Minneapolis: Angel Bomb Press, 2022. Number 86 of 200 copies, signed by the artist. This story was originally published in "Astounding Science-Fiction" in August 1938 under the pseudonym Don A. Stuart. It was later adapted into multiple film versions, the most recent being "The Thing" in 2011. This horrific tale of alien encounters and Antarctic exploration is presented here in a fine letterpress edition with nineteen striking, color illustrations by Todd Thyberg. Bound in tan cloth backed blue cloth covered boards with embossed title to front board and paper belly band with "Secondary Polar Expedition: Antarctica." The book, maps, and illustrations were letterpress printed with Ehrhardt Monotype and Haboro Contrast types on Classic Crest Bare White eggshell paper. Polymer plates by the Boxcar Press. Binding by the Campbell Logan Bindery featuring a hand cast, hand painted resin medallion by the artist on the front of the case. 60 pages. PRI/112222. Fine.
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San Diego: Bay Park Press / False Bay Editions, 2009. Number 12 of 20 copies. An exquisite production fr. Hardcover. Number 12 of 20 copies. Founded by Sibyl Rubottom and Jim Machacek in 2000, the Bay Park Press produces artists' books, offers classes, and holds book arts' exhibitions. Their books address a wide range of subjects from the universe to gardening to opera to Yiddish and more. Most are letterpress printed, many have moveable pieces, and all are illustrated. This out-of print book is an exquisite work from Sibyl Rubottom and Jim Machacek. It was inspired by Sibyl’s interest in all things botanical and Jim’s family heritage. The result is what they hoped for - "a riotous colorscape for your senses” - with rich and luminous colors and beautiful illustrations. It includes 14 unbound folded folio sized leaves that are housed in a folding case. Twelve of the leaves are dedicated to different types of gardens, each in a different color, with designs and writings to reflect that garden. The gardens are: Japanese, butterfly, desert, night, orchid, primordial, mystical, rose, water, Eros, secret, and herb. Each features a poem or prose by such writers as John Milton, Rumi, Homer, Lord Byron, Robert Frost, Oscar Wilde, Frances Hodgson Burnett, and Ralph Waldo Emerson. The two other folded leaves are for the title and for the colophon. Printed on Fabriano Rosapina Blanco paper in Venus, Edwardian Script, and Palatino typefaces using letterpress, monoprint, and intaglio techniques. Housed in a custom box in brown cloth lined with handmade paper. The covers open from the middle with a title label on one side and a small metal rectangle with wooden peg closure on the other. In fine condition. Unpaginated. [56 pages.] ARTISTSBOOKS/081612. Fine.
Rockville, MD: Crooked Crow Press, 2017. Limited edition. A pair of beautifully designed and printed broadsides with several hundred ornamental printing blocks of various sizes and shapes arrayed in a intricate fashion that highlights their beauty. From the colophon: "The collection of blocks above was obtained by the proprietor of the Pembroke Press, Mr. Roland Hoover, circa 1980 from the Pridemark/Garamond Press in Baltimore, MD. Some of these blocks came from an earlier Baltimore printer, Norman T.A. Munder the 'Dean of American Printers," and the display type used here, designed by Robert Wiebking, is "Munder Venezian' named in his honor. Blocks signed with a "G" were designed by Frederic Goudy and some of his original drawings for them are part of the Goudy Archive at the Library of Congress." The broadsides were composed and printed by Chris Manson at his Crooked Crow Press. These are splendid examples of fine printing for private press, book arts, and related collections. In fine condition. Each broadside measures 18.5 x 27 inches. PRI/113018. 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.
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.
Glenview, IL: Karen Hanmer, 2014. Hardcover. Number 9 of 100 copies. Signed by the author. This book was inspired by a call for entries by the Guild of Book Workers with the theme of "vessel." Karen describes the text of her response as 60% memory and 40% casually researched, mostly on Wikipedia. Karen's book focuses on the iconic containers and conveyances of her childhood and adolescence between roughly 1962-1979. She juxtapositions her text with photographs of such "vessels" as the Chevy Nova, Crock-Pot, Electric Frying Pan, Mood Ring, Frye Boots, the 747, and more. Her words are often amusing, but they also offer astute observations on her family and our society during the period covered. This is the deluxe edition with marbled paper covers by Pamela Smith. Digitally printed and housed in a purple paper covered slip case. Digitally printed. In fine condition. 5 x 7 inches. Unpaginated [26 pages] PRI/121415. Fine.
