Lexington KY: Anvil Press, 1986. Hardcover. Number 11 of 100 copies. According to an article by Burton Milward, “Private Press Tradition in Lexington, Kentucky,” published in 1992 in the Kentucky Review, the Anvil Press was part of the resurgence of fine press printing in Lexington, led by Joseph Graves, who was influenced and taught by Victor Hammer. The Anvil Press was unusual in that it was an association comprised of ten members, inspired and guided by Hammer and his wife, Carolyn. Their books were printed on any one of the several presses owned by members of the group, and were sold at cost. This Greek tragedy in five acts, written in verse, was composed by Racine at the age of 27 and performed at the Court of Louis XIV. Bound with black cloth spine and red paper covered boards with red paper title label to spine. Pristine with numerous illustrations by Fritz Kredel, a prolific German artist who emigrated to the United States during World War II. In matching red paper dust jacket with black title to spine and front panels. Creasing to jacket and minor wear to edges. Printed in red and black inks at the Windell Press in Victor Hammer’s American & Andromaque uncial types. 51 pages. PRI/031314. Fine / Very Good.
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San Diego: Bay Park Press, 2006. Hardcover. Number 10 of 10 copies. This is a charming and beautifully produced book by Carolyn LaFrance, a San Diego architect who is affiliated with the gallery at the Bay Park Press. Maxine is Carolyn’s beloved feline friend and companion, and the book describes a day in Maxine’s life through text and illustrations. Maxine begins her story: “Sun’s up, I get to go out. Yes, yes, I know, ‘Be careful,’ the howling creatures may still be about. What, you think I don’t know that? What I need to know is, who has been in my yard? Mr. Smushy-face? Walter? Or that grey and white bruiser? ...” Each page includes a hand-colored intaglio print of Maxine at various moments in her day (11 prints altogether). The text is Bernhard Modern type on lovely Fabriano Rosapina Bianco paper. Oblong folio bound in grey linen with black spine. Paw prints decorate the front cover and endpapers. Housed in a black portfolio with a grey cloth square label illustrated with paw prints affixed to front and cream ribbon closure. In fine condition. Unpaginated. PRI/072012. Fine.
Upland CA: Blackbird Press, 2007 [Distributed in 2010]. Hardcover. Number 40 of 100 copies. Signed by the poet, the book artist, and the illustrator. Writes Gillingwators, "When I first read B. H. Fairchild’s poetry collection The Art of the Lathe, I knew I wanted to publish the opening poem “Beauty” as a letterpress limited edition book. The poem has book characteristics–narrative structure and four, chapter-like divisions–and its visceral, lyrical appeal motivated me." Fairchild's poetry has been widely published and he has been the recipient of numerous awards. The Art of the Lathe was described in the LA Times as "a contemporary classic...finely crafted and perfectly pitched." The book artist continues: "I knew from the initial reading that my book edition would have metal covers, reminiscent of the corrugated-metal buildings that often house machine shops [where the poem takes place]. The making of the book took three years as the book artist and illlustrator learned how to make the tiny metal hinges for the book and how to age the thin aluminum used for the book covers. Each step required research, test trials, and practice. Printed with Centaur and Arrighi monotype on Zerkall Book paper, with linocuts by Alquitela. Housed in a grey clamshell box with title and author in red to spine. In fine condition. 7 x 11". Unpaginated. [11 pages] PRI/031715. Fine.
San Francisco: Deeply Game Publications, 2012. Hardcover. Number 45 of 55 copies. Signed by the author and book artists. Book artist Sara Press collaborated with Andrew Rottner to create this exquisite tribute to printing’s golden age. "The story, by Christina Lauritsen, mis-remembers H.C. Andersen’s classic tale of the same name, transforming it into a story of revelation and madness. The visual progression of the book mirrors the plot, pitting the beauty of the decorative arts against the intense and unpredictable messiness of human experience. This book confronts the inevitability of loss and bows to intellectual freedom and its attendant risks." [artists' statement]. The book is printed in Garamond and Bembo types on Moab Entrada paper. It features two 26 inch wide foldouts with illustrations by Rottner. The striking cover is done from a cut-marbled-paper and brocade. The book measures 7 x 9 inches. It is unpaginated. Deeply Game Productions creates and distributes the art works of Sara Press and her collaborators. Sara L. Press is a photographer, printmaker and book artist based in the San Francisco Bay Area. Many of her projects examine peculiar areas of overlap between nature and culture (for example: dog fighting, feral children, and our co-evolution with snakes). Sara has also wrestled with the relationship between creativity and the scientific method. Recently, Sara has turned to constructions of masculinity and femininity in our culture (such as human bloodsports and altered fairy-tales). Her work can be seen in public collections around the country and are also in many library and private collections. A lovely book in fine condition. PRI/021919. Fine.
