Toronto: Aliquando Press, 1978. Hardcover. Number 46 of 100 copies. A charming book written in verse about well and poorly behaved cats. Illustrated in a cartoonish style by the author. The Aliquando Press began in 1962 and has since published over 100 books. Oblong, bound in white patterned paper covered stiff paper boards with green title label to front. Printed and designed by William Rueter at the Aliquando Press. Housed in a blue cardstock slipcase with green paper title label to spine panel. [32 pages.] Size: about 3 x 4.5 inches. PRI/120723. Fine.
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Minneapolis: Angel Bomb Press, 2022. One 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.
Minneapolis: Angel Bomb Press, 2022. Deluxe Edition. One of 50 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. It is in a special binding of quarter tan goatskin over blue Japanese cloth covered boards. It is housed in blue cloth covered tryptich folding case with an interior folder holding a suite of five letterpress illustrations, each signed and dated by the artist. The case is made to look like a government file with maps lining the interior and an official resin medallion stating "Secondary Polar Expedition: Antarctica" to the front panel. The interior maps have been hand-altered with pencil notes of expedition locations. 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/072423. Fine.
Minneapolis: Angel Bomb Press, (2023). 6 of 12 copies, signed and numbered by the artist on the rear panel. Second Edition. The first edition, with a few minor variations to this edition, was limited to 22 copies and sold out quickly. According to the artist: "This resin cast dumpster is a deconstructed artist book commemorating our failings as a society but hopefully encouraging everyone to do better—to BE better. Within the hand-sculpted and hand-painted dumpster are thirteen die-cut, illustrated, letterpress pieces of garbage representing just a few of the horrors we dealt with in 2020. These are packed in a shredded Bill of Rights and includes a small folio, all printed on a speckletone kraft stock. This is a 2nd and final edition representing a recycled idea and recycled problems. Mass shootings are happening at a record rate, hate crimes are increasing, and we’ve literally done nothing about climate change. Have we made any progress?" This hand painted miniature yellow dumpster includes a small remnant of an American flag sculpted on one edge and two removable lid flaps. The thirteen letterpress pieces of garbage feature portraits of Trump, Covid-19, Giuliani, wildfires, maskless people, insurrectionists, abandoned homes, and more. The versos of each image include text describing each "fiasco". Topics addressed range from Covid to George Floyd to climate change and more. A "fun" book art object commemoration of an absolutely horrible year for Americans - and the rest of the world. A letterpress bi-fold summaries the horrors, some of which have been addressed, but most are ongoing. Size: 5.5 x 3.25 x 4 inches. ARTB/110923. Fine.
Concord N.H. Rufus Merrill, 1854. Hardcover. Includes 6 booklets divided into parts of 16 pages each: My Flower-Pot, Book About Birds, Stories About Dogs, People of the Old World, Book About America, and Indian Anecdotes. Filled with poems, prose, and charming engravings. Bound in the original pink / tan cloth boards with rubbed gilt title to spine. Soiling to boards, rolled spine, occasional finger smudges and spots of soiling to interior. Previous ownership signature in pen dated 1859 to front free endpaper. Size: 4.5 x 3 inches. CHILD/080923. Very Good.
The Anvil Press, 1995. Paperback. 1 of 500 copies of which 100 were reserved for the Grolier Club. Includes a 36 page introduction with notes on all seven presses as well as a bibliography of works printed at Stamperia del Santuccio, The Wells College Press, The Hammer Press, The Bur Press, The Press of Carolyn Reading, The Anvil Press, and the King Library Press. Bound in stiff cream paper wrappers with black title to spine and front panels. Bumping to top corners of wrappers and pages. Clean and bright. 85 pages. PRI/101923. Very Good.
