1896. Source: A Handbook of the Birds of Great Britain; three bird lithographs designed by Richard Bowder Sharpe (1847-1909), an English zoologist who joined the British Museum as a Senior Assistant in the Department of Zoology, in charge of the bird collection. Sharpe wrote 13 1/2 of the 27 volumes of the Catalogue of the Birds of the British Museum.The framed print measures 6 1/8 x 4 1/4 inches. Matted in wood frame with gold finish. #43583/43562/43576. Very Good.
Refine search resultsSkip to search results
Chicago: Starshaped Press, 2019. Hardcover. Number 21 of 100 copies, signed and numbered by the artist. "The Almighty Starshaped is an ornamental romp through the streets and alleys of Chicago, a colorful snapshot of street vernacular. Taking the form of a little black sketchpad, or piece book, its imagery is neither a glorification of glistening architectural facades, nor the seedy underbelly of the city’s infamy" (book artist). Black cloth boards with paper title pastedown to front cover. Letterpress printed using metal type and thousands of ornaments in multicolor on Mohawk Superfine White paper. Includes prospectus. Size: about 7.25 x 5.25 inches. [48 pages.] PRI/051319. Fine.
1818. Indenture. Lincoln County – Reign of George III. This is a hand written English indenture on vellum dated the 4th day of November 1818 between George and Ann Allen and Richard Cuthbert of the same place for an annual lease of land in Lincoln. Legibly penned with fancy printed vignette stamp with insert, and original red wax seals of Ann and George Allen. Tax stamp and summary on verso. Condition is fine with original folds. Archivally matted. #27236. Fine.
n.p. n.p., n.d. An attractively framed silk screen print of a famous photograph of young Ho Chi Minh taken during his years in France. It was in France that Ho Chi Minh became drawn to Communism years before he became the revolutionary leader of North Vietnam. In the photo portrait he is wearing a bowler hat and looking into the camera. The print is in shades of dark red and taupe, with French words making a design in the background ("a la societe des nations," "Colonisation France" etc.) The frame is dark brown, and the double matte is in the same red and taupe as the print. Print is 9 x 13 inches. Framed picture is 16 x 19 inches. In very good condition save for a few very small nicks to frame. ART/022513. Very Good.
India: 1425. Framed rare leaf from the remains of a Koran, on paper, India, Sultanate, originating in the state of Bihar, circa AD 1425 (330 x 250 mm). Text is from the end of juz 15 and juz 16 – 30. There are eleven lines of large bihari script in black ink; the word Allah picked out in red or gold throughout, first ‘ayah’ of each juz selected in gold, single verse divisions marked with illuminated gold florets, sura headings written in white on illuminated panels with palmetts extending into the margins, inner and outer margins ruled in red and blue, large finely illuminated marginal devices marking sajda instructions, juz, quarter and half and three-quarter juz, text words in black. The condition is in unusually good condition. Damp staining confined largely to one corner, hardly affecting the text. #17886. Good.
Persia. Framed handwritten manuscript leaf from a Koran, Persia, middle of the 16th century, on paper (325 x 220 mm). This leaf comes from a large-sized Koran of fourteen lines of black Nasta’liq script. It has elegant marginal devices recto and verso. Verso: fourteen lines of black Nasta’liq script. #18003. Fine.
Spain: 1537. Five lines of music and verse in Latin on extremely heavy vellum. The text is written in a Spanish rounded gothic hand (Rotunda). A beautiful large initial "A" is in yellow with a tile border in black, red, and liquid gold. Verso: Five lines of music and verse with large undecorated initial. This leaf is in a large gilded wooden frame with plexiglass on both sides so that the verso is visible. The leaf measures approximately 25.25 x 17.25 inches. #103. Fine.
A rare illuminated Koran leaf, probably Heart of Bokhara, late 16th century, on paper. There are fifteen lines to the page: first, eighth, and fifteenth lines of each page written in gold muhaqqaq script with remaining lines written in smaller naskhi script in black ink. Illuminated markers are between verses and illumination flanks the text of each page; surah headings are written in thuluth script in white on illuminated panels in color and gold. All the leaves from this fragment have been remargined due to its age and its interesting provenance (supplied upon request). Framed. #17261. Near Fine.
