Riverside CA: Bo Press, 2009. This is a limited edition photographic pocket Wunderkammer, a cabinet of objects - Animal, Vegetable, Mineral, and Debatable Historical, Mythological, Fictional, and Legendary Artistic, Psychological, Political, and Scientific - each mounted on a Victorian microscope slide. There are 42 illustrations showing the objects in this collection. Some highlights include a test tube containing the poison of a New Guinea toad unknown to science, Philomena, the celebrated singing flea of L. Bertaloto's Flea Circus in Regent Street, 1834, a dropped stitch found beneath a Revolutionary guillotine, Paris 1786 (from the Crafts of Terror collection), an unlucky four-leaf clover ("Has killed three and injured countless others!") among many others. Most of the items in the collection are at least partly real, and not always the ones you'd think. They all create the atmosphere of original wunderkammers - not always science but always interesting. There are two charts included, one showing the distribution of the items in the collection by location, and the other showing their distribution in time.There is also a black and white illustration of the complete cabinet (thanks to the small size of the exhibits, housed in an actual cabinet), and a larger color print folded into a slipband inside the back cover. The book is bound in gold, light blue, and green Florentine paper and a spine of dark blue lizard paper piped in gold. With decorative endpapers, and a paper title pasted on the spine In fine condition. 2.75 x 1.75 inches. PRI/060619. Fine.
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Riverside, CA: Bo Press Miniature Books, 2019. 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. A miniature replica of a tabletop press. Every dollhouse (or miniature book collector) needs a miniature book press. This is a tabletop model, built of wood, with antiqued brass accents. A blank book bound in dark blue leather over white paper covered boards with raised bands is included. And yes, the press really works! Size: 3 x 3 x 2.5 inches. Fine.
Riverside CA: Bo Press Miniature Books, 2015. Hardcover. Number 29 of 50 copies. Signed and numbered by the book artist. This is a delightful miniature book from the Bo Press. Book artist Pat Sweet is a master of inventive and intricate miniature books, bookish objects, and globes and tellurions. She describes her book as follows: "Three Rats At Sea' is a product of my love of illuminated manuscripts and their creators. As a maker of miniature books, I can't help feeling a kinship with those anonymous artists of the past (and the present). The detail and imagination of these works is something I have always tried to achieve in my own books, to add dense layers of idea and image to the main story; a counterpoint to the melody. I've told the story of my three brave rats in three parts. The first is the introductory text: the story, told in a miniature book. The next is the “real” illuminated manuscript, ' Mures ad Mare (Rats at Sea),' from which I took my story and its world, where rats embark upon voyages of adventure. The third is the pop-up version of the tale told by Sir Bruno’s manuscript and its miniatures, with 8 pop-ups. . Given time, I’m sure I could bake more layers for this little mock-medieval cake, but for now, here’s the story of brave Sir Bruno, his squire Whitby, their servant Pebble on a voyage and adventure upon the sea. The book is bound in turquoise and gold Japanese chiyogami paper, with a metallic gold paper spine and a brass magnetic closure. " The illuminated manuscript is a laid-in booklet. In fine condition. 2 5/8 x 2 1/4". Unpaginated. [14 pages] ARTISTSBOOK/060619. Fine.
Riverside, CA: Bo Press Miniature Books, 2019. Number 4 of 20. At his height, Henry Irving (1838 - 1905) was the greatest actor in the world (and the first to be knighted). He was much more than an actor, he was an actor-producer, which in those days meant that he was responsible for everything, what we would call the artistic director, the director, the production manager, the production designer, and also the lead actor. And the scale of his productions at the Lyceum Theater in London were gorgeous and spectacular, using the latest technology in staging and special effects. Irving led the English theater for over thirty years, and died as he would no doubt have wished, still acting. I came upon his obituary in the Times, and it was a wonderful piece of writing, but also a very good valuation of his art and his place in theatrical history, which isn't so easy to do so near an actor's own time. The old joke used to run that he was an actor who would never play Faust when he could play Mephistopheles. He changed the status of the theater forever, bringing it from the shady demimonde of the 18th century to the height of a recognized and respected form of art. Everyone at the Lyceum called him the Guv'nor, a term of both affection and a well-founded wariness of his perfectionism. If in a former life I had worked as a costumer in his company, I would have been proud to do the same. This miniature book is bound in a gray paper with horizontal slubbed gold lines, and a black and gold marbled paper that wraps around the back to form a small pocket inside filled with theater memoribelia: programs, autographs, advertising posters, and other souvenirs. 2 7/8" x 2", 64 pages. Fine.
