Washington DC: Abstract Orange Press, 2017. Hardcover. Number 11 of 20 copies signed and numbered by the book artist. Lauren Emeritz is a book artist, letterpress printer and graphic artist and runs the Abstract Orange Press. She creates prints and books by hand using a Vandercook press and wood type, including type she designs and carves herself. Lauren holds a BFA in Graphic Design from the University of Delaware. She is the President and Creative Director of Abstract Orange, a graphic design firm in Washington, DC, and a letterpress associate at Pyramid Atlantic Art Center in Hyattsville, Maryland. This boldly designed book is one of a series of books that Lauren has done using her handmade wooden type to explore letters, numbers, and shapes. In this accordion style book she has printed her hand carved wood numbers from 1 to 0 in various bright colors either on a single page or on a fold-out page. Bound in dark blue cloth with title in orange on front cover and spine. In fine condition. Measures 5.25 x 7 inches. In a protective stiff plastic case. ARTISTSB/082018. Fine.
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[Toronto]: Biting Dog Press, 2005. Softcover. Number 64 of 65 copies. Signed and numbered by the printer and artist George Walker. A beautiful edition of one of Poe's most famous poems, illustrated with four striking black and white wood engravings by master engraver Walker. Ms. Hogan-Walker's introduction describes the mysterious circumstances of Poe's death and the contemporary critical and popular reception of this powerful poem. Printed with Garamond type on lovely St. Armand handmade paper. Bound in grey paper covers with title and crow image on front cover. Housed in a handmade hinged wooden box with paper title label and flying crow image on top and George Walker's signature on paper label on bottom of box. In fine condition. Book measures 6.5 x 10 inches; Box is 7.5 x 11 inches. Unpaginated [24 pages]. PRI/090619. Fine.
Riverside CA: Bo Press Miniature Books, 2015. Hardcover. Number 29 of 50 copies. Signed and numbered by the book artist. This is a delightful miniature book from the Bo Press. Book artist Pat Sweet is a master of inventive and intricate miniature books, bookish objects, and globes and tellurions. She describes her book as follows: "Three Rats At Sea' is a product of my love of illuminated manuscripts and their creators. As a maker of miniature books, I can't help feeling a kinship with those anonymous artists of the past (and the present). The detail and imagination of these works is something I have always tried to achieve in my own books, to add dense layers of idea and image to the main story; a counterpoint to the melody. I've told the story of my three brave rats in three parts. The first is the introductory text: the story, told in a miniature book. The next is the “real” illuminated manuscript, ' Mures ad Mare (Rats at Sea),' from which I took my story and its world, where rats embark upon voyages of adventure. The third is the pop-up version of the tale told by Sir Bruno’s manuscript and its miniatures, with 8 pop-ups. . Given time, I’m sure I could bake more layers for this little mock-medieval cake, but for now, here’s the story of brave Sir Bruno, his squire Whitby, their servant Pebble on a voyage and adventure upon the sea. The book is bound in turquoise and gold Japanese chiyogami paper, with a metallic gold paper spine and a brass magnetic closure. " The illuminated manuscript is a laid-in booklet. In fine condition. 2 5/8 x 2 1/4". Unpaginated. [14 pages] ARTISTSBOOK/060619. Fine.
Toronto: Cheshire Cat Press, 2019. Hardcover. Number 13 of 42 copies. Signed by Walker, Burstein, and printer Andy Malcolm. Quarto. This is the latest version of The Hunting of the Snark to be published by the Cheshire Press. Carroll's famous nonsense poem has been subject to numerous interpretations over time. In this truly snarky edition, Walker has chosen President Donald Trump and his White House cabinet and advisors for his 21st century lineup of the characters. He writes: "...I think they match up nicely to to the crew of the ship. When you read the poem and think of Trump's cabinet, it's hard not to see the parallels. The political arena in the USA could be described as nonsense, which is exactly the type of poem [this] is. The plot follows a crew of ten unqualified professionals trying to hunt the Snark with a blank map." Thus such familiar names as Scaramucci, Sessions, Priebus, Pence, Mnuchin, Bannon, Sanders and Trump himself appear in parts that reflect their real-life attributes and roles. Bound in grey textured cloth with leather title label to front cover and gilt title to spine. Printed in New Caledonia type on Velin BFK Rives paper. With thirteen engravings by Walker and "The Snark Map" in a sleeve affixed to front pastedown. Housed in slipcase covered in same cloth as book with gilt titling to cover and spine. In fine condition. 71 pages. PRI/011520. Fine.