Philadelphia: Alice Austin, 2019. Number 18 of 20 copies. This tunnel book of the Grand Canal draws attention to the negative effects of tourism on Venice's rising water levels and ecosystem. Created from a series of lino-cuts, each page has been hand-cut and assembled into the tunnel book structure, giving the viewer a periscope-like view of the famed Grand Canal. The artist describes the scene as follows: "a chaotic mix of local fauna, gondolas, traghettos and bridges vying for space on the waterway, contrasting with the ominous visage of a cruise ship lurking on the horizon. The outsized scale of the ship emphasizes the threat these monsters impose on the delicate environment of this unique place — flooding the streets with mass tourism, and literally flooding the small canals with their enormous wakes. The cover panel is in the shape of an eye, reflecting upon the voyeuristic nature of tourism. The first panel shows an egret patiently hunting for fish amidst the chaotic scene. A quatrefoil-laced building facade typical of Venice provides the background. The second panel has a winged cherub and a traghetto (ferry) making its regular crossing of the Grand Canal, as the figures in the gondola stand in the customary Venetian way for the short trip, ready to bound off the second the boat docks. The third panel features the famed Rialto bridge, with a rower guiding a sandolo, the type of small rowboat used by the locals. The fourth panel shows the characteristic vase-shaped chimneys of Venice. The fifth panel is an enormous cruise ship ominously looming over the buildings and canal, impossible to miss. The sixth panel is the back side of the tunnel book - The Lion's Mouth, or bocce dei Leone - depicting letter boxes found that were placed in prominent locations, where citizens could slip a note betraying the names of enemies of the Republic. The side panels show rowers in racing gondolas training for the Regatta Storica." It is printed on Mohawk heavyweight paper and housed in a marbled paper covered clamshell box with magnet closure and paper title label to spine panel. The paper was marbled by the artist. Alice Austin is a printmaker, book artist and painter living and working in Philadelphia. She has been on the faculty at the University of the Arts, teaching book structures, and has also taught workshops at the Center for Book Arts in New York, Ballinglen Foundation in Ireland, The Scuola Internazionale di Grafica in Venice, and other institutions. She earned a BFA from the Philadelphia College of Art and has been an active member of the Guild of Book Workers since 1998. She worked as a rare book and paper conservator for over 20 years at the Library Company of Philadelphia. Alice has also been awarded several artist residencies in Europe, and her work is widely held in private, public and special collections worldwide. Size: 6 x 11 x 1.5 inches closed, 13 inches open. Box size: 6.5 x 11.5 x 2 inches. Fine.
Philadelphia: Alice Austin, 2022. Number 8 of 15 copies, of which 10 copies are deluxe and 5 copies are standard. Signed and numbered by the artist. This deluxe edition is bound in tan goat parchment by Pergamena with yellow caterpillar stitched details. The standard edition was bound in handmade paper wrappers. A delightful collection of linoleum prints of birds and nests, ending with a poem remarking on habitat loss and the joys of birdwatching: "Due to habitat loss, there are 25 percent fewer birds since 1970. still, birds are nesting calling to each other. and a glimpse, through binoculars, wondrous, fleeting." Prints and handset type are printed on Rives BFK heavyweight paper. Housed in an archival grey corrugated clamshell box with paper label to spine. Alice Austin is a printmaker, book artist and painter living and working in Philadelphia. She has been on the faculty at the University of the Arts, teaching book structures, and has also taught workshops at the Center for Book Arts in New York, Ballinglen Foundation in Ireland, The Scuola Internazionale di Grafica in Venice, and other institutions. She earned a BFA from the Philadelphia College of Art and has been an active member of the Guild of Book Workers since 1998. She worked as a rare book and paper conservator for over 20 years at the Library Company of Philadelphia. Alice has also been awarded several artist residencies in Europe, and her work is widely held in private, public and special collections worldwide. Book Size: 8.25 x 7.75 x .75 inches. Box size: 8.5 x 8 x 1 inches. Fine.