Penland School of Crafts, 2017. Hardcover. Number 12 of 16 copies. Signed by the artist. An exploration of women's domestic roles in the late 19th century through the language of Henrik Ibsen's play, "A Doll's House" juxtaposed with pastel renderings of domestic objects. The text oscillates between a husband's dialogue to his wife and her inner dialogue, including: "Has my little spendthrift been wasting money again? ... They all think that I am incapable of anything really serious - that I have gone through nothing in this world of cares.... My little songbird must never do that again. A songbird must have a clean beak to chirp with - no false notes! ...." Grey cloth boards with silhouette of a vessel to front board. Text and images are letterpress printed on cotton and Japanese papers. Size: 7 x 5 inches. ARTB/090320. Fine.
Minneapolis: Indulgence Press, 2012. Portfolio. Number 7 of 10 copies. Signed and numbered by poet and illustrator. This is one of several books produced by Wilber "Chip" Schilling, owner of the Indulgence Press, in collaboration with author-artist Thomas Rose. In this book they created a beautiful and mysterious work that combines Rose's haunting photographs with the poetry of Lo Ch'ing, a noted modern poet from China. In his foreword, Rose states that "art deals with primary intention and those aspects of objects and space that are unavailable to logic. His images are constructed from various sources including shadows and reflections. They are illusions, reflections in glass. Lo Ch'ing's poems give these images...depth and richness." The pairings of the photographs and poems are open-ended and ambiguous, allowing for conjecture as to how the images and text meet. The eight photographic prints are originals by Rose, and Lo Ch’ing wrote the interpretive poems for this book, with his original brushwork and translations. They were printed letterpress from plates by Schilling. Each image is printed in color on a fine woven paper. Each poem is printed in Chinese and English along with the striking black brushwork on a light and semi-transparent paper that slightly reveals the image beneath. The elephant folio sized sheets are housed in a green and black cloth portfolio with diagonal boards that fasten with a black bone closure. A stunning production from the noted Indulgence Press in fine condition. PRI/121312. Fine.
Hammersmith: Kelmscott Press, 1896-97. The Earthly Paradise was a collection of epic and romantic poems by William Morris (1834-1896) that first appeared in 1868-1870 when he was still in his thirties, and established Morris's reputation as an important poet. He planned to do an edition elaborately illustrated by his great friend, the artist Edward Burne-Jones but it was never realized. This Kelmscott Press edition had eight volumes that were issued between July 1896 and September 1897. There were 225 paper copies and 6 copies on vellum. These eight leaves are from volume five and contain pages 49-64 of The Land East of the Sun and West of the Moon. They are collected as one signature. The beautiful text pages have two 6-line decorated initials and twenty 4-line initials. Printed on Apple paper in Golden type using red and black inks. This was the first book in which Apple paper was used. Pages measure 6.5 x 9.5 inches. Except for some light browning to page edges the leaves are in near fine condition. An excellent example of the typography and printing of the Kelmscott Press and a wonderful addition to a teaching collection. PRI/070320. Near Fine.
Rochester NY: Leopard, Sue Huggins, 2005. Leopard, Sue Huggins. Hardcover. 8vo. 3 of 10 copies. SIGNED BY ARTIST. Lovely work by this noted printmaker and book artist. Fine in beige cloth boards with title label on front and long beige ribbon ties. Six accordion style fold out pages reproduce stunning color prints by Huggins, each with a water theme. Unpaginated. PRI/051107. Fine.