Tuscaloosa, AL: Hand Papermaking / Word Way Press, 1998. Paperback. Number 91 of 150 copies. "Between 1984 and 1996, Dorothy traveled to Nepal four times. She sought out those who have preserved Nepalese papermaking and she visited new mills, some of which practice traditional Nepalese methods, others using adaptations and imported techniques. While in Nepal, she met with papermakers, discerned their methods, and collected their papers. The samples she assembled, many made using traditional lokta fiber, make up the specimens in the portfolio" (introduction). A portfolio of 18 sheets of handmade paper created in Nepal with an accompanying booklet that supplies descriptions for each sample as well as an introduction and an extensive essay about Nepal and its paper. The yellow paper wrapper covering the booklet is letterpress printed. The images within are from traditional Nepalese woodblock prints and were designed by Berinji Narayan Shrestha. Each paper sample is mounted within a folder labeled from A to P. The accompanying booklet and mounted samples are all housed in a red clamshell box with paper title label to spine. Each paper sample is approximately 7 x 10 inches or smaller. The box is 11.5 x 9 x 1.5 inches. The booklet is 40 pages. PRI/050218. 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.
Mount Vernon, NY: The Golden Eagle Press, . Hardcover. Number VI of 108 copies. Signed and numbered by the artist. Includes fifteen plates. There are thirteen original watercolors by the noted artist, Kurt Roesch. The frontispiece and a second hors-text plate are lithographs. This is an overlooked livre d’artiste, published six years before the press printed Orpheus, a book recognized in The Artist and the Book 1860-1960. This work is the whimsical and mysterious story of a boy, Sprig, and his horse Turfy, and their nighttime adventure and transformation. In the colophon, Roesch writes: “This Archetype Edition of Sprig and Turfy is not only the first but unique in the history of the printed book. It is conveniently limited to one hundred and eight copies, each containing original paintings in watercolor over a key plate in black, printed by S.A. Jacobs, The Golden Eagle Press, Mount Vernon, N.Y.”. Bound in tan buckram with a gilt device on the front board, cloth ties, in a tri-fold chemise in a slipcase, both also covered in tan buckram. Book in near fine condition. Slipcase and chemise are very good with light wear. Unpaginated. PRI/081111. Near Fine.
Washington DC: Kristin Gubrandsdottir, 2010. Soft cover. Number 10 of 11 copies signed and numbered by the book artist. Kristin is a book artist, furniture maker, and teacher from Iceland. Her works typically address feelings, memory, and experience. She studied book arts at the Corcoran College of Art + Design in Washington DC where she made this book. She currently resides in Brussels. Awakening is a powerful photobook done in response to the loss of friends that "left me wondering about the meaning of our existence and why some leave too prematurely." The photographs and text address these questions and the strange feelings that arose in her at night that left her waking up "knowing that one day I will die." The twelve evocative color photos are reproduced in an oblong accordion style book and juxtaposed with letter press text. Printed on Soberest paper using Minion Pro Regular and Medium Italic fonts. Bound in white stiff paper with titling on front cover. In fine condition. Unpainted. PI/022119. Fine.