Toronto: Cheshire Cat Press, 2018. Hardcover. Number 15 of 42 copies signed by the printer, illustrator, and the author of the introduction. The illustrator writes: "This edition in your hand is one of three interations of The Hunting of the Snark published by Cheshire Cat Press, all of them very different in concept while sharing the same aesthetic, inflecting the narrative in different ways without in the least altering Lewis Carroll's original text." The Cheshire Press was formed by book designer and printer George Walker in 1991. The press began when he and two colleagues produced new editions of Alice's Adventures in Wonderland and Through the Looking Glass. For this edition of Snark, Malcolm created new illustrations inspired by contemporary carte-de-visit photographs that were so popular in Victorian England. He has one for each character in the poem, adapting images from actual photographs. He chose images that to him bring to life the imagined crew men on the hunt for the snark. They are ideal depictions for this fantastical nonsense poem by Carroll, written when he was forty-four years old. Bound in dark blue cloth with title in gilt to spine and on cover label. With "The Snark Map" inserted in a sleeve on the front pastedown. Handprinted in New Caledonia type on Velin Rives paper. Housed in a slipcase in the same blue cloth with gilt title on cover. In fine condition. 6.5 x 10 inches. 71 pages. PRI/111519. Fine.
Victoria, Australia: Electio Editions, 2013. Paperback. Number 13 of 26 copies, of which 22 were offered for sale. Numbered and signed by the printer. According to the foreword, “this work has its origins in an abandoned printing of Nicholas Jenson’s last will and testament, illustrated with Jenson’s Greek letters.” It includes quotes from Jenson in Greek from Noctes Atticae and quotes from other scholars in English. It also includes original poetry by the printer, some of which was created from words excerpted from Jenson’s will and translated into English. Bound in orange handmade Cave paper with “I, Nicholas Jenson alien & printer of books” printed in red and silver inks across the rear, spine, and front panels. A small spot of foxing to a few pages, but clean and bright overall. Illustrated with hand drawn Greek letters by Deirdre Hassed and printed from magnesium blocks. The binding style was created by Keith Smith. The book is housed in a blue cloth covered clamshell box with a magnetic folding closure. Unpaginated. [48 pages] PRI/111616. Fine.
Israel: Even Hoshen, 2009. Someck, Ronny. Hardcover. Numbered and signed by the author and printer. A collection of five poems by Ronny Someck about ballet with two hand-colored illustrations. Someck is an Israeli poet, musician, and artist who has won multiple awards for his poetry including the Prime Minister's Award, the Hans Berghhuis prize for poetry, and the Yehuda Amichai Award for Hebrew poetry. He is internationally renowned with poems published in over thirty-five languages and ten books of poetry published in English. The Even Hoshen press was founded in 1994 by Uzi Agassi, who was later joined by his son Ido. Their work is letterpress printed on high quality paper with hand made bindings and illustrations. Pointe Shoes is a dos-a-dos structure printed in both English and Hebrew. It is bound in black cloth boards with inset cloth ballet slippers to both boards and decorative pink and black ribbons to spine. The center of both signatures features four black and pink flourishes. Printed on Grandee paper and handset in Alt-Mediaval and Margalit type. Housed in a black cloth slipcase. A fine production. Unpaginated. [18 pages.] PRI/032713. Fine.
Washington DC: Library Fellows, The National Museum of Women in the Arts, 1992. Hardcover. Number 4 of 20 copies. Signed and numbered by the artist with an original drawing in a separate portfolio. Audrey Flack (1931-) is an important American artist who is nationally recognized and whose works are in major collections throughout the world. She is known as a pioneer in Photorealism and has also been inspired by Baroque art. This book is the third volume in the artists' book series published by the Library Fellows of The National Museum of Women in the Arts. The sketchbook records Flack's travels from 1985-89, which included trips to Paris, Las Vegas, and Fort Lauderdale. The terra cotta pencil sketches that fill the sketchbook are beautifully rendered and often intimate. They are reproduced to scale. The book and the portfolio for the illustration are bound in a green, black and orange marbled cloth. Save for light creases on the free endpapers the book is in fine condition. The original drawing is a portrait from a Baroque sculpture and measures 4 x 6 inches. Both are housed in a brown cloth box with black leather title label affixed to a strip of the marbled cloth used for the binding. A lovely copy of this now rare book. Unpaginated. ARTISTS/102612. 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.
Vancouver: Heavenly Monkey, 2019. Hardcover. Number 25 of 55 copies. This is one of 30 standard copies. There were also 20 deluxe copies and five hors de commerce. This beautifully produced leaf book begins with Pollard’s essay that was written for the catalogue of William Andrews Clark Jr.’s renowned book collection, published in 1921 by John Henry Nash. "Rather than a straight historical account of the two presses, Pollard offers a meditation on their influences and influence, particularly in matters of design and typography. It is embellished here with calligraphy by Martin Jackson, and accompanied by a leaf from both of the presses: the Kelmscott's Golden Legend and the Doves' English Bible." [Publisher statement] "Heavenly Monkey is the imprint of publisher Rollin Milroy, dedicated to creating books for people interested in contemporary applications of traditional book crafts: handmade papers, letterpress printing, and bindings that emphasize both aesthetic and structural integrity. Our books are designed as objects to be experienced both intellectually and physically; innovative use of technology from any era, and its skillful application are the studio's guiding principles." [Publisher website] Bound in blue paper covered boards with dark blue cloth spine and with titling and cloth title label to front cover. Printed in Centaur type and with calligraphy in red by Martin Jackson from polymer plates on dampened Arches paper. In fine condition. Measures 10 x 15 inches. 18 pages plus leaves and colophons. PRI/022819. Fine.