Tehran: 1866. A framed leaf from an illuminated Qajar Koran during the rule of Nasir al-Din Shah (1848-1896), Persian, Tehran. 1866, on paper (220 x 200mm.). There are fourteen lines of text of bold naskhi script in a competent hand within gilded cloud-bands and ruled borders; small roundels make the verse endings, illuminated marginal ornaments, sura heading in red thuluth script within illuminated rectangles. Verso: fourteen lines of text of bold naskhi script in a competent hand within gilded cloud-bands and ruled borders. #24076. Fine.
Gottingen: Verlag der Wittwe Vandenhoes, 1784. Hardcover. SCARCE. Text is written German Fraktur. Very good in original full leather boards with gilt year stamped on the spine. The title label is no longer present. The spine and edges of the boards are decorated with floral designs in gilt. Approximately 1.5 inches of the foot of the spine has chipped off and there are a few small chips to the remaining leather along the spine. Minor rubbing to the boards. The gilt remains bright. Pastepaper endpages and full edges gilt. A modern bookplate is adhered to the front pastedown. An older previous owner has hand drawn their family crest in ink on the front free endpage with the name Lyreinus Lois er Galis (or something like that) underneath. There are occasional small spots of foxing but overall the text is very clean and bright. Includes 23 folding pages with charts. One long chart in the back is a register of the Johannwarde Estate of Lauenburg. It lists names of people and various information about them from the 1700s. An interesting book. 166 pages plus plates. GER/081611. Very Good.
New York: Mark Batty, 2002. Hardcover. One of 40 copies of this special edition that is hand bound and contains tipped-in original specimens of Daniel Berkeley Updike's work referred to in the text. Signed by the editor William Peterson on the colophon. Daniel Berkeley Updike (1860-1941) founded Merrymount Press in Boston, Massachusetts, in 1893. He was committed to creating books of superior quality and believed that books could be simply designed, yet beautiful. Upon his death in 1941, the Press was taken over by his partner John Bianchi, but ceased operations in 1949. Updike and his Merrymount Press left a lasting impression on the printing industry, and today Updike is considered one of the most distinguished printers of the twentieth century. Stanley Morison, the typographer responsible for creating the ubiquitous Times New Roman, had this to say of the Merrymount Press after Updike's passing: “The essential qualities of the work of the Merrymount Press...may be said without exaggeration…to have reached a higher degree of quality and consistency than that of any other printing-house of its size, and period of operation, in America or Europe” (Wikipedia). The editor, William Peterson provides a valuable introduction to Updike's life and work. Of particular interest is Peterson's comparison of Updike to the giant of 19th century printing, William Morris and his Kelmscott Press. He notes the differences in their approaches, with Morris seeking the ideal book and Updike's. There are 31 illustrations throughout the text. Following the text is the section of tipped-in original specimens mounted on grey paper along with a a digital copy of an unpublished photograph of Updike taken in 1940. Bound in grey paper boards with darker grey linen spine. Gilt titling to spine and front cover. Printed in Founder's Caslon type on Cougar Opaque Natural Paper. Housed in a grey paper covered slipcase. Book and slipcase are in fine condition. Measures 6 x 9.5 inches. BOB/070820. Fine.
1863. Hardcover. Very good in the original dark green publisher's cloth with gilt title to spine and gilt emblem to front cover. Chipping to book cloth along the spine ends and hinges. Both hinges are starting to split with cracks starting on the tops and bottoms of both. Minor wear to corners and edges of boards. With numerous illustrations including a large fold out Nicholls map of New York (1664-8), a fold out of the Steam Ship Roanoke, a color fold out view of Harlem (1765), several color plates of New York homes, and more. A few of the fold outs have closed tears. Dampstaining to bottom and top corners of later pages. 852 pages. NY/022118. Very Good.
Verdigris, 2006. Rothchild, Judith. Hardcover. 20 of 30 copies. Copies 26 to 29 were hors commerce, and number 30 was given to the Bibliotheque Nationale de France. SIGNED BY ARTIST AND WRITER. This beautiful work has eleven stunning numbered and initialed mezzotints by artist Judith Rothchild. Rothchild is an American born artist who lives in the Languedoc region of France. Also a pastel artist, she has become famous for her mezzotints, perhaps the most difficult printmaking technique. Rouanet is a well known French writer. The colophon says that the work is a collaboration between the two, who share a deep love for the Languedoc. Rouanet’s text, in French, was inspired by Rothchild’s prints of food and wine and by the spirit of a local restaurant, Le Mimosa. The folio sized pages are loose in a yellow and green box made by Lisa Knoblauch with the front board decorated with mimosa leaves done by serigraph. Printed by Mark Lintott in Vendome Romain type on an Albion press. The prints are protected by tissue guards. 20 pages including the prints. PRI/061207. Fine.