Oakland CA: Littoral Press, 2002. Hardcover. Number 6 of 125 copies. This is one of the ten copies from the Deluxe Edition that are signed on the colophon by sixteen of the seventeen contributors to this poetry and prose anthology (alas, not Frida Kahlo). They include Ahimsa Timoteo Bodhran, Claribel Cone, Martha Gies, Robert Hass. Steve Hellman, Marie Howe, Frida Kahlo, Vickie Karp, Stephen Kessler, Rachel Loden, Jane Miller, Janell Moon, Sharon Olds, LIsa Rappoport, Mark Salerno, Joseph Stroud, and Gary Young. Rappoport writes that this book "is dedicated to those we love with a blazing passion, to those we hope will burn in hell, and ideally, to the future separation of the two." She has been a book artist for almost twenty years and her books can be found in many institutional collections. This beautiful accordion book is bound in red and black Thai Unryl reversible paper with a black title label to front cover. Printed with handset Garamond type on Johannot paper with black and blood-red ink. Each volume has unique pastepaper endpapers. With title page drawing of a heart in flames by Bobbe Besold. The book is 11 x 7 folded and 18 feet long unfolded. In fine condition. Unpaginated. [25 pages] PRI/030915. Fine.
New York: Russell Maret, 2021. Number 23 of roughly 90 copies, signed by the book artist. Printed on a variety of vintage hand- and mould-made papers and handset in Cádiz Ornaments, Baker, and Hungry Dutch types, making this the second book Maret has printed entirely from metal typefaces that he designed. Maret writes in detail of the making of this book on his web page. From his fascinating description: "In 2013 I designed a couple of typographic ornaments while thinking of the pavement designs around the city hall in Cádiz, Spain. The ornaments were not intended to be reproductions of any specific pavement designs, they were simply prompted by the memory of a lovely day walking around Cádiz. Once the metal ornaments were in my hands, I realized that they could be assembled into many more combinations than I had originally imagined. I began to think about a small specimen book. Many of the Cádiz patterns I was designing reminded me of textile designs and, unlike my book Ornamental Digressions, I initially wanted the Cádiz book to starkly emphasize the ornaments’ patterning structure, rather than to concentrate on potential color applications. As part of my bookmaking process I always need to break through a certain amount of thick-headedness before I can get to where I want to be. In the case of this book the breakthrough happened while showing the prints to Annie. After looking through my endless permutations, Annie suggested that I might not need to show every combination, that in fact it might be a more engaging book if there was a bit of surprise, a little variety. This may sound obvious now but, once in it, it can be very hard to see over the walls of a design rut. Finally, the stagnation broke when I realized that I was concentrating on how the pages looked rather than what I wanted the book to be. And what I wanted was a book that felt like a salesman’s swatch book, something assembled from different shapes and sizes, that showed potential without being restrictive, that was not too neatly put together, that had a bit of randomness to it. I began looking through my flat files and found all kinds of vintage papers, none of which I had enough to print an entire edition. They would be perfect for this book. [He changed his ] five-signature dummy into a single signature of a mere 41 press runs. (After printing the book, I realized that some of the sheets had an unacceptable level of show-through. Rather than discard these sheets, I added an “Appendix,” a second signature in which the sheets could be seen, but at a remove from the rest of the book. To make this happen required a final, 42nd pressrun. Not exactly a small specimen book….)" This beautiful book was designed by Russell Maret and printed by him and Sarah Moody during the Covid-19 pandemic. All of the patterns are made from two pieces that were engraved and cast by Ed Rayher at Swamp Press. In fine condition. Measures 9.25 x 6.375 inches. Housed in an acrylic slipcase. ARTISTSB/112321 I.
New York: Russell Maret, 2022. Hardcover. Number 38 of 102 copies, signed by the authors and craftspeople involved in making the book. This is one of the 77 numbered copies that includes tip-ins of original material. This magnificent production documents the life and work of Carolee Campbell, founder of Ninja Press and one of the country's most noted book artists. The foreword and afterword beautifully describe Campbell's ethos as an artist and bookmaker that has informed her work since she began making books in 1984. Russell Maret writes of her: "It takes a special kind of person to know that what one is working on is not ready to be discussed. It takes someone...who unhurriedly allows her books to germinate in her lizard brain until they are ready to be dispatched into the world. With each new book Carolee teaches the rest of us how it should be done - not how to make books like hers , but like her, to make books the way the books want to be made." The extensive annotated bibliography of the works produced by the press includes books, broadsides, commissions and collaborations, ephemera, and writing, reviews, criticism. The annotations include comments by Carolee on the making of each book or broadside. There is also a section describing the Ninja Press type collection and an index. There are beautiful vintage paper tip-ins throughout of papers used, and pages from some of the books and broadsides. Accompanied by a booklet reprinting two essays by Carolee. Dispatches from the Lizard Brain was designed and edited by Russell Maret, and printed by him and Sarah Moody. The primary text face, Carolee, was designed by Maret and printed from photopolymer plates on Twinrocker Handmade Paper. The titles are set by Felix Titling. The cover design was design was adapted from an ornament by Campbell. The blue green binding with a leather spine was designed and executed by Amy Borezo at Shelter Bookworks. The book is housed in a handsome brownish orange cloth covered portfolio with a white title label. In fine condition. Folio measuring 15 x 9 inches. 128 pages. PRI/060222. Fine.