Riverside, CA: Bo Press Miniature Books. Limited edition. A little newspaper pastiche, using the racing world in miniature to describe a rather hilarious bookworm race using cutouts and pop-ups to represent the competitors, the silverfish, the caterpillar beetle, and the book louse. Pat writes on her "editorial page": "What is a bookworm? This race will determine the answer: 'Fans have griped for centuries about the eligibility question in the Bookworm Racing Division. Ever since Aristotle described "bookworm" in his History of Animals, sports lore has insisted that there is such a thing. These days, the only bookworms around this newsroom are the readers, not the mythical bugs. So if there's no such thing as a bookworm, who's running in today's race? Not the also-rans, would-bes, hopefuls, bush-leaguers and dark horses who made this race such a non-event in the past. For the first time the field is being restricted to the three competitors who really have a chance to decide the question once and for all." A historic race, jam-packed with thrills and danger. The path of each contestant is marked with a yellow, magenta, or cyan ribbon, and when the race starts, anything can happen!" Bound in white paper covered boards with title shown as a bundled newspaper on front cover. With a white belly band with the words "Extra! Extra." In fine condition. Measures 7/8 x 1 5/8 inches. Unpaginated [34 pages].
Riverdale, CA: Bo Press Miniature Books, 2019. One of only two copies. A beautiful production from award winning miniature book artist Pat Sweet. She writes: "Around 1870, two large boxes, containing 450 watercolor drawings of fish native to East Asia, were given to the Universality of Groninggen by Senn van Basel, the former Dutch consul in Canton. The drawings were mostly accurate, but some were charmingly stylized and near anthropomorphic. I've taken a choice selection of these mysterious creatures and put them in two sides of a little clamshell box, interleaved with Japanese tissue, which in turn slides into a slip box. Both boxes are bound in an ocean-like hand-marbled paper by Jemma Lewis. The slip-box has a oak-framed illustration seen behind vellum." In fine condition. The clamshell box is 2 5/8 x 2 1/4 x 1 inch, and the slip-box is 2 7/8 x 2 1/2 x 1 1/4 inches. The prints are 2 1/2 x 1 1/2. Fine.
Riverside, CA: Bo Press Miniature Books, 2018. Hardcover. An interesting miniature book from Pat Sweet's Bo Press. She says: "Our alphabet used to be a lot bigger. It used to include letters like ampersand (and), eng ( the sound at the end of words like 'sing'), and the famous long s , which still puzzles readers of old books when it appears in the middle of words looking like 'f' but sounding like 's'. I've taken eleven of these once well-known letters and given each of them a tiny spotlight: illustrating it against a background of medieval tracery, telling a little of its history, and giving some examples in modern fonts (yes, these old letters still turn up in modern typography. You never know when you'll need a conjoined ae.) The book is printed in Kelmscott and Thryomenes on Monarch superfine paper, and bound in a diagonal pattern of cream colored paper and a gold on red medieval-ish print." With a tiny Bo Press bookmark laid in. In fine condition. It measures 2 5/8 x 2i inches. Unpaginated [56 pages]. MINI/120319. Fine.
Riverside, CA: Bo Press Miniature Books, 2019. Open edition. Étienne Léopold Trouvelot, a French-American artist, produced drawings of celestial subjects as pastels in the early 1870s. Trouvelot was a scientist without formal training whose primary occupations were artist, nature illustrator, and printmaker. He published more than fifty scientific papers in his lifetime, but remains best known for his exquisite astronomical illustrations.They combine scrupulous accuracy with great awe and beauty (book artist). Pat Sweet has boxed copies of thirteen of Trouvelot's best pastels in a box lined with a peach and gold dotted paper and bound it with a paper printed with the night sky. The box is decorated on it's long sides with antiqued brass triangles.A paper title label is affixed to the top of the box. The plates, each protected by a tissue guard, are 2 5/8 x 2 1/16 inches, and the box is 2 7/8 x 2 1/2 inches. In fine condition. MINI/120219. Fine.