Basel: Romano Hänni, 2017. Hardcover. Number 64 of 87 copies of the standard edition. The text is in German, English, and Japanese. Master book artist Hanni has long been passionately speaking out through some of his books about the devastating effects of contamination from nuclear facilities. This powerful work is about the Fukushima nuclear disaster in Japan in 2011 that occurred after a severe earthquake and its accompanying tsunami. It was the most significant nuclear incident since the 1986 Chernobyl disaster. He writes in the text appearing on the inside of the book's stiff paper covers that claims made by nuclear scientists "that no health consequences are to be expected from contamination are unscientific, immoral, and criminal." He further states that "there is no peaceful use for nuclear energy. It is repressive, criminal and deadly. Only nuclear plants that have not been built can offer absolutely safety." Hänni writes much more to detail what happened and the dire effects. He believes that the catastrophe in Fukushima is a "disaster beyond human imagination in both time and scope." The title comes from parts of the text where Hänni writes about the many people permanently displaced in order to escape the contamination resulting from the disaster. The book itself is printed in five colors on paper towels, an innovative technique that Hänni has successfully used in a previous work. On the pages small selections of text are juxtaposed with letters, images, and symbols to communicate the event and its aftermath. The results are stunning and thought-provoking. Hand composed and hand printed letterpress. Most of the pages required several printing forms and runs. Books are handbound. The production took about 1400 hours to complete. Housed in a grey paper covered slipcase with title in the three languages on a white spine. The book is accompanied by a glossy 12-page color pamphlet with 108 photographs documenting the production process. Book has 64 unnumbered pages. 9.25 x 10.25 inches. In fine condition. PRI/101017. fine.
Basel: Romano Hänni, 2018. Hardcover. A set of three books in the Words Make the Infinite Finite series. Volume VII is limited to 290 copies, Volume VI is limited to 187 copies, and Volume V is limited to 86 copies. Swiss book artist and typographer Romano Hänni (1956 - ) has been experimenting with unusual compositions of letter forms and symbols since the early 1980s. His intricate designs can seem somewhat whimsical but often are reactions to society, politics, and traumatic events. Creating things manually with the participation of all of the senses is very important to him. A master of visual poetry, he enjoys teaching to pass on his knowledge and skills. Each of these books was hand composed and hand printed in black, red, yellow, and blue ink. All are accordion structures with stiff paper illustrated wrappers, which when removed, allow the twelve pages of the contents to be unfolded into one continuous strip. With a paper band closure for the folded book. Includes a four page supplement featuring the title of the work and the colophon in both English and German. A small set in a slipcase measuring about 3.25 inches wide by 5 inches tall by 1.25 inches thick. In fine condition. Unpaginated. PRI/112818. Fine.
Oldham, England: Incline Press, 2001. Hardcover. Number 16 of 250 regular copies. English illustrator Thomas Lowinsky (1892-1947) was a good friend of Charles Ricketts and frequently worked with other friends including Sacheverell, Edith Sitwell, Oliver Simon, and Francis Meynell. He was a founding member of the Double Crown Club, a dining club for printers, publishers, book designers, and illustrators. This fine book features more than ninety illustrations, including all of his surviving unpublished illustrations, an autograph poem and ink sketch made while he was in the army, two woodcuts, and all of his patterned paper designs and publishers' devices. Also included are reproductions of his Double Crown Club menus, facsimile illustrations from the eighteen books that he illustrated, a previously unpublished studio portrait of Lowinsky, a memoir written by his daughter, a biography, and bibliography. Fine in grey cloth with pattern paper covered boards and gilt title to spine. Printed on Magnani paper in Monotype Fournier. Housed in grey and dark blue cloth covered slipcase with paper title label to spine panel. Pristine. A beautifully printed collection. 124 pages. PRI/051216. Fine.
Minneapolis: Indulgence Press, 2011. One of 20 copies. Arthur & Barbara is a portrait of art critic/philosopher Arthur Danto and artist Barbara Westman as seen reflected in the space of their New York City apartment on Riverside Drive. This book embodies their life and work in symbolic forms of thoughtful play. Arthur & Barbara is a collection of simple objects, images and “games” referring to both Duchamp’s Boîte-en-valise and to Fluxus Collections. The box contains laser-etched glass with a plan view of the apartment. Beneath the glass, separated spaces hold a DVD with images of Arthur, Barbara and their apartment, a hand-bound codex filled with photographic illustrations and brief text, a glass block laser-etched with an illustration by Barbara Westman, two chairs, handmade dice, and a spinner. A drawer holds a folio of letters written by Sean Scully, Shirin Neshat and Barbara Westman, and an introduction by David Carrier. A fascinating way of documenting the lives and personalities of this interesting couple. In fine condition. Size: 13 x 12 x 7 inches. PRI/041111. Fine.