Mission, B.C. Barbarian Press, 2023. Hardcover. One of 108 copies for sale. An additional 20 were hors commerce. This marvelous book is the 52nd book from the Barbarian Press. Its founders Crispin and Jan Elsted write: "We conceived this book as a celebration of our 50 years of marriage and our 45 years as Barbarians. It comprises fifty of our favourite love poems, reaching back to classical Greece and the Old Testament, and forward through the late Middle Ages, the renaissance, and the 18th and 19th centuries to the present day, by twenty-eight poets ranging from the writer(s) of The Song of Songs which is Solomon’s to lyrics by Sappho, to Chaucer, Spenser and Donne, Marvell, Clare, Christina Rossetti, Tennyson and Yeats, to contemporaries Jan Zwicky and Heather Simeney MacLeod, among many others – not forgetting the ubiquitous Anonymous, who contributes five. Eight of Shakespeare’s sonnets form a thematic spine throughout the book. We invited seven engravers who have illustrated our books over the years and have become part of our lives as friends and collaborators to contribute engravings to accompany poems of their choice: Richard Wagener engraved a stunning frontispiece block, while Abigail Rorer, Andy English, Simon Brett, Peter Lazarov, Walter Bachinski, and Graham Williams chose to illustrate poems that range from the Middle English to the contemporary. The type we have chosen for the book is Pastonchi, in its inaugural use here at the press – a graceful, elegant, but little-known face issued by Monotype in 1929, designed by the Italian poet Francesco Pastonchi with the typographer Eduardo Cotti to be used to print an edition of the Italian classics. We are fond of the face. Although it has never been widely used (especially in North America), and has occasionally been criticized by those who fail to respond to its openheartedness, we feel it is ideally suited to poetry, and are delighted to add it to our range of typefaces." The book was designed by Crispin Elsted, who also designed the patterned paper for the binding. Jan Elsted printed the text and the engravings. Apollonia Elsted printed many of the title lines and the cover papers. Bound in half crimson morocco with paper covers at The Mad Hatter Bookbinding Company. Printed on Zerkall ENR White Smooth paper. Each copy is housed in a crimson cloth slipcase with a portfolio containing a suite of seven proofs of the engravings used for the book. In fine condition. Measures 7.25 inches x 10.5 inches. 88 numbered pages + 8 unnumbered pages. PRI/091423. Fine.
Mission, BC, Canada: Barbarian Press, 2022. Softcover. One of 135 copies. This is the first of a series of Wayzgoose Pamphlets, to be issued occasionally, on subjects relating to printing and printing history. So ran the opening of the colophon of this pamphlet, issued in March 1984 for inclusion in Wayzgoose 84, published by the Public Art Gallery, Grimsby, Ontario. Notice the word ‘occasionally’: there has been no subsequent Wayzgoose Pamphlet in the intervening 38 years.The ‘occasion’ of our 50th wedding anniversary Wayzgoose this fall seemed the perfect opportunity to resurrect this vintage idea of a series of pamphlets on printerly subjects. We have decided to restart the series with a facsimile reprint of this first – and so far only – Wayzgoose Pamphlet. Apollonia Elsted with her our friend and sometime apprentice, Lea Sanchez Milde, re-set the text from the original edition and printed the pages on a Heidelberg Red Ball Press.It was hand-set in Kennerly in blue and black on Mohawk Letterpress, with a wood engraved headpiece by Sarah Chamberlain. The gathering was then sewn into wraps of St-Armand Canal paper in time for our Wayzgoose in September (2022). In fine condition. Measures 5.5 x 8.5 inches. 8 pages. PRI/120523. Fine.
Mission, B.C. Barbarian Press, 2023. Softcover. One of 150 copies. This delightful piece is the second in a series of Wayzgoose Pamphlets to be issued by the Barbarian Press. They write in the colophon: "The examples of dingbats were taken from a selection which has expanded over the years - although we are hard put to remember where most of them came from....We have identified as many as possible from typefounders' specimen books in our library....Some remain mysteries." The pamphlet was hand-set in Joanna type in red and black by Apollonia Elsted with help from Kirsten Way after a design by Crispin Elsted. The headpiece was engraved by Sarah Chamberlain in 1984 and is printed from the original block. The paper is Mohawk Superfine and is sewn into rose colored St-Armand Canal Sisal Current covers. The numerous examples of dingbats are printed from the original castings. In fine condition. Measures 8.5 x 5.5 inches. 12 pages including 4 pages of text and 8 pages with dingbat images. PRI/091423. Fine.