Darmstadt: Ratio-Presse, 1922. Hardcover. 181 of 200 copies. A collection of poetry reproduced from the 1610 edition. Hand printed with 15 hand-colored erotic illustrations by F.W. Kleukens. Cream vellum with laced vellum cords over dark gray paper covered boards. Gilt title to spine and gilt illustration of a flea to front board, encircled by the title. Minor staining to vellum on front board and spine. Clean, bright interior. In German. 171 pages. PRI/012323. Very Good.
[Seattle]: Sea Pen Press, 1988. Hardcover. Number 97 of 100 copies. Signed by the author. Thomas Brush is an award winning Seattle poet who has written several books and for several distinguished journals. He tended bar for four years at a Seattle racetrack several years ago and found it an enchanted place that values possibilities and dreams. This influence is evident in the poems included in Even Money. This interesting production from the Sea Pen Press has a blue handmade light-and-shade watermarked paper covers that are sewn in a non-adhesive concertina fashion to the text. The orange and brown decorated endpapers were created by Neal Bonham of the press using colored paper pulps in a decorative technique that he developed. There are five linoleum cut illustrations by Suzanne Ferris that "capture the linear poetry of the thoroughbred world" (prospectus). The book also has images of racetrack betting tickets decorating the title page and colophon that were created by transferring Xerox images to linoleum. The text is printed in Monotype Janson and the title page is printed with Weiss Initial Series 2. The book is housed in a coarse tan linen covered clamshell box with blue borders and ticket images on the front cover. Both the book's binding and the case were designed and constructed by Judith L. Johnson. In fine condition. Book is 9 x 11.5 inches. Case measures 10.25 x 13 inches. Unpaginated [21 pages]. PRI/090717. Fine.
Oxford: Shakespeare Head Press, 1933. Hardcover. Number 59 of 370 copies of which 350 were for sale. A splendid edition of Thomas Malory's 15th century retelling of the famous legend of King Arthur and Queen Guinevere, the knights of the Round Table and their quest for the mystical Holy Grail. Malory worked from a late-14th-century French poem, adding some material from other sources, to produce his English prose translation. In 21 books, the story covers the founding of Arthur’s kingdom and the institution of the Round Table; the various adventures of individual knights; the quest for the Holy Grail; the death of Arthur and the fall of his kingdom. This edition is reprinted for the first time from the only surviving copy of Wynkyn de Worde printing of 1498, now housed at the John Rylands Library in Manchester. Bound in full red morocco with gilt titling to spines and top edges gilt. Minor darkening to spines, rubbing along spine edges, and tips lightly bumped. Front hinges cracked but text block firm. Marbled endpapers with light fraying along fore-edges. Text pages are clean and bright with slight browning to some along fore-edges. With copies of the 22 woodcut illustrations found in the original. A beautiful set in very good to near fine condition. Small quartos. Volume I: 316 pages; Volume II: 73 pages plus colophon. PRI/121222. Near Fine.