San Francisco: Francis, Valentine & Company, 1882. Scarce lithographed map of Sinaloa, hand-colored in outline with two large insets that are hand colored, backed, folded, and bound in original black cloth boards with gilt title to front cover. Includes 19 page booklet with "Statistical and Geological Notes Accompanying the Map of Sinaloa." Sinaloa is located in northwestern Mexico and is rich in minerals. One inset map shows the geology of the state and the other shows the "Ethnological-Linguistical" makeup. A third inset shows the "Profile of Sinaloa, following the road from Mazatlan to Durango" (uncolored). Crease to front page of booklet and minor dampstaining / soiling to edges of most pages. Light foxing to several pages. The large map of Sinaloa is mounted on linen and folds out (as issued). The cloth backing is foxed with minor fraying along the edges. The map itself is clean overall with light foxing. The booklet and title page are present, but no longer attached to the binding, which is split along the spine. Open tear to margin of title page, not affecting the title. There is a large open tear to the bookcloth along the front cover of the book and a closed tear to spine. Heavy wear to edges of boards and minor soiling / dampstaining / bubbling to cloth and minor soiling to edges of endpapers and edges of textblock / map creases. Includes two laid in (unlabeled) modern maps of the same region. Map size: 91 x 74 cm.
England: The Whittington Press, 1991. Hardcover. 1 of 955 copies. The annual review of the book arts for printers and bibliophiles from the esteemed Whittington Press. The articles in this volume include "Twentieth-Century Punchcutters" by John Lane, "A Reconstruction of the Lecture given by Emery Walker on 15 November 1888" by John Dreyfus, "Some Printers of the 1950s and 60s" by Mark Arman, "Joseph Blumenthal 1897-1991" by Jerry Kelly, and many more. Illustrated throughout including tipped in examples of typeface, paper, and ilustration. The frontis is a photograph of William Morris, reproduced here for the first time. Orange dust jacket with black title to spine and contents to front cover. Light and dark orange decorated stiff paper boards. In near fine condition with fine interior. 207 pages. BOB/111810. Near Fine / Fine.
Herefordshire: The Whittington Press, 1997. Hardcover. 1 of 850 copies. This annual from The Whittington Press is perhaps the most highly regarded serial publication on the book arts. This volume includes articles on the Golden Cockerel Press, Bruce Rogers, Caslon Type, and the dust-jacket designs of Hermann Zapf. Contributers include Jerry Kelly, Sebastian Carter, John Dreyfus, Ruari McLean, and Roderick Cave. With many tipped in examples of type and paper. Fine in fine dust jacket. 195 pages. BOB/110410. Fine.
New Rochelle: Wildcliff Craft Center, 1979. Hardcover. Number 19 of 35 copies of the limited edition catalog for “The Book as Art” exhibit at the Wildcliff Craft Center. Signed by Kathleen Dinan, Leonard Seastone, and Alexandra Soteriou, who oversaw the collaborative project. A number of book artists participated in this exhibit, and the folio catalog is itself a fascinating production. The pages are linked together by a broad ribbon, which allows them to unfurl like a ladder; or, the pages can be turned as usual to read the various artist’s statements and colophon. Bound into red and black cloth boards. Printed in Neuland and Goudy O.S. types on cotton handmade paper. In fine condition. Unpaginated. ARTISTSBOOKS/071012. Fine.
Boston: James Fisher, 1840. Hardcover. Theater owner and playwright, Augustin Daly's copy, auction record 3726. The story of Mary Anne Paton (1802 - 1864) and her affair (and eventual marriage) to Joesph Wood. At the time this was quite a scandal as she was married to Lord William Lennox. It also includes details about a theatrical scandal involving them that occurred at the Park Theatre in 1836. Both Paton and Wood were opera singers who performed in England and America. This pamphlet includes reprints of correspondence between the two lovers and relevant newspaper articles. Bound in three quarter tan leather over marbled paper covered boards with red label "Stage Biography" and green title / author label beneath. This is part of a series of books Daly had bound in a matching style, all labeled "Stage Biography." Rubbing, pulling, and wear to leather. Minor dampstaining to top edges of boards. The top third of most interior pages are dampstained. Top edge gilt with marbled endpapers. Bound by R.W. Smith. Auction record tipped into rear. 36 pages with blanks bound in. DRA/031419. Very Good.