London: Gerald Duckworth & Co., (1955). Hardcover. 8vo. Blue cloth covered boards with gilt title to spine. Interior is clean and bright with illustrations throughout. Off-white illustrated price clipped dust jacket with black title to front and spine panels. Minor browning, rubbing, and soiling to spine panel. Minor chipping to edges of dust jacket. 222 pages. MAR/071319. Near Fine / Very Good.
Pasadena: The Castle Print. Softcover. 1 of 300 copies printed by Grant Dahlstrom as a limited edition for fellow typophiles, friends of the press, and the author. This charming work recounts famed artist and illustrator Will Bradley's early days from childhood until his early 20s. In light green paper wrappers with a string binding and title on front cover. Interior pages clean and bright with frontis photograph of a young Bradley. Some pages are unopened. In near fine condition. 21 pages. PRI/082319. Near Fine.
New York: Bonanza Books, (1956). Hardcover. 4to. Very good in very good- illustrated dark blue and white dust jacket with yellow title to front panel and blue title to white spine. Chipping and creasing to edges of dust jacket. Illustrated throughout. 238 pages. Maryland. MD/071119. Very Good / Very Good Minus.
Chapel Hill: The University of North Carolina Press, 1980. Hardcover. "Describes the transformation of an eighteenth-century commercial town into a nineteenth-century industrial city ... Browne traces Baltimore's economic, political, and social evolution within the context of national and international developments over the course of nearly three generations. And, along the way, he reaches conclusions sharply at variance with conventional notions about the industrial revolution" (jacket). Very good in brown cloth boards with black title to spine. In brown dust jacket with white title to spine panel. Spine faded to blue. Rubbing, creasing and edgewear to jacket. Half of spine panel of dust jacket is missing. 349 pages. BALT/071019. Very Good / Good.
Tokyo: Kodansha, (circa 1980). "Pictorial record of all about Japan's unique puppet theater ... (with pictures by) the one camera artist devoted to the theater for years long enough to know minds and emotions of these 'living' puppet individuals" (English insert). Includes over 700 plates with 19 in color. Also includes an 8 page laid-in English language introduction by Dr. Roy Andrew Miller. Bound in grey cloth boards with gilt title in Japanese to spine and black title (also in Japanese) to front cover. Clean and bright with many tipped-in photographs. Text in Japanese ONLY (with small English language insert). Laid in print of faces. Housed in a black paper covered box with illustration of a lady to front panel. Bottom panel of box is detached along one edge. Wear and rubbing to edges, corners, and panels of box. Size: Quarto. 263 pages.
n.p. 1858. Admiral George Anson Byron, 7th Baron Byron (1789 – 1868) was a British nobleman, naval officer, peer, politician, and the seventh Baron Byron, in 1824 succeeding his cousin the poet George Gordon Byron, 6th Baron Byron in that peerage. As a career naval officer, he was notable for being his predecessor's opposite in temperament and lifestyle [Wikipedia] A Free Frank was a mark applied by means of a hand-stamp to parliamentary mail in Britain to indicate that the mailed item did not require postage. This free frank dated April 19, 1838 was for his corresondence to a gentleman in Liverpool. A 3 x 5 inch piece of paper affixed to a larger piece of paper, which is torn on one end. EPHEM/112619. Very Good.
Los Angeles: UCLA Fowler Museum of Cultural History, (1996). Paperback. 4to. Near fine in black illustrated glossy paper wrappers with orange title to front wrapper and to spine. Minor fading to spine. Pristine interior with full color photographic illustrations throughout. 124 pages. African Art. AFRART/112019. Fine.
Rome: Typis Polyglottis Vaticanis, 1926. Hardcover. Scarce edition of this work in Latin on the biblical texts of Genesis, Exodus, and Leviticus. Bound in three quarter cream leather with blue paper boards. Spines have gilt ornamentation and red and black title labels. Some soiling to the leather. The binding to Volume II is damaged on the upper right front cover and also has ink ownership initiials covered over with a black letter K to title page. Interior pages have light aging but very good. Small quarto. Volume I: 427 pages; Volume II: 485 pages. REL/112719. Very Good -.