Bennington, VT: The Bird Press, 2016. Number 6 of 38 copies, signed and numbered by the artist and translator. A collaboration between the illustrator / book artist and translator. This is a new translation of the prologue and first part of Mayakovsky's first long poem, originally published in 1915. The Russian modernist poet and cultural icon Vladimir Mayakovsky (1893 - 1930) committed suicide in Moscow 15 years after publishing this piece. According to the translator: "Thorsten Dennerline's twisting artworks suspended against a blue-sky backdrop seemed fitting for the existential crisis in this poem. Mayakovsky writes in verbal cartwheels and associative flights of language, allowing wordplay, sonic riffs, and rhyme to drive his rhetoric and imagery. I sought to preserve both each line's intended meaning and Mayakovsky's rhythm and music. I also attempted to make the poem's diction smooth, accessible, and idiomatically modern to a 21st century American ear." Fascinated with the intensity of Mayakovsky's work and life as well as the historical happenings that influenced him, Thorsten decided to illustrate his work with "monsters." As the drawings developed with layers of ink and detail he "began seeing [them] as bodies, less as monsters and more as physical, mortal, vulnerable beings." Bound in yellow paper wrappers with black title to front cover and binding sewn with red thread along spine. Printed with lithography and letterpress at the Working Dog Press and Horton Tank Graphics. The plate lithographs were printed in sixteen layers of ink. Housed in a grey handmade paper wrapper featuring one of Thorsten's illustrations snaking around the front and rear panels along with another on the inside flap. Thorsten Dennerline creates paintings, drawings, and prints in addition to artists' books. He has exhibited work across the U.S. as well as in Chile and Denmark; and his work is represented in numerous collections including Yale University Library, the Library of Congress, UCLA, Stanford University, and the Kunstindustri Musset (Denmark). Size: 8.5 x 7 inches. ARTB/120120. Fine.
Arlington, VA: Turtle Light Press, 2017. Hardcover. Number 7 of 18 copies. This is a magnificent artist’s book that pays homage to one of the greatest Hebrew-language poets, Yehuda Amichai. The Amichai Windows is an exquisite bilingual artist’s book in Hebrew and English of Amichai’s poems that opens a window on love, war, and being Jewish today. Through his poetry Amichai sang of the everyday experiences of private individuals caught in the middle of war and historical events. He was often considered for the Nobel Prize in Literature and his poems have been translated into more than 30 languages. Book artist and poet, Rick Black, fell in love with the poetry of Yehuda Amichai even before working for the Associated Press and The New York Times in Jerusalem, where he resided for six years. He particularly loved Amichai’s poems that dealt with family, love and war. He spent ten years creating this limited-edition artist’s book of the poet’s work. The book offers a visual odyssey through Jewish history as filtered through 18 poems. Each poem is wrapped and folded in an individual, handmade paper triptych. When one opens each triptych, one discovers a different world within. The book incorporates replicas of some of Amichai’s original, handwritten poems as well as over 100 collaged images of Jewish history and life that have been culled from archives around the world. There are also replicas of Amichai’s handwritten poems. Printed on handmade paper with deckled edges, with gold leaf highlights and blind embossments in some of the designs. The collection of triptychs and a 28 page guide are housed in a box enclosure shaped like a Jerusalem window. With a special introduction written by the eminent Hebrew literary critic and translator, Professor Robert Alter of the University of California at Berkeley. The newsletter of the American Jewish Libraries Association called The Amichai Windows “a major contribution to American arts and letters.” (Artist’s statement and descriptions). The book recently won the Isaac Anolic Jewish Book Arts Award. In fine condition. Fine.
[Toronto]: George A. Walker, . Hardcover. Number 35 of 39 copies signed and numbered by George Walker. This book is a wordless narrative “written” with 109 wood engravings. It follows the life of Canadian landscape painter Tom Thomson until his mysterious death in Algonquin Park in 1917 at the age of thirty-nine. Tom Thomson is one of the most famous nonmembers of the Canadian Group of Seven painters. He actually died before the group was formally named, but has always been included. His early death occurred in wartime when many men his age and younger were losing their lives. His death has troubled many people as much for the mystery of the circumstances as for the tragedy of his brief passionate life. In this book Walker responds to the creative life of Thomson in the language Thomson spoke most eloquently, the grammar and vocabulary of pictures. Walker builds his wordless story by breaking down the colorful paintings and life of Thomson into light and dark, the black and white of a picture text. Walker has also imagined Thomson’s happiness by the lakesides, his loves and passion for the landscape of Algonquin Park and Thomson’s life and work in Toronto, where Walker lives and works. Canadian art historian and author Tom Smart has written the introduction to this work. The beautiful black and white wood engravings are hand printed on Rising Stonehenge 100% rag archival paper. The book is bound in cream cloth with brown title label to spine and engraving of Thomson inset on front cover. Housed in a clamshell box covered by the same beige cloth as the book, with brown spine label and engraving of Thomson inset on front cover. In fine condition. The book is 6.25 x 8 x 2.5 inches. Unpaginated. [232 pages printed recto] PRI/110716. Fine.