Mission, Canada: Barbarian Press and Sperling Printshop, 2023. Softcover. One of 110 copies each accompanied by a handsome original woodcut of a raven, signed and numbered by Edith Krause. This delightful book is a flock of poems on birds by 15 Canadian poets. The book provides a diverting anthology of poems about birds by sixteen contemporary Canadian poets, some of them well established figures, such as Lorna Crozier, Susan McCaslin, Harold Rhenish, and Bill Richardson, and others younger emerging poets. The result is a rich cross-section ranging from the lyrical to the satirical, the humorous to the elegiac. Edith Krause provides an introduction to the project itself; ornithologist Rob Butler, a thoughtful ecological preface; and wildlife biologist Phil Henderson, a short reflection on the relationship between the poems and the birds in the book. Edith’s 26 woodcuts of birds, each representing a letter of the alphabet, provided the core of the project. In addition she created four further woodcuts to accompany the three prefatory essays and an extra poem, and provided a title page block, a selection of woodcut feathers for the endpapers, and a press device. Book artist and proprietor of the Barbarian Press, Crispin Elsted writes about the book: "Early in 2023 we were approached by woodcut artist Edith Krause and poet Susan McCaslin with a ready-made book project in hand for which they needed a printer. It had been many years since we had printed a book for another publisher, and it was a practice we had not planned to renew – especially since we had a considerable list of our own book projects in various stages of planning or production. However, we were struck at once by Edith’s delightful woodcuts of birds, and it seemed to us that the project deserved to be encouraged. Crispin consulted on the design of the book and Jan and Apollonia [Elsted] devised the imposition of the pages and subsequent details of placement and colour. Jan and Apollonia, Edith and Susan sorted out the logistics of acquiring materials and established the nature of the collaboration, and work began." The poems and other texts were handset by Apollonia in Joanna roman and italic type and printed on Hannemühle paper, with help from Kirsten Way and Lea Sanchez Milde, while the lion’s share of the presswork, comprising all the poems and the prose elements, was done by Apollonia, Jan printed the preliminary pages and the second colour title lines. We decided that we would make a departure with the blue paper binding of An Avian Alphabet, and imposed the texts and images so that the pages could be French-folded (i.e. with the fold at the foredge), then stabbed (that is, drilled) and laced into the covers with waxed coloured linen cord in an exposed sewing, and housed in a beige cloth covered slipcase with title label to spine. In fine condition. Measures 6 7/8 x 10 inches. Unpaginated [About 70 pages] PRI/112023. Fine.
Chicago: Reilly and Britton Co., 1905. Hardcover. Baum's introduction discusses the history and custom of the Christmas stocking. Illustrated with color plates and with black and white line drawings within the text. Color frontis and title page. Red paper covered boards with dark green title and holly design to front board along with pasted down color vignette illustration. Dark green title to spine. Slight loss to top front corner and wear to other corners, edges, and spine ends. Clean, bright interior. 119 pages plus 4 pages of ads. Size: 4 x 3 inches. CHILD/080923. Very Good.
Oosterhesselen, Netherlands: Agri Montis Pers, 1989. Softcover. Number 15 of 29 copies printed as part of the Syllable series. The press was founded by S.H. de Roos (1877-1962), a book and type designer who was an important figure in the private-press movement in the Netherlands.De Roos studied lithography at the Royal Academy of Art, Amsterdam. Among his early activities were furniture design and the design of decorations for tin containers. His first book design was for Kunst en Maatschappij (1903; “Art and Society”), a translation of a collection of the writings of the English poet and designer William Morris, whose Kelmscott Press was the beginning of the private-press movement in England. In 1907 Roos joined the Typefoundry Amsterdam, where he remained until he retired in 1942. About 1928 he founded the Heuvel Press, at Hilversum, the second private press in the Netherlands, for which he designed Meidoorn type. Of the four books printed by Heuvel, the edition of Dante Gabriel Rossetti’s Hand and Soul (1929) is considered particularly fine. This book in Dutch is bound in dark green paper covers with white title label on front cover. Light fading to top of front cover. Interior pages are clean and bright. A sleeve on the inside of the rear cover has bifold printed samples of pages from the press's books in Latin, German, French, and English. The pages in English are from the press's edition of Hand and Soul. The pages in French are from Les Maitres d'autrefois : Hollande. In near fine condition. Measures 8 x 11.75 inches. 7 pages. PRI/111323. Near Fine.