San Mateo, CA: Determined Productions, 1961. Paperback. "Here is the magic Alice in Wonderland for you to color and paint. You will want to tear out the pages and frame them ... they make wonderful wallpaper, too ... or send them to someone you like very much" (title page). Folio. Pink illustrated front wrapper with black cloth spine panel and black title to front cover. Cardboard rear cover. Long tear to cloth along front hinge, but cover remains attached. Chipping and wear to edges of covers with creasing to corners and some silverfish damage to cover. Several interior pages are detached, but all appear to be present. Chipping and creasing to edges of title page. Creasing to corners of some pages and short closed tears to edges of some pages. Clean, bright interior with no coloring. Most illustrations are captioned with quotes from the book. A worn but decent copy of this scarce Alice item. Unpaginated. [32 pages.] CHILD/061319. Very Good.
Toronto: Cheshire Cat Press, n.d. Number 50 of 71 copies signed and numbered by the book artist. A charming broadside from master designer and printer George Walker. Donne's famous quote "no man is an island" is paraphrased in this broadside and printed both pictorially and in text. There is an image of a bee, an knot, and an eye for those words. Printed in black and yellow on handmade paper. In fine condition. Measures 7.5 x 14.75 inches. PRI/091919. Fine.
Toronto: Cheshire Cat Press, n.d. Number 114 of 125 copies signed and numbered by the book artist. A charming broadside from master designer and printer George Walker. Shakespeare's famous quote from Hamlet, "to be or not to be," is printed both pictorially and with numbers. It uses the number 2 for "to," a bee for "be," an oar for "or," and a knot for "not." Printed in black and yellow on handmade paper. In fine condition. Measures 7.5 x 14.75 inches. PRI/091919. Fine.
Kingston, NY: Maureen Cummins, 2004. One of 20 copies. Titanic is an altered edition of a single day’s copy of the Wall Street Journal. The artist explores the history of the 1912 Titanic disaster using excerpted accounts of passengers who survived the disaster. The resulting collaged text, which is printed inside the shape of the sinking boat, is visually reminiscent of children’s books, an allusion to the simplistic and oft-quoted belief, “She’s too big to sink.” The quotes chosen highlight the pervasive attitude of denial on the part of both passengers and staff, which not only contributed to the disaster but arguably allowed it to happen. On April 10, 1912 the greatest ship ever built, the Titanic, was launched on her maiden voyage. No cost had been spared in her construction or in the outfitting of her opulent compartments. For the millionaires, captains-of-industry and honeymoon couples who sailed with her, the Titanic promised the ultimate in luxury, status and social privilege. She was the very embodiment of the most cherished beliefs of her age, a limitless faith in science, technological progress, and man's ability to prevail over brute nature. Her owners, The White Star Line, declared her to be "unsinkable." Five days later, on April 15, 1912 at 11:45 p.m., the Titanic grazed an iceberg in the North Atlantic and was fatally pierced through her starboard side. When she sank, two and a half hours later, 1,513 lives were lost with her. Her fate, and the succession of human errors that sealed it, shocked the world. The Titanic, a ship that had been built as a monument to man's power and supremacy, came to be synonymous with human folly and mortality. This book by renowned book artist, Maureen Cummins, retells the story of the Titanic's last hours from memories of the ship's survivors. Drawing upon original memoirs published shortly after the disaster, the artist weaves together a chorus of voices to create a narrative reminiscent of Greek tragedy. Like the mythic ship herself, each statement of disbelief and denial looms larger than life. This beautiful and haunting book seeks to capture the greater significance of the Titanic disaster - an event that haunts our consciousness even though it is a nightmare catastrophe from another time. The piece pairs eyewitness accounts with graphic images of the sinking ship in black silhouette against deeply saturated fields of midnight blue sky and seascape. Layers of time and meaning from the book's text and the underlying newspaper intersect to create a palimpsest of poetry and the recording of events. Twenty copies of the Wall Street Journal were overprinted with six silkscreen runs. Produced by Cummins at the Women's Studio Workshop. In fine condition. 48 pages. ARTISTSB/100419. Fine.