Toronto: George A. Walker, 2020. Number 23 of 35 copies signed and numbered by the book artist. An additional 10 hors commerce copies were made and lettered A–J. In this handsome pictorial biography, noted wood engraver George A. Walker celebrates the life of Mary Pickford (1892-1979), a silent film star whose groundbreaking contributions to the motion picture industry earned her the title ‘Queen of the Movies’. Toronto-born Gladys Louise Smith, who would later come to be known as Mary Pickford, first burst onto the silent-film scene at the tender age of 17. But Pickford was more than just ‘the girl with the curls’. In addition to her acting career—a brilliant success that spanned 52 features—Pickford also helped establish the Academy of Motion Picture Arts and Sciences as well as United Artists studio. In this edition Walker tells the story of Pickford’s life in a sequential narrative not unlike the silent films of old, complete with inter-titles. The 87 black-and-white wood engravings recall the monochromatic media of Pickford’s films, and echo the experience of interpreting stories visually. The number 87 was Pickford’s age when she died and the number 35 (copies of the limited edition) refers to the 35mm film on which silent movies were shot. The engravings are hand printed on 250 gsm Revere Felt mouldmade paper created at the 600 year old Cartiere Magnani mill in Italy. The deluxe book is beautifully bound in blue Asahi silk cloth and is housed in a protective clamshell box with a drawer that contains authentic ephemera from Pickford's career. The ephemera included with this copy include a typed letter signed by Pickford written in 1935 to Mr. Carl Gray thanking him for a letter about her article, "Why Die?" featured in Liberty magazine; two United Artists publicity postcards; a film cell from an early 20th century Charlie Chaplin film (this type of film is flammable; however, a single cell should not pose a problem for most collections); a postcard of the Pickford residence sent by a women who took a Hollywood field trip; an 8-page "Echos Programme" (No. 68) featuring Pickford; an original Canadian stamp featuring an image of Pickford by George Walker - mounted on a signed print; a small vintage color illustration of Pickford; and a reproduction of a bi-fold publicity release for her performance in "Dorothy Vernon of Haddon Hall." The book features hand marbled end leaves and beveled cover boards with a wood engraving print sunk into the cover. In fine condition. Book size: 6.25 X 7.5 X 1.75 inches. Unpaginated(160 pages printed recto). PRI/071122.
Toronto: George A. Walker, 2014. Hardcover. Number 41 of 80 copies. Signed by Walker, Ravvin, and Smart. Master engraver George Walker has created this splendid work celebrating the 80th birthday (September 21, 2014) of Canadian singer-songwriter, poet, and novelist Leonard Cohen. The eighty wood engravings commemorate Cohen's artistic accomplishments and explore how images of Leonard Cohen have appeared in popular culture over his six decade career. The black and white engravings are arranged chronologically and depict scenes from Cohen's varied creative endeavors. The book also presents portraits of some of the many famous people in his life, including Allan Ginsberg, Jimi Hendrix, Janis Joplin, and Andy Warhol. In his images Walker strives to communicate the importance of Cohen's Zen Buddhist philosophy and plays with numerology and the symbolism behind the number 8. This beautiful book took over one year to make. The engravings were hand printed on Folio Rising Stonehenge archival rag paper. The text pages used Garamond type for the text body and Bernhard for the headings. Bound in black Japanese Asahi bookcloth and housed in a clamshell box covered in the same cloth. The book cover has an inset of an engraved portrait of Cohen and has a brown cloth spine label. A different portrait is inset on the clamshell box. 6 1/4 x 8 x 2 1/2 inches. Unpaginated (22 pages printed recto). PRI/071122. Fine.