Freeville, NY: Carol Schwartzott, 2022. Hardcover. Number 5 of 24 deluxe miniature copies. This deluxe edition is issued in a special wooden box with a glass front. A hand beaded illustration is underneath the glass panel. A ribbon with a metal coyote charm is affixed to the interior of the box to assist in lifting the book. Housed inside of the box is a miniature digitally printed reproduction of a unique hand painted and hand-sewn folio sized artist book by Schwartzott. The text written by Belting relates the native American themed creation myth of the origin of shooting stars. In this tale they are the falling bodies of coyotes that unsuccessfully desired to dance in the sky with stars. The miniature book is bound in black handmade paper with paper title label to spine and illustration with hand painted embellishments, collage and stitchery to front board. Unpaginated. [30 pages.] Carol Schwartzott has been creating artists' books for over twenty-five years. Her work appears in many museums, libraries, and private collections including the Smithsonian, the National Gallery of Art, and the Victoria and Albert Museum. Natalia Belting (1915-1997) taught history for 43 years at the University of Illinois until her retirement in 1985. Dr. Belting really had four careers: she was a history professor, a writer, a lay minister, and an environmentalist. She published 24 children's books about history and mythology. Book size: 3 x 2.75 inches; Box size: 4.75 x 3.5 x 2.5 inches. ARTB/060223. Fine.
London: R. Parker, 1705. First edition of this important history of Virginia, the first to be written by a native of North America. In his bibliography U.S.IANA. Howes writes: "After John Smith, the first account of this colony, the first one penned by a native and the best contemporary record of its aboriginal tribes and of the life of its early settlers" [Howes B410]. From Encyclopedia Virginia: "Robert Beverley was a member of the House of Burgesses (1699–1706) and clerk of that body, and served as chief clerk of the governor’s Council. He is best known, however, as author of The History and Present State of Virginia, In Four Parts (1705), the first published history of a British colony by a native of North America. In 1703 he sailed to England to appeal a suit he lost before the General Court, and there he penned this history, a collection of personal history, official accounts, and material borrowed from others. Beverley self-consciously identified himself as a Virginian and used the books to settle political scores. No prior author identified himself so clearly as a Virginian. 'I am an Indian, and don’t pretend to be exact in my language,” Beverley wrote in the preface. 'But I hope the Plainness of my Dress, will give him [the reader] the kinder Impressions of my Honesty, which is what I pretend to.' When it first appeared in London, the book was three hundred pages of text, accompanied by fourteen engravings, and divided into four sections titled as Books: “The History of the First Settlement of Virginia,” “The Natural Productions and Conveniencies of the Country,” “The Native Indians,” and “The Present State of the Country.” It is an unmatched source for the Virginia of its time—an amalgam of personal observations and stories heard, material borrowed from published and unpublished accounts, and official reports. He also included significant portions from the unpublished writings of several other Virginians. The early section of the history relied heavily on Captain John Smith‘s writings, but the later sections on politics, Native Americans, and the flora, fauna, and agricultural products of the colony used several sources. " Bound in contemporary brown leather with gilt rulings to covers and gilt titling to spine. Covers are rubbed and bumped with light wear around edges. Slight loss to head of spine. Front cover is partly detached but still holding and the text block is tight save for the free endpapers, which are browned and partially torn, Rear hinge is cracked and there is offsetting to both pastedowns. Interior pages are clean and bright. With fourteen plates, a frontispiece, and a fold-out list providing statistics from 1703 for the counties of the Virginia colony. Engravings were done by the French engraver Simon Gribelin. A very good copy of this valuable early account of the colony of Virginia. Measures 7.25 x 4.34 inches. Book One: 104 pages; Book Two: 40 pages; Book Three: 64 pages Table of Contents: 19 pages with errata list on the verso of the last page; Book Four: 83 pages. AMERSTATEHIST/082423.
New York: Farrar, Straus, and Giroux, 2006. Hardcover. "Thomas Bewick's 'History of British Birds' marked the moment as the first 'field guide' for ordinary people, illustrated with woodcuts of astonishing accuracy and beauty ... In this superb biography, Jenny Uglow tells the story of the farmer's son from Tyneside who influenced book illustration for a century to come" (jacket). Very good in brown paper covered boards with gilt title to spine. Small closed tears to edges of a few pages near the rear. Clean and bright with many illustrations. In cream illustrated dust jacket with black title to spine and front panels. Light wear to edges of jacket. 458 pages. BOB/102923. Very Good / Very Good.