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.
Petersham, MA: The Lone Oak Press, 2015. Hardcover. Master wood engraver Abigail Rorer is considered one of the finest engravers working today. She founded her Lone Oak Press in 1989 and has published many beautiful works that often focus on nature - animals, flowers, trees, and water. Abigail has also provided lovely illustrations for other private and commercial presses. Her fine press books have been in numerous exhibitions in the U.S., U.K., and Ireland. They can be found in many public and private collections.Number 57 of 300 copies. Signed by both artists. A charming book about a small church located in Gloucestershire, England near the renowned Whittington Press. This collaboration between American artist Abigail Rorer and English artist Miriam Macgregor is based on shared admiration for the beauty, architecture, and serenity of this thirteenth century church. The text includes personal commentary, historical facts, and anecdotes. Abigail engraved scenes from the inside of the church and Miriam engraved scenes of the exterior. Bound in cream paper covered boards with red cloth spine, which has a paper title label. Clean and bright. Housed in an orange paper covered slipcase. Printed by Patrick Randle at Nomad Letterpress in Whittington England on Zerkall paper in Van Dijck type. Includes prospectus. Oblong, measures 9 x 7.5 inches. Unpaginated. PRI/100616. Fine.
Monmouthshire, England: The Old Stile Press, 2008. Hard Cover. Number 70 of 195 copies in Main Edition. Illustrated by Michael Onken and signed by him. This book came when the McDowells, proprietors of the press, discovered this text among the papers of George Mackay Brown. He wrote it in 1984 and it had a single public reading but was never published. The play draws on the tales of the Selkie folk. The American artist, Michael Onken, has found Orkney to be his "spiritual" home, and also was drawn to the Selkie legends. This book is a result of the play's discovery. Bound in cream cloth front cover with illustration in brown. Backing and rear board are blue linen. Housed in fine grey slipcase with paper illustration of Mackay Brown affixed to front. Designed and printed by Nicolas McDowell in Albertina type on grey Velin Arches paper. The artist's wood engravings, woodcuts,and linocut images were printed in black and white from the original blocks. Binding by The Fine Book Bindery using paper printed at The Old Stile Press. In fine condition. Unpaginated [56 pages]. PRI/061316. Fine.
Rutland, VT: Carolyn Shattuck, n.d. Open edition of this beautifully crafted origami-designed book. This collaborative book was made to commemorate Carolyn's experience living in Okinawa for three years. The folds of the book reflect traditional patterns from Edo craftsmen. These fine patterns represent the distinguishing tastes of Edo including stylishness, sophistication and refinement. The haiku created by Victoria describe their reverence for our home and harbour, Earth (from colophon). Digitally printed on Epson Matte and Japanese Washi paper. The boards are covered in lovely Genji cloth with paper title label, with ribbons to close the book or to hold the pages open. 4.5 x 4.5 x 1 inches. In fine condition. ARTISTS/062819. Fine.
Chicago: Sherwin Beach Press, 1992. Howard Coale. Hardcover. Number 55 of 200 copies. Originally published in The New Yorker in 1980. George Trow was a writer and critic for The New Yorker for more than thirty years. This essay may be his most acclaimed and influential single work. It is about television and its effects on American culture, but more than that, an indictment of the emptiness of modern discourse. It has been described as a work in which Trow foretold his own descent into madness. This is a handsomely designed book with elegant printing and four interpretive illustrations. Bound in black cloth with grey design with a hat on the cover and paper spine label. Printed in Centaur and Arrighi types on Johannot paper. Designed by Robert McCamant, handset and printed by Jennifer Hughes, and bound by Trisha Hammer. Signed by McCamant. In fine condition. 110 pages. PRI/071615. Fine.
