Mission, BC: Barbarian Press, 2019. Hardcover. An edition of 130, of which this is one of 50 copies in the regular edition. According to the printer: "Our fascination with [Wagener's] work is a response to the meticulous attention to detail which imbues all his engravings, combined with a ‘democracy of aesthetic’ which allows both realism and abstraction equal weight. In a Parenthesis review of Wagener’s early book with Peter Koch, Zebra Noise with a Flatted Seventh, Simon Brett said ‘No one else I know of is making such avant-garde grand opera in wood-engraved prints.’" Richard Wagener (1944 - ) is a Californian wood engraver known best for his depictions of nature and animals, often juxtaposed against abstract imagery. A specially commissioned frontispiece, new press device, and patterned papers have been created for this edition. Folio. Bound black and red checkered patterned paper with black cloth spine and red and white title label pasted down to spine. Includes over 100 engravings printed from the original wood plates on Zerkall White Smooth paper. Unpaginated. PRI/122719. Fine.
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Easthampton, MA: Cheloniidae Press and Wonder Books Editions, 2019. Letter K of 26 lettered copies, lettered and signed by the book artist and Roberts of Wonder Books Editions. This portfolio is an impressive new production from Alan James Robinson and his Cheloniidae Press. The press has issued many fine limited edition books since its founding in 1979 by master printer and artist Robinson. Now he and Roberts and letterpress printer Arthur Larson have collaborated to create this homage to great books and authors that have influenced and changed lives. The portfolio has a suite of letterpress broadsides each beginning with the phrase "If there were no books." They honor Hound of the Baskervilles, Tom Sawyer and Huckleberry Finn, Unicorns, Moby Dick, Headless Horseman, Nevermore, Black Cat, Rime of the Ancient Mariner, Ophelia, Alice in Wonderland, Call of the Wild, and Jabberwocky. There are one hundred broadsides to be sold individually and an additional thirty available in portfolios, lettered A-Z , with four Artist Proofs. Each portfolio has twelve broadsides from original pen and ink drawings by Robinson. He has lettered and signed each one. This special set also includes copies of two of the illustrations that are hand watercolored by the artist - Alice in Wonderland and Jabberwocky. There is an additional suite of twelve different illustrations for these works that will only appear in print in these thirty portfolios. The type and illustrations are printed from polymer plates on Cranes Lettra paper. The two suites are each in a stiff paper folder housed in a tan linen portfolio and housed in a linen clamshell box with a paper title label affixed to front cover. They are accompanied by a title page and colophon. In fine condition. Measures 11 x 14 inches. PRI/121219. Fine.
London: John Murray, (1840). First edition of this impressively beautiful folio of thirty plates illustrating the author's theories about Norman architecture in Sicily. Henry Gally Knight (1786-1846) was a member of parliament, traveler, and writer. After early unsuccessful attempts to write poetry, he studied and wrote about architecture. He made tours of Sicily and Normandy to study the architecture of those regions. Knight wrote in his preface: "It is the object of this Work to afford a view of the Architecture of the Normans in Sicily, of the singular difference of the style which they employed in Sicily from that which they employed in any other country, and to explain how that difference arose. The Drawings were taken from the buildings themselves by a professional architect and have, at least, the merit of exact fidelity." He believed that the Normans adopted the pointed arches of Sicily rather than building the round arches of France. The stunning lithographic plates include illustrations of landscapes, buildings, details of exteriors and interiors and doors. Three of the plates are hand-colored. Bound in contemporary three quarter black leather with multi-colored marble boards. Leather is chipped, rubbed, and bumped. Gilt ruling and titling to spine. Marbled boards are scuffed and rubbed. Evidence of label having been removed from spine and glue remains from signout card on rear free endpaper. Light spotting to interior pages generally not affecting images. The front pastedown provides some provenance information. Bookplate of Frances Mary R Richardson Currer (1785-1861), A British heiress and important book collector in her time. She died at Eshton Hall [Wikipedia]. There is a handwritten note affixed under her bookplate saying the book was bought by Sir John Horsfall at the sale of the Eshton Hall collection at Christie's London 1916. Given by Sir John to Mr. FW Petty, Given by Mr. Petty to Geo Turner Conoley (?) in 1916. A very good copy. Measures 15 x 22 inches. Pages 1-6 with preface, list and description of plates. All plates present without original tissue guards. ARCH/042021.