University Park, TX: Bridwell Library, Southern Methodist University, 1983. Hardcover. One of 275 copies (250 for sale) printed for the Bridwell Library by the famed Bird & Bull Press. An inscription in ink on the colophon states that this copy is "one of two printer's copies in a trial binding that was not used for the edition." This interesting book explores the famous feud between C.H. Cobden-Sanderson and Emery Walker over the ownership of the type of the renowned Doves Press. It offers a new perspective through the discovery by Michael Hornby, son of St John Hornby, of previously unknown correspondence between Cobden-Sanderson and St John Hornby, Sidney Cockerell, and Walker. The letters, mostly dated from 1906 to 1908, shed new light upon the controversy and provide fresh insight into the intensity of Cobden-Sanderson's preoccupation with the type. The unsigned inscription on the colophon was possibly written by Henry Morris, founder of the Bird & Bull Press. Morris founded his press in 1958 and continued to print their highly regarded letterpress books until his retirement in 2014. From Princeton University “…Morris’s publishing program has been a boon to the historian of the book. He is correct when he writes, ‘It pleases me to know that without the Bird & Bull, many books on worthwhile, albeit esoteric subjects would probably never have been published.’ And all these works have been printed by letterpress from metal type on either Henry’s own handmade or on imported mould-made papers.” The inscription is written to Abe Lerner and Kit Currie "on the occasion of their visit here on Oct. 8/1983." Abe Lerner and his wife, Kit Currie, were both important figures in the world of books in the twentieth century. Abe Lerner (1908-2002) was a highly respected and talented typographer/book designer with links to the likes of the great Bruce Rogers. With a meticulous eye for detail and clean design, he was constantly working on new projects. With a career that landed him as the Director of Design and Production at Macmillan, President of the Typophiles, and lecturer at the Grolier Club in New York, Abe Lerner was certainly one of the finest typographic designers of the 20th century. Kit Currie began her career in the antiquarian book trade as the personal assistant for London bookdealer Bertram Rota. She moved to California in 1964 and began working at Dawson’s Book Shop in Los Angeles, where she stayed for 14 years. She moved to New York City in 1977 with her husband, noted typographer and graphic designer Abe Lerner. Unable to find work initially, Currie ventured to start her own bookselling business, and issued her first and only catalog in the winter of 1977-1978. Soon afterward, however, she was offered a position with H. P. Kraus. Bound in brown paper covered boards with brown cloth spine. Title debossed in blind to front cover. Minimal wear to corners. Text pages are clean and bright. Printed in Centaur types on Bugra Bütten paper. Folded prospectus is inserted. In fine condition. Octavo. 31 pages. PRI/102423. Fine.
Riverside, CA: Bo Press Miniature Books, 2020. Hardcover. This book is from a small open edition, which is signed by the artist. A delightful collection of full color collages of human, animal, and imaginary creature preformers making "exits and entrances" onto grand theatrical settings. Bound in tan cloth boards with color paper pastedown to front board. No text aside from a brief colophon stating that the book was designed in Photoshop and printed with a Canon-Pro 100 printer on Red River Premium Matte paper using Krul and Coromont Garamond typefaces. Size: 2.5 x 3 inches. Pat Sweet describes herself as creating illuminated miniature books of curiosity, humor, and delight. She creates both miniature (under 3 inches) and macro-miniature (under 1 inch) books. ARTB/091123. Fine.