Risbury, England: Whittington Press, 2010. Hardcover. Number 58 of 70 copies of the deluxe edition. There were 725 total copies printed including 655 copies of the regular edition. This is one of the special copies of the annual publication of Matrix, one of the foremost publications on the book arts during its 36 year existence. Sadly, Matrix 36, published in 2020, was the last annual edition of the Matrix series. After 36 years, Whittington Press owners, John and Rose Randle, decided to discontinue producing this fine annual for printers and bibliophiles on the book arts that compiled articles, illustrations, paper and typography samples and book reviews. This issue includes a number of articles by such well-known bibliophiles and book artists as David Godine, John Randle, Colin Franklin, Jerry Kelly and Sebastian Carter. Interspersed throughout are photographs, printing samples, and illustrations. Inserted are order forms for Matrix 30 and requests to join the press mailing list. The volume's prospectus inserted in a back pocket. Quarter bound in light blue Oasis leather with blue and yellow marbled boards. Letterpress printed in Caslon, Joanna and Gill Sans types and printed on Somerville Laid and Zerkall Mould-made papers. The deluxe copy includes a separate blue folder with a tribute from Whittington to the compositors at Freshwater. Both volumes are housed in a stiff blue board slipcase. Near fine condition with light sunning to book spine. Matrix volume and folder measure 8 x 11 inches. BOB/102621. Near Fine.
Peshastin, Washington: Wiesedruck, 2016. Hardcover. Number 26 of 36 copies. Signed and numbered by the artist. In this book of poignant poetry, "the narrator struggles with existence, voice, and memory after the trauma of genocide. Souls and words cannot burn but they can be forgotten in the smoke, fog and hail of the Holocaust" (artist statement). Horowitz was inspired to create this book by her friend and poet Carl Adamshick’s translation of the original by the late Israeli poet Dan Pagis, which was published in his book 'Transformations.' Permission to use the original text came from the estate of the author and from ACUM in Israel. Horowitz's stark etchings of thousands of tiny tick marks and swirling lines, seemingly representative of thousands of lost souls, effectively create a melancholy atmosphere for this poignant poem. An excerpt from the English translation of Pagis's poem: "From the sky to the sky of skies, from the sky of skies to fog. Yannai Despite myself I continue in this cloud: hurried, gray, trying to forget. In the distance the distance is retreating. The knocking teeth of hail: seeds, refugees shoved quickly into their deaths. ..." Bound in white textured paper wrappers with exposed sewing on spine and grey title to front cover. The text was printed in Arno and Harel types on Zerkall paper by Art Larson of Horton Tank Graphics. Thirteen etchings were drawn, etched, and printed in graphite ink by Sarah Horowitz. A translucent sheet of abaca paper covers the book. Housed in a grey cloth covered box with paper title label to spine. Binding and box are by Julia Weese-Young. In Hebrew and English. Size: 12.5 x 9.5 inches. PRI/122722. Fine.
Wayland, MA: Wild Pangolin Press, 2022. Hardcover. Number 7 of 34 copies signed and numbered by book artist Vladimir Zimakov. This exuberant production is based on the nonsensical poem by Lewis Carroll that originally appeared in the novel Through the Looking-Glass. The poem is a conversation between two people – the narrator and the aged man that the narrator encounters. In this edition, the subject matter of the conversation, as well as the manner of speaking at various stages of the poem, is interpreted through an inventive combination of type and imagery. Designed, illustrated, printed and bound by Vladimir Zimakov between 2017 and 2021. Printed from original linocuts, with polymer and metal type, at Wild Pangolin Press and Reflex Letterpress. Type used for the words of the narrator is Kabel. Type used for the words of the aged man: Caslon, Gill Sans, Goudy Old Style, Trajan, Futura, Caviar Dreams, Din and Porter. Some freedoms were taken to alter certain letterforms in the layout design. Printed on 250 GSM Rives BFK paper. The text of the book is an accordion structure bound in light brown cloth with a red cloth spine with black titling. Housed in a red & brown cloth slipcase. In fine condition. Measures 12 x 10 x 1..5 inches. Unpaginated [36 pages]. PRI/091422. 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.