designer and printer George Walker. Shakespeare's famous quote from Hamlet, "to be or not to be," is printed both pictorially and with numbers. It uses the number 2 for "to," a bee for "be," an oar for "or," and a knot for "not." Printed in black and yellow on handmade paper. In fine condition. Measures 7.5 x 14.75 inches. PRI/091919. Fine.
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London: C. Bathurst, 1765. Hardcover. Seventh Edition, with additions. Bound in full leather with gilt title and decoration to spine. The front cover is present but detached. The edges of both boards have been restored, including the rear hinge. The interior has some foxing, a few spots of soiling, and minor browning but the text is still bright. Previous owner's signature with date of 1778 in pen on front free endpaper. Chipping to front and rear endpapers. 351 pages plus Index. LIT/3113. Very Good -.
Hammersmith: Kelmscott Press, 1893. One of 500 paper copies (10 were printed on vellum). This beautiful early production from the Kelmscott Press was described by Sydney Cockerell in 1898 as "one of the rarest books issued from the Press" because of its popularity [William Peterson bibliography]. The Foreword states that the poems are printed witht he original spelling and that the fact of being able to study these poems in the language in which they were written ought we think, to add materially to the pleasure of the reader. Bound in the original limp vellum with Shakespeares Poems in gilt on spine. Vellum still very clean with some creasing and curling to the front cover. The fragile ribbon ties are missing. The interior pages are in near fine condition. Each poem has a lovely title page with ornamental borders and ten line initial letters designed by William Morris. Printed in Golden type on Flower paper. Measures 5.75 x 8.75 inches. 216 pages. PRI/022420.
London and New York: J.M. Dent and Co. and E.P. Dutton and Co, 1909. Hardcover. According to a note from the publisher: "Most of the designs appeared as line drawings in an edition issued by the present publishers in 1899, but they have since been worked over, revised, and coloured by the artist, whiel some entirely new designs have been added." Bound in quarter red leather over red cloth boards with gilt title and decoration to spine. Wear and chipping to spine ends ends and corners of boards. Rubbing to cloth and small black stain to front cover near top corner. Bookplate to front free endpaper. Occasional smudges to margins, but clean overall. Includes 12 full color illustrations, 2 full page black and white illustrations, and several vignette black and white illustrations. 304 pages. CHILD/021918. Very Good.
London and Edinburgh: George Bell and Sons / The Abbey Press, 1902. Hardcover. Number 100 of 500 large type and large paper edition, printed on handmade paper. Bound in cream vellum boards with gilt title to spine and gilt decoration to boards. Red ties are no longer present and boards are bowed (as is common). Minor rubbing and soiling to boards and edges. Minor foxing to first and last few pages, else clean. An attractive printing of this famous work. 134 pages. DRA/032420. Very Good.
Germany: John Gerard, 2006. LIMITED. Paper Wrappers. 8 of 30 copies. Signed and numbered by artist. Sonnet LXXVI, with a pulp paper painting by Gerhard van der Grinten. Hand printed in 14 pt. Caslon. Lovely paper with swirling multi-colored pastel pulp painting. 2 pages plus colophon. PRI/041807. Fine.
Moscow: Emil Goozairow, 2020. Number 4 of 5 copies signed by the book artist. Emil Goozairow is a Russian artist who paints and draws, produces movies, and creates exceptional miniature handmade books that are printed on rare types of paper and published in limited editions. His techniques create unique designs that often are made with natural materials alone or in combination with relief decorations made from metal or polymeric clay. He creates books that he describes as "pop up," “kinetic carousel," “liporello” or “3D origami.” He also writes fairy tales, stories and mystical scenes. Hamlet's Soliloquy is a wonderful example of Emil's work. When each page is turned the the revealed pages pop open with Emil's beautiful illustrations and the soliloquy's text that are done in shades of brown. The covers are a reddish brown fabric with a relief polymer clay artistic design on the front cover. There are attached brown braided cord straps with a metal clasp to close the book. A wonderful and imaginative interpretation of this famous soliloquy. In fine condition. Measures about 2.25 x 3 inches. Fine.
Moscow: Emil Goozairow, 2016. Number 12 of 12 copies signed by the book artist. Emil Goozairow is a Russian artist who paints and draws, produces movies, and creates exceptional miniature handmade books that are printed on rare types of paper and published in limited editions. His techniques create unique designs that often are made with natural materials alone or in combination with relief decorations made from metal or poymeric clay. He creates books that he describes as "pop up," “kinetic carousel," “liporello” or “3D origami.” He also writes fairy tales, stories and mystical scenes. Hamlet's Soliloquy is a wonderful example of Emil's work. Each page features an elaborate illustration with the text of Hamlet's Soliloquoy intertwined, making it a bit difficult to read; although, it's such a famous passage that it's decipherable. Bound in red and green fabric with a polymer clay inlay to the front cover. Red and green braided cord wind around the book and fasten with a metal clasp to close the book. A wonderful and imaginative interpretation of this famous soliloquy. In fine condition. Measures 2 x 1.25 inches. Fine.