Chicago: Sherwin Beach Press, 1998. Heather McAdams. Hardcover. Number 57 of 200 copies. Numbered and signed by the illustrator and the bookmakers. This is a quite handsome contemporary edition of Mark Twain's travelogue with the text following a copy of the first edition in the collection of Northwestern University Library, and with cartoon illustrations by Heather McAdams. "The people of those foreign countries are very, very ignorant. They looked curiously at the costumes we had brought from the wilds of America. They observed that we talked loudly at table sometimes. They noticed that we looked out for expenses and got what we conveniently could out of a franc, and wondered where in the mischief we came from. In Paris they just simply opened their eyes and stared when we spoke to them in French! We never did succeed in making those idiots understand their own language."So wrote Mark Twain in 1867, in one of his most exuberant nonfiction works. The companion themes that fill it—the shallowness of the sites to be visited and the shallowness of the visitors—prove to be prophetic of tourism today, as is seen in Heather McAdams’ witty 1995 cartoons, completed for this edition.The non-adhesive binding with exposed spine sewing consists of 7 black double raised cords attached to hard covers wrapped in red cloth. Each volume has a cut-out to front cover with small black and white illustration along with author, title, and volume number. The two volumes are in turn housed in a black and white linen covered hard case wrapper with black leather straps over brass studs and a leather suitcase-type label, intended to suggest a portmanteau. Printed in Montype Bell on Johannot paper. Designed by Bob McCamant and printed by Martha Chiplis. The binding was designed and executed by Trisha Hammer. The book is numbered and signed by the artist and bookmakers. In fine condition. Each volume is 7 3/4 x 11 1/4 inches. Continuous pagination with 445 text pages and 20 pages of illustrations. This set may require an extra shipping fee. PRI/072015. Fine.
Chicago: Starshaped Press, 2019. Hardcover. Number 6 of 50 copies. Signed and numbered by the book artist. This powerful book was created by book artist and printer Jen Farrell to describe the pain and anguish she experienced as Jo, her young daughter, was treated in 2018 to stem the growth of tumor nodules around her right lung. She writes: "While the treatments were challenging, the fallout that followed over the winter was unbearable. The chest pressure, pneumonitis and inability to breathe sent us to the hospital repeatedly, with unsatisfactory results. By ‘unsatisfactory’ I mean punching-a-hole-in-the-wall angry at the lack of understanding about why Jo had these side effects and the weeks, sometimes months, it took to get appointments with specialists. I sought solace in songs that directed my frustration away from people around me. One of these was Black Star’s Respiration, with lyrics that expressed a metaphorical difficulty to breathe in an urban environment. Many of the words applied to our reality; rewriting the lyrics was an outlet for acknowledging the trauma....Respiration is a rewrite of the song, but in this case applied to watching my child struggle to breathe." The book unfolds as a poster measuring 20x14 inches that folds down to approximately 5x 7 inches within red paper covered boards. The covers are printed in two colors on Mohawk Keakolour and the interior text is printed on Fabriano Tiziano paper with ‘fuzz’ in the texture as a nod to the scarring fuzz in Jo’s lungs. The book is accompanied by a white folded paper reference guide to the lyrics with notes on Jen's rewrites. In fine condition. 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.
DC: Windhorse Press, 2011. Paperback. Number 7 of 12 copies. Signed by the artist. Text is in Russian and English. This book is based on recollections from the artist's childhood about her relationship with her grandmother. After years of knowing her, she is perplexed to learn that she speaks another language, has not always lived in Russia, and has a very different personal history than once assumed. She works through this revelation and ultimately forms a deeper bond and understanding with her grandmother. The text is printed in English with Russian entwined as the narrator gradually embraces her grandmother's revelation. The book is bound in red paper wrappers with black title and illustration printed on front cover. The binding is handsewn using red and grey threads. It is printed using stone lithography for the images and lithographic pronto-plates for the text. Printed at the Corcoran Print Shop on Canson Velin Arches paper. Housed in a red cloth covered clamshell box with inset illustration to front panel. Folio. Unpaginated. [16 pages.] 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. Fine.