Riverside, CA: Bo Press Miniature Books, 2011. Pat Sweet describes herself as creating illuminated miniature books of curiosity, humor, and delight. She creates both miniature (under 3 inches) and macro-miniature (under 1 inch) books. This book is from a small open edition, which is signed by the artist. According to the book artist: "Kadigan is a word possibly invented by Willard Espy, author of An Almanac of Words At Play, as a general term for ‘placeholder’ words, thus making kadigan itself a kadigan. English has formal placeholder names like object and utensil, but kadigans are more likely to be found in very informal and colorful speech. This book contains kadigans for mysterious and easily-forgettable names like whatchamacallits and doodles, and the map includes places like The Back of Beyond and Podunk, but the people of Kadigan remain to be listed and described. Such notable but hard-to-describe families as the Joneses, the John Q. Publicks, and the Joe Sixpacks and Kadigan celebrities Walter Plinge, George Spelvin, and Alan Smithee must wait for another volume. In the meantime, they answer to such old-time Kadigan names as Bro, Old-timer, and Miss Thing. A detailed description of Kadigan the country is understandably impossible. It can be approached by water by sailing up Shit Creek, or by air at Podunk Regional Airport, but travelers will find difficulty in giving cabbies directions to local landmarks as the End of the World (No, this isn’t the end of the world, but you can see it from here.) because they include such unhelpful instructions as 'Go down the road a piece and then turn left where the hardware store used to be.' But if the visitor doesn’t mind occasionally being at a loss for words, a visit to Kadigan can be a relaxing experience. Lie on the beach at the Jumping-off Place, for somewhere in Kadigan, It’s beer o’’ clock!" Printed in full color on Red River paper and bound in decorative blue paper with a tan flower print. Red and tan paper title labels to spine and front board. [about 60 pages.] Size: 2 3/8 x 1 1/2 inches. ARTB/091123. Fine.
Riverside, CA: Bo Press Miniature Books, 2022. Pat Sweet describes herself as creating illuminated miniature books of curiosity, humor, and delight. She creates both miniature (under 3 inches) and macro-miniature (under 1 inch) books. This book is from a small open edition, which is signed by the artist. According to the book artist: "The Eiffel Tower was the main entrance for the Exposition Universelle, organized to celebrate the anniversary of the French Revolution. A competition was held for the design of the tower, which was won by Maurice Koechlin and Emile Nougier. Gustave Eiffel got the construction commission for a very small fee in return for a portion of the gate for the length of the Exposition plus twenty years. In 1890, Sir Edward Watkin, a British MP, held a design competition for a ”Great Tower of London” that would have rivaled or surpassed Eiffel’s tower in Paris. Sixty-eight designs were submitted. The Great Tower of London was, of course, meant to be taller than the Eiffel Tower, and like the Eiffel Tower, temporary. It was meant to be the centerpiece of an amusement park in Wembley, easily reachable by train (Watkin was Chairman of the Metropolitan Railway). As with the Eiffel Tower, the design would be decided by a competition. In spite of many of the designs being slightly loony, or VERY similar to Eiffel’s design, Stewart, McLaren and Dunn’s practical design, number 37, was eventually chosen to be awarded the 500 guinea prize. Construction began, but the funding slowly petered out. The full extent of the building, called the London Stump or Watkin’s Folly, is shown on the title page - all 154 feet. The remains were eventually dynamited and buried under Wembley Stadium" Printed on Mohawk superfine paper in Garamond 1911, and bound in a gold-on-black Art Nouveau paper. The slipcase is bound in matching paper. 85 pages. Size: Book - 2 1/2 x 1 5/8 inches; Case - 2 3/4 x 1 3/4 inches. ARTB/091123. Fine.
Riverside, CA: Bo Press Miniature Books, 2015. Pat Sweet describes herself as creating illuminated miniature books of curiosity, humor, and delight. She creates both miniature (under 3 inches) and macro-miniature (under 1 inch) books. This book is from a small open edition signed by the book artist. According to Pat Sweet: "The list makes heartbreaking reading, and I'm not sure which I resent more: the loss of books through active human malevolence, or through stupid human thoughtlessness. Each has its place here, along with forgetfulness, carelessness, accident, embarrassment, and spite. Lord Byron's memoirs being ceremonially burned in John Murray's office fireplace, Sylvia Plath's Double Exposure, which may or may not be in the Ted Hughes archives, frozen until 2022., Clisson et Eugenie, Napoleon's novella, scattered across Europe, and the massive Yongle Encyclopedia, victim of budget cuts. And all the lost books of the Greece, Rome, Timbuktu, the Bible . . ." The book is printed on Mohawk Superfine paper, and bound in the same Mohawk paper (a different shade) and in mottled brown Indian pinto lokta paper. Includes 28 illustrations. 78 pages. Size: 2 3/4 x 1 7/8 inches. ARTB/092823.