Hammersmith: Kelmscott Press, . A nice collection of nine leaves from Kelmscott’s famous edition of Reynard the Fox. The pages include two copies each of pages 34-35, 139-140, 193-194 and 207-208; and one copy of pages 133-134. There is no evidence that the pages were ever bound, and leaves 207-8 are each folded in opposite ways. One 207-8 leaf has a contemporary signature of William Copeland Borlase, “Borlase, WC” but is oddly dated 1877.One of the copies of pages 139-40 has a contemporary ink note at top “Acton (Lord) Catalogue, and one of the pages 208 has “Austin Stephen” written in at the bottom and upside down. With several large initials and decorations, In Troy type on Flower paper. There is some soiling and browning to the leaves, and closed tears to page 193 but still a very good collection that would be ideal for teaching purposes. PRI/042116. Very Good.
Hammersmith: Kelmscott Press, . Arthur Gaskin. Five text pages plus two of the twelve full page illustrations by Arthur Gaskin. This was one of the later books of the Kelmscott Press, and it was finished several days after Morris's death on October 3, 1896. These beautiful sample pages include the first three pages for "Januarie" and the first two for March. The Januarie pages are in near fine condition but the March leaf has a tear along the bottom margin not affecting text. Each has a striking ten line first initial. The two Gaskin illustrations are printed on the versos of a bifold leaf. There is a three inch tear along the bottom of the fold not affecting the illustrations. Accompanied by a proof of the front cover showing the lettering. Very nice examples of Kelmscott Press printing and illustration. PRI/011816. Very Good.
Eugene, OR: Knight Library Press / University of Oregon, 2000. Robin Eschner. Paperback. 62 of 125 numbered copies. Signed by the author and artist. An additional 10 lettered artist’s copies were also printed. This wonderful short story by Lopez was originally published in the Fall 1997 issue of The Georgia Review. In the story, a Peruvian man writes of the effects on his life and faith from having read at different points in his life, secret love letters written in the 17th century between Rosa and Martin. The two were later canonized as saints, and the writer comes to understand their divinity and love of God as expressed in the letters. The book is a beautiful production from the Knight Library’s fine press publishing program. It was designed, printed, and bound by Sandy Tilcok. It is printed on Heine paper using Bembo types. There are five lovely tipped-in hand-colored etchings done by Robin Eschner. Marilyn Reaves did the calligraphic title, headings, and ornaments. The colophon describes the cover as being made by laminating two handmade papers of brown and rose. The covers are fastened by thin leather straps for which instructions are provided on a laid-in card on how to re-tie them in the original intricate fashion. Unpaginated. ARTB/120209. Fine.
MA: Viewpoint Editions, 2012. Paperback. Number 22 of 36 copies. According to noted book artist Dorothy Simpson Krause, “This homage to Marjory Stoneman Douglas (1947-1997) and her seminal book, The Everglades: River of Grass combines my images of the Everglades with historic photographs, documents, and maps. Forty miles wide and over 100 miles long this slow moving river ranges from a few inches to a few feet in depth. Only half its original size, the Everglades has been largely destroyed to meet the demands of urban and agricultural growth. The ongoing battle for restoration of the Everglades is a moral test which hopefully we will pass.” The book’s exquisite images evoke the beauty and mystery of the Everglades, which are “one of the unique regions of the earth, remote, never wholly known” (Marjory Douglas). Printed on Yu Kou paper, on a laser printer with letterpress overlay. Interleaved with Yu Kou light tissue guards. All of the unbound pages are housed in an envelope enclosure made from brown Lokta Oil Paper to reference a packet of documents an early settler might have carried. The closure on the envelope is a native mahogany tree seedpod with rawhide and thread tie. This book was produced while Krause was Artist-in-Residence at the Jaffe Center for Book Arts, Wimberly Library, Florida Atlantic University, and was published under the auspices of Minerva: The Press at Wimberly. In fine condition. PRI/101912. Fine.
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.