London: Lawrence & Bullen, 1897. Hardcover. First Edition. An excellent presentation copy. Inscribed by William Butler Yeats to his friend Clement Shorter: " Clement Shorter from W B Yeats June 23 1899." William Butler Yeats (1865-1939), the famous Irish poet, was one of the most important figures in twentieth century literature. and was key figure in Ireland's nationalist movement. Clement Shorter (1857-1926) was a British journalist and critic who was also an avid collector of books and manuscripts, particularly of the Brontes. He was the editor of the Illustrated London News and in 1893 founded the periodical Sketch. The fourth story in this short story collection, "Where There is Nothing, there is God," was first published in Sketch in October 1896. The stories blend Irish with Rosicrucian themes and characters. Bound in the original blue cloth with the famous cover design done for Yeats by Althea Gyles stamped in gilt on covers and spine. At its center is a four-petalled rose joined to a cross. The boughs of the tree resemble a serpent; among them, just above the rose, are the kissing faces of a man and a woman, With six black and white illustrations by William's father, John Butler Yeats. The binding is bright and beautiful with very slight bumping to corners. Interior pages are quite clean with just a trace of aging to margins. Housed in a cream cloth covered clamshell box with black and gilt title label to spine. Near fine condition. LIT/011816. Near Fine.
New York: Museum Books Inc., 1952. Hardcover. One of two thousand copies of this seminal manual on the art and practice of calligraphy. The book was originally published in German in 1950 as Feder und Stichel and quickly sold out. It was the first published work of famed calligrapher and typographer Hermann Zapf (1918-2015). This edition in English was printed with the original plates cut by August Rosenberger and printed at the private printing office of the D. Stempel AG type foundry on the same Italian Fabriano paper and using Zapf's Palatino type for the text. In his preface, calligrapher Paul Standard writes that Zapf was a champion of the view that calligraphy and other applied arts are as important and influential as the fine arts. The twenty-five black and brick red plates showcase Zapf's masterful and exquisite calligraphy. The are followed by an appendix titled "The Historical Development of Occidental Letterforms" written by Zapf and translated by Sanford. Bound in brown cloth with a vellum spine. The spine has some damage but the book is otherwise in fine condition. Housed in a brown cloth slipcase. Measures 9 x 12 inches. BOB/052920. Fine.
Lincolnville, ME: Dudley Zopp, 2017. Hardcover. Number 10 of 25 standard copies of a new limited edition book by artist and scholar Dudley Zopp. Signed and numbered by the book artist. Ms. Zopp graduated from the University of Kentucky with a B.A. and M.A. and completed postgraduate studies in Drawing and Painting at the Hite Art Institute, University of Louisville. She now lives in Lincolnville, Maine. Zopp finds inspiration in geological processes and cultural histories of place. Her engagement with restoring habitat where she lives feeds directly into her work, which ranges from site specific installations to paintings, woodcuts and limited edition books. She has completed residencies at geologically significant sites in Newfoundland, Spain and Italy. She has exhibited widely at galleries, universities and museums in New England and the Midwest. Her work is included in university and museum collections nationally. This book is offered as both a limited edition deluxe set of 25 with one of the original signed drawings and marble ,and as a slipcased set of 25 with a limited edition print. of which this is one. The book considers our relationship to the Earth in a sequence of annotated watercolors. It was originally presented digitally for a 2014 exhibition "Turning in Your Hand: The Blue Marble Project,” at Waterfall Arts in Maine. Twenty artists were given a blue marble and asked to respond to the pale blue dot we call home. Dudley's images and notations provide a unique look into the oldest of concerns: our place in this world (artist's statement). The illustrations began with a month-long daily ritual of erasing an earlier charcoal drawing and, using watercolor and ink, creating a new drawing in its place. As part of this Dudley noted the weather and the color of the ocean as seen from her studio. She also added a few lines adapted from ancient Buddhist texts. The resulting 31 watercolors were collected in a mystical and magical book that beautifully captures Dudley's artistic consideration of our place in the world. Design, typography, and assembly of books and cases are by Richard Reitz Smith. Text and images are printed as offset lithography by Penmore Lithographers. Typeset inFutura on Cougar Opaque Smooth paper. Covers are blue Dover book cloth.The book is presented in an accordion format and can be read in the round or displayed as sculpture. The book is housed in a dark blue cloth slipcase with an archival pigment print of the drawing for Day Sixteen. Book measures 5 x 7 inches. 82 pages. In fine condition. ARTISTSB/110717. Fine.