Riverside, CA: Bo Press Miniature Books, 2016. Hardcover. Pat Sweet describes herself as creating illuminated miniature books of curiosity, humor, and delight. She creates both miniature (under 3 inches) and macro-miniature (under 1 inch) books. She also makes miniature pocket globes, astronomical instruments, orreries, tellurions, and occasional oddities. “It’s Istanbul, not Constantinople now, but from the 11th century BCE and the foundation of the Thracian settlement known as Lygos, the world’s richest and best-defended city has stood at the meeting point of Europe and Asia. Sailing To Istanbul is a history of the city told in maps, from the earliest known depiction of the city in the Tabula Peutingeriana to the modern map of the Istanbul rapid transit system. The maps, both Eastern and Western, speak volumes about the city’s history, past, and future” (Pat Sweet). This open edition is bound in blue and gold Italian marbled paper covered boards with paper title labels to spine and front cover. This book features an overflap binding style that was inspired by a 17th century edition of Reis’s Book on Navigation. It includes twenty-eight tipped-in folding maps, ranging from the Nuzhat map of 1154 to the map of Constantinople by Christoforo Buondelmonte - the first map of the city itself. A map by the explorer and artist Piri Reis makes an appearance, and one of the loveliest maps, by an unknown hand, is from the reign of Sultan Abdul Hamid II. The most unsettling map, an Ottoman Empire census map from 1914, shows the proportional population figures of Muslims, Armenians, and Greeks. It also contains a fold-out timeline of the city, and a copy of Yeats’s famous poem ”Sailing To Byzantium,” from which this little map collection gets its name. In fine condition. Size: 2 3/4 x 2 3/8 inches. 74 pages. ARTB/090523. Fine.
Riverside, CA: Bo Press Miniature Books, 2010. Hardcover. Pat Sweet describes herself as creating illuminated miniature books of curiosity, humor, and delight. She creates both miniature (under 3 inches) and macro-miniature (under 1 inch) books. She also makes miniature pocket globes, astronomical instruments, orreries, tellurions, and occasional oddities. This book is from a small open edition. According to the book artist: This is a "book inside books inside a book inside a book-shaped box. This has been called the Droste effect, after their recursive advertisements. The book inside this book-shaped box is a collection of jacket designs for books that only exist inside real books: The Necronomicon, The Whole Art of Detection, If On A Winter's Night A Traveler. Each is presented as if hidden inside a hollow book, for yet another layer of un-reality. The title, of course, is from Magritte's famous painting of 'This is Not a Pipe'." Bound in tan paper with gold fleur-de-lis and title label pastedown on front cover. Housed in a matching cream paper covered slipcase with title labels to the spine and front panels. Size: 2 1/4 x 1 7/8 x 5/8 inches. In fine condition. 78 pages. ARTB/090523. Fine.
Riverside, CA: Bo Press Miniature Books, 2021. Pat Sweet describes herself as creating illuminated miniature books of curiosity, humor, and delight. She creates both miniature (under 3 inches) and macro-miniature (under 1 inch) books. This book is from a limited edition, which is signed by the artist. Number 21 of 30 variant copies. Each copy is in a different box, bound in papers to match the box. According to the book artist: "Bo Press Miniature Books began in 2007 with a little book called Celestial Variations. Since then, another one hundred and forty-seven (one hundred and forty-eight now) books have emerged with subjects as diverse as maps of real and imaginary places, poetry, architecture, history, flea circuses, and books themselves. The History of Bo Press is a collection of every book I’ve ever written, illustrated, designed, and published (that I can remember) since then. This is a fairly easygoing bibliography, and a few lacunae are to be expected from someone like me who hates to keep records. The book listings include title, author, illustrator, pages, dime." Both volumes are bound in tan marbled paper with paper title labels to spines and front boards. Housed in a slipcase covered in marbled paper and off-white handmade paper with a metal chain lining the seams of where the papers meet. Each volume is 170 pages. Size: Books: 2 3/4 x 2 1/8 inches; Case: 3 x 2 1/4 x 1 5/8 inches. ARTB/091123. Fine.