Liberty, WI: The Heavy Duty Press, 2018. Softcover. Number 8 of 26 copies. This charming and beautifully printed book is a fitting tribute to the art of fine printing. It reprints an article by master printer Stan Nelson that originally appeared in Parenthesis in 1999. The article described the pleasurable steps and details of typesetting and hand printing. Stan wrote that the essence of fine printing "is really the marriage of the right paper, excellent presswork, perfect type, and good typography." The Heavy Duty Press has produced a book that fulfills Stan's criteria for fine printing. The text is printed on both translucent and opaque sheets that allow the words on separate pages to show through and continue the flow of sentences. Interspersed are designs showing snow through a window. Tipped in is a small facsimile of a letter sent by Stan to Mike Koppa in 1998 about printing. Printed in 10 pt. Century Old Style type on Zerkall Laid and Classic Crest papers on a Vandercook press. The book is hand bound and inserted into one-of-a-kind covers, constructed without adhesive, featuring designs taken from the Specimen Book and Catalogue of the American Type Founders Company. In fine condition. Measures 4.5 x 6.5 inches. Unpaginated. PRI/050719. 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.
England: The Whittington Press, 1999. Hardcover. 1 of 800 copies. The annual review for printers and bibliophiles from the esteemed Whittington Press. Contributions include "Generic Kelmscott" by Theo Rehak, "American Proprietary Typefaces" by John Dreyfus, "Will Ransom and the Cummingtons" by Roderick Cave, and many more. Illustrated throughout, and with many tipped in samples of typeface, illustration, and paper. In fine condition with deep teal blue dust jacket over light and dark blue decorated stiff paper covers. 245 pages. BOB/111810. Fine / Fine.
England: The Whittington Press, 2002. Hardcover. 1 of 825 copies. The fine annual compilation of articles, essays, and book reviews from the noted Whittington Press. This volume includes "The Incunabula of the Rampant Lions Press" by Sebastian Carter, "New York Revisited" by Kenneth Auchincloss, "Looking for Cockerel Eggs" by Roderick Cave , and many more articles. Illustrated throughout, including many tipped in examples of typeface, paper, and illustration. In fine condition in mauve dust jacket with illustration to front cover, with dark pink stiff paper boards with large orange "M" scrolled across front and back. 198 pages. BOB/111810. Fine in Fine Dust Jacket.
Whittington Press, Summer 2009. Hardcover. 1 of 700 copies. Features articles by Phil Abel, Andrew Anderson, Ruth Artmonsky, Robert Aspinall, Hal Bishop, Jerry Cinamon, Sandy Connors, Catherine Dixon, Andrew Dolinski, James Fergusson, Colin Franklin, Philip Gallo, Michael Harvey, and Richard Healy. Fine in flexible white wrappers with black typographical illustration to front board. Slight bump to top corners. Pristine interior with numerous illustrations and tipped-in printing samples. Fine orange dust jacket with black title to spine panel and illustration to front panel. 181 pages. PRI/110609. Fine in fine dust jacket.
Herefordshire, England: The Whittington Press, 2018. Hardcover. One of 660 copies. Another splendid yearbook on the book and book arts from John and Rose Randle of The Whittington Press, with 27 interesting articles by printers, artists, booksellers, scholars, and more The Randles write: "The Matrix 35 breaks our golden rule of ignoring the outpourings of the Whittington Press: there is a telling account of the collecting of our posters and ephemera; and images from some recently discovered 35mm film recording the installation of the Wharfedale Press through the end of the building in 1974. Other topics include printers’ social lives in Minneapolis in the ’80s, living and working in the Gill household at Pigotts in 1939, travels in Afghanistan, roofing in 6-point Gill Sans, and an engraver’s collage of buildings from the Iron Age to City skyscrapers." Bound in white decorated paper covered boards with a linocut of Whittington village. In tan paper dust jacket with early photograph of Rose affixed to the front cover. Photographs, illustrations, print samples throughout, many tipped in. In fine condition. 168 pages. PRI/112118. 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.
DC: Windhorse Press, 2011. Hardcover. Number 4 of 8 copies, signed by the artist. In Russian. According to the book artist this "book recounts a story of a child learning to play chess with book pages numbered as chessboard squares. The child does not want to follow the game's rules by making two moves each turn, not allowing his pieces to be taken, etc. In the end the child removes all pieces from the board with only two kings remaining and proclaims that 'Kings walk slowly but always make quick decisions'". In the form of a dialogue, the text is based on personal experience from trying to teach chess to her son. The book is bound in black cloth with a small red paper square inset to the front cover. The images were printed using a carved plastic plate and the text was printed on a laser printer. Housed in a whimsical red cloth box which opens in an unusual manner. A miniature book measuring 1.75 x 2 inches in a box measuring 2.5 x 2.75 inches. Born in Moscow, Tatiana has been interested in books and bookmaking since her childhood. She holds degrees from the Moscow University of Printing, the University of Maryland, and the Corcoran College of Art and Design. Her work is in collections nationwide and she has recently won an award for traditional illustration. She currently resides in Takoma Park, Maryland with her family. Unpaginated. Fine.