Munich: F. Bruchmann, 1909. Hardcover. First German Edition. Number 24 of 1001 copies. Includes 40 full color illustrations by Arthur Rackham, each mounted on brown cardstock with captioned tissue guards. Also includes numerous black and white illustrations, some full page and some within the text. Bound in the original vellum boards with gilt title and floral decoration to spine and small emblem of Shakespeare to front cover. The spine design is by Ottomar Starke. Rubbing and light soiling to covers, edges of boards, and spine, as is common. There is a three inch split to the vellum along the bottom of the front hinge; however, the split only affects the top layer and the board remains firmly attached. Light dampstain to top edges of both covers, which also affects the top edges (top margins only) of multiple interior pages. Lacks ribbon ties. Text in German. A few pages have small spots of soiling or finger smudge marks and a few have chips to the edges, but the book remains very clean and bright overall. A beautiful book despite the noted condition issues. 132 pages plus plates. CHILD/081717. Very Good.
Hartsford, CT: Andrus and Judd, 1836. Hardcover. Both volumes are bound in full tan calf leather with gilt titles and rules to spines. Wear and rubbing with a few pulls to leather. Bindings remain tight. Foxing to interiors. Includes 16 engraved plates. An earlier edition calls for engraved title pages, but this edition does not have engraved title pages. Previous owner's signature of Blanche Douglas to in pen to both front free endpapers. Worm holes to first 100 pages of first volume - Just a small hole on most pages, but longer on first 10 pages. Occasional notes in margins in pen. Longer pen inscription to page 448 (at the end of Hamlet) with a list of three interpretations of Hamlet's actions. Handwritten auction receipt dated 1837 laid into front of volume two. The receipt includes 2 Walker dictionaries for 25 cents each, one bottle of colonge (11 cents), 2 volumes of Shakespeare (presumably THIS copy) for $2.10, etc. 466 pages in volume I; 478 plus Glossary in volume II. LIT/051320 (Shakespeare section). Very Good.
London: S.O. Beeton, 1864. Hardcover. First edition. A thin folio bound in pebbled brown publisher's cloth with gilt title to front cover. Wear and minor fraying to edges of boards, corners, and spine ends. Includes 4 full color lithographs, numerous black and white illustrations, and illustrated title page. Fading to spine and edges of boards. Light dampstain to rear board. Foxing to interior, else clean. 48 pages. LIT/081717. Very Good.
Cleveland and New York: The World Publishing Company, 1960. Hardcover. "This special edition of Shakespeare's Progress is limited to 975 copies for private distribution to friends of the publisher Christmas 1960" Attractively bound in blue marbled paper covered boards with black cloth spine titled in gilt. Clean and bright. Minor wear to edges. Housed in a blue paper covered slipcase with fading and wear to corners and edges. 191 pages. LIT/081420 (Shakespeare section). Very Good.
New York: Harper and Brothers, 1896. Hardcover. Brown cloth boards with gilt title to spine and front board. Silver falcon to spine and crest to front cover. Minor rubbing to gilt. Minor wear to edges of boards and corners. Includes many black and white illustrations. Previous owner's signature in pen to front endpaper. Minor toning to edges of pages, else clean. Attractive binding. 251 pages. SHAK/031819. Very Good.
Eugene, OR: 2005. Number 8 of 12 copies. Signed and numbered by the book artist. Susan Lowdermilk is a book artist and printmaker working in traditional processes such as woodcut, wood engraving and intaglio etching as well as digital media. Her artist’s books involve movable parts, pop-ups and LED circuitry. She is a professor at Lane Community College in Eugene, Oregon, teaching courses in printmaking, artist books and graphic design. Her work has been collected by over 60 public institutions including, the Getty Museum, the Library of Congress and the New York Public Library. Her artist’s books are represented in galleries throughout the United States. She earned her Master’s of Fine Art from the University of Oregon. The text of this book is a quote from Shakespeare's As You Like It: It is ten o'clock: Thus may we see how the world wags: 'Tis but an hour ago, since it was Nin; and after an hour more, 'twill be Eleven : And so, from hour to hour, we ripe and ripe, And then, from hour to hour, we rot and rot, And thereby hangs a Tale." The poem is printed on eight Stonehenge paper panels and is in an Indonesian palm leaf style construction with sewn thread binding. When untied, the book can be opened to reveal all of the panels and the text. With black corrugated paper covers with grey title label on front. In fine condition. 12.75 x 4.6 inches. ARTISTSB/073118.