Brazil: Ministerio da Educacao e Cultura, 1965. Paperback. Number 12 of 200 copies numbered and signed by the author. An additional 800 unsigned copies were printed. Elephant folio. A collection of 50 poems by Stella Leonardos illustrated with 3 lithographs by Pedro. Portuguese author and painter Antonio Pedro (1909 - 1966) helped introduce Surrealism into Portuguese painting during the 1930s. Bound in white and green paper wrappers with green title to front cover. Minor browning to spine and edges of wrappers and a few small closed tears to edges of wrappers. The interior is clean overall with minor browning to edges of pages. Some light foxing / light soiling to margins of some pages. Small closed tear to margin of one of the prints, which does not effect the image. Includes a postcard on the letterhead of the Brazilian minister of education and culture dated 7/6/65 with a brief handwritten note in Portuguese. Unbound as issued in large folded sheets. 91 pages plus plates, notes, and index. IN PORTUGUESE. POE/010715. 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.
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.
New York: The Harry T Thomas Company, 1896. One of 540 copies of the scarce Autograph Edition signed by the author/artist. Francis Hopkinson Smith (1838-1915) was an American author, artist and engineer born in Baltimore, Maryland, a descendant of Francis Hopkinson, one of the signers of the Declaration of Independence. He became a contractor in New York City and did much work for the Federal government, including the stone ice-breaker at Bridgeport, Connecticut, the jetties at the mouth of the Connecticut river, the foundation for the Bartholdi Statue of Liberty in New York harbor, and the Race Rock Lighthouse off New London, Connecticut. His vacations were spent sketching in the White Mountains, in Cuba, in Mexico, and afterwards in Venice, Constantinople and Holland. He published various volumes of travel illustrated by himself, including this work on Venice [Wikipedia]. This beautiful large folio is extensively illustrated both in color and black & white. There are 20 full page color plates and 21 in b&w, all protected by tissue guards. In addition there are numerous color and b&w text illustrations throughout the book. In his preface Smith wrote that his aim was to describe and depict the beauties of Venice that one sees in the sunlight of a summer's day. Bound in contemporary brown three quarter leather with marbled paper boards and endpapers. Leather is scraped and scuffed, with tear along top of spine. Paper boards are also scraped and worn. The interior pages are quite clean and bright. There is a margin stain on the free front endpaper but the rest of the book is very good plus. A very desirable copy of this homage to the magical city of Venice. 140 pages plus plates. This is very heavy book that will require extra postage. ART/012319.
Bennington, VT: The Bird Press, 2000. Since 1997, The Bird Press has been an artist-run publishing project that has focused on hand printed artists’ books. All projects utilize some inherent aspect of the book and often take the form of open-ended collaborations with writers. Each project is a response to the last, both in form and content, in order for the work to continually evolve. Poetry, broadly defined, is a major inspiration for most of the work. Editions between 15-40 utilize various print media including: flatbed offset lithography, stone lithography, etching, letterpress, wood blocks, and digital pigment printing. Book artist 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. His work is represented in numerous collections including Yale University Library, the Library of Congress, UCLA, Stanford University, and the Kunstindustri Musset (Denmark).Number 26 of 40 copies in the regular edition. There are also 10 special bindings and 5 unique artists proof bindings. Signed and numbered by the book artist. A collection of eight poems by Danish poet, typographer, art critic, and translator Peter Laugesen (1942 - ). He was awarded the Danish Critics Prize for Literature in 2003. These poems were written in Denmark in 1999 specifically for this collaborative project with artist Thorsten Dennerline. He describes his eight etchings in this book: “[They] are meant to be an accompaniment to the text that functions as a collaboration similar to the way musicians might play together.” Bound in quarter vellum over blue cloth boards, which are laced into a vellum covered spine with five strips of alum-tawed thongs. The endbands are buttonhole stitched with waxed yellow thread. The front cover is titled in black and the rear cover has a black star printed near the bottom edge. The text is in both Danish and English. The Danish text is printed on translucent Seikishu Japanese paper and the English translation is printed on a thicker stock. This allows the reader to view the poems in both languages mirroring each other through the transparent paper. Unpaginated. [50 pages.] Size: 9.75 x 10 inches. In fine condition. ARTB/032417. Fine.