Maureen Cummins, 2018. Number 17 of 35 copies signed and numbered by the book artist, Maureen Cummins. Secretary deconstructs the life and death-by-suicide of the artist's mother, Dolores Cummins, a brilliant woman, aspiring artist, and housewife for twenty-five years. It is this story that inspired Cummins's later book Crazy Quilt, as well as all the subsequent work that she created around marginalized populations. This book is the first of several around this common theme that Maureen has become well-known for. Secretary is made even more powerful by the structure and composition. It was letterpress printed on sheets of Asian lined paper resembling a steno pad, with titling redacted by hand in graphite. The type used appears to have been typed on an old typewriter. Each section of the book is preceded by a ghostly photographic image of Cummins's mother from that period of her life, reprinted from originals in the artist's possession. The text pages are bound in the style of a stenographer's notepad. It is housed in a stiff grey paper folder. Maureen Cummins is a noted creator of artists' books. Her work is held in over one hundred permanent public collections internationally and has been included in exhibitions at the American Craft Museum, the Corcoran Gallery of Art, and the Rotunda Gallery (amongst others). She has received over a dozen grants and awards and has been an artist-in-residence at numerous venues, including the American Antiquarian Society and the Irish Museum of Modern Art. In fine condition. Measures 8.75 x 14.5 inches. ARTB/100119.
Pennsylvania and New York: Maureen Cummins, 2019. Number 17 of 50 copies signed by the book artist. AlieNation / SepaRation was part of Swarthmore College’s Friends, Peace, and Sanctuary project. The project brought five artists into conversation with Syrian and Iraqi individuals resettled in Philadelphia. Cummins interviewed four participating families in 2018. The interviews captured the unspeakable losses experienced by the settlers and bore witness to their struggles to adjust to new countries, cultures, languages, and their separation from loved ones. From the interviews, Cummins selected forty-eight excerpts that she pieced together to create a narrative arc. To house the text, the artist created a structure that is visually startling, experimental, and conceptually driven. Text blocks are severed, then reprinted as quarto-sections on corresponding pages of four separate books. As in the case of the resettlers themselves, these stories must be reunited in order to be read, understood, and made whole again. Since the structure is two-sided, with half the pages printed upside down, the reader is forced to puzzle out where and how to begin and what order in which to read the pages. In this way (s)he is forced to experience some measure of the confusion, alienation, dislocation, and separation that resettlers struggle with every day. The books were created by first deeply saturating flats of color onto Arches Cover White. Blocks of text were then surprinted over the color fields, a process that required masterful registration. Bound by Lisa Hershey in the Coptic style structure that draws on Middle Eastern binding tradition. Each set of four books is housed in a handsome plexiglass slipcase and laser-etched titling by Sarah Pike. Maureen Cummins is a noted creator of artists' books. Her work is held in over one hundred permanent public collections internationally and has been included in exhibitions at the American Craft Museum, the Corcoran Gallery of Art, and the Rotunda Gallery (amongst others). She has received over a dozen grants and awards and has been an artist-in-residence at numerous venues, including the American Antiquarian Society and the Irish Museum of Modern Art. In fine condition. The set measures 17 x 17 x 2.5 inches and contains 192 pages. ARTISTSB/092319.
High Falls, NY: Maureen Cummins, 2010. Hardcover. Artist's Proof. The edition included 30 copies. Signed by the artist and writer. A powerful work on the famed Salem witch trials that is the result of a decade’s long collaboration between the book artist, Maureen Cummins, and poet Nicole Cooley, based on their research at the American Antiquarian Society while resident artists. The book pairs Cooley’s cycle of poems, written specifically for this book, with images from a penmanship book of stern biblical commandments kept by a Salem boy, Josiah Peele, in 1808-09. The book seeks “to trace the psychic reverberations of the witch trials on subsequent generations” (artist’s statement). Each of Cooley’s thirteen poems is written from the voice and perspective of one of the participants in the trials. They represent the accusers and accused, survivors and condemned, focusing primarily, as the trials did, on the women. They are presented chronologically, beginning with the slave Tituba, the first accused, and ending with the girl Susannah Martin, who refused to confess to being a witch. Printed on Johannot paper with the endpapers done on a handmade Belgique sheet. The poems are printed offset with the titles in letterpress. The images are silkscreen printed. She states that the covers are like vintage writing slates such as Josiah Peele might have used. The book’s binding allows for multiple structures - that of a codex or concertina, or as a “theater in the round” that presents the chorus of voices within. Housed in a black linen box decorated with the marks of the accused, who were unable to sign their names. Maureen’s work is held in over one hundred permanent public collections internationally and has been included in exhibitions at the American Craft Museum, the Corcoran Gallery of Art, and the Rotunda Gallery (amongst others). She has received over a dozen grants and awards and has been an artist-in-residence at numerous venues, including the American Antiquarian Society and the Irish Museum of Modern Art. Size: 7 x 8 inches. In fine condition. Unpaginated (45 pages). ARTB/092319. Fine.