Baltimore: Bodine & Associates, Inc., (1952). Hard Cover. 4to. Pictorial cloth boards with white title to front panel and to spine. Cartoon-like map of Maryland endpapers. Interior is clean and bright and filled with beautiful black and white photographic illustrations of Maryland. Black and yellow dust jacket with white title and photographic illustration to front panel and white title to spine panel. Minor wear to dust jacket includes a small chip to the head of spine and light rubbing. A special issue of the Sun - "The Best of Bodine," which was published upon his death, is laid in at front. 128 pages. Maryland. MD/091319. Near Fine / Very Good.
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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.
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.
Japan: Kotobuto, 2015 and 2019. Hardcover. Limited edition. Signed and dated by the bookartist. This is lovely miniature book of Alice's Adventures in Wonderland with John Tenniel's illustrations printed in Japan in 2015. The text and illustrations are taken from the Millennium Fulcrum Edition of 2008. The book has been beautifully bound in leather by noted Japanese miniature book artist Miyako Akai. Miyako delights in the miniature book form and has won awards for her work from the Miniature Book Society including one received this year. Miyako has water colored many of Tenniel's illustrations in the book by hand. Bound in red leather with four raised bands to spine with black title label and gilt ornaments. With marbled endpapers. In fine condition. Measures 2 x 3 inches. 173 pages. MINIATURE/082119. Fine.
Toronto: Cheshire Cat Press, 2019. Hardcover. Number 4 of 42 copies. Signed by Walker, Burstein, and printer Andy Malcolm. Quarto. This is the latest version of The Hunting of the Snark to be published by the Cheshire Press. Carroll's famous nonsense poem has been subject to numerous interpretations over time. In this truly snarky edition, Walker has chosen President Donald Trump and his White House cabinet and advisors for his 21st century lineup of the characters. He writes: "...I think they match up nicely to to the crew of the ship. When you read the poem and think of Trump's cabinet, it's hard not to see the parallels. The political arena in the USA could be described as nonsense, which is exactly the type of poem [this] is. The plot follows a crew of ten unqualified professionals trying to hunt the Snark with a blank map." Thus such familiar names as Scaramucci, Sessions, Priebus, Pence, Mnuchin, Bannon, Sanders and Trump himself appear in parts that reflect their real-life attributes and roles. Bound in grey textured cloth with leather title label to front cover and gilt title to spine. Printed in New Caledonia type on Velin BFK Rives paper. With thirteen engravings by Walker and "The Snark Map" in a sleeve affixed to front pastedown. Housed in slipcase covered in same cloth as book with gilt titling to cover and spine. In fine condition. 71 pages. PRI/090619. Fine.
Toronto: Cheshire Cat Press, 2019. Hardcover. Number 5 of 42 copies. Signed by Walker, Burstein, and printer Andy Malcolm. Quarto. This is the latest version of The Hunting of the Snark to be published by the Cheshire Press. Carroll's famous nonsense poem has been subject to numerous interpretations over time. In this truly snarky edition, Walker has chosen President Donald Trump and his White House cabinet and advisors for his 21st century lineup of the characters. He writes: "...I think they match up nicely to to the crew of the ship. When you read the poem and think of Trump's cabinet, it's hard not to see the parallels. The political arena in the USA could be described as nonsense, which is exactly the type of poem [this] is. The plot follows a crew of ten unqualified professionals trying to hunt the Snark with a blank map." Thus such familiar names as Scaramucci, Sessions, Priebus, Pence, Mnuchin, Bannon, Sanders and Trump himself appear in parts that reflect their real-life attributes and roles. Bound in grey textured cloth with leather title label to front cover and gilt title to spine. Printed in New Caledonia type on Velin BFK Rives paper. With thirteen engravings by Walker and "The Snark Map" in a sleeve affixed to front pastedown. Housed in slipcase covered in same cloth as book with gilt titling to cover and spine. In fine condition. 71 pages. PRI/090619. Fine.
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.
Martinez: CA: Lucy Childs, 2019. Softcover. According to the artist: “The books in the In Memoriam series are meant to be carried with you, to look at and remember someone (or a pet) who has died ... The poem’s poignant but celebratory flavor is reflected in the colors and letterforms used to sew the words. Creating these books comes from exploring the history, craft, and culture of early American and British sewing samplers, made mostly by young girls to learn the practical craft of sewing but also to learn letters and spelling. Many old and antique samplers included text or images in memory of family members who had died.” This book features the poem “Do Not Stand at My Grave and Weep” by Mary Elizabeth Frye (1905 - 2004). It was written in 1932 when she lived in Baltimore to console a friend who was a Holocaust survivor and was unable to return to Germany to attend her mother’s funeral. Handsewn with various threads on linen with wool folding cover. Accordion structure, which opens to 18 inches. Housed in a cloth covered clamshell box. Fine.
Rockville, MD: Crooked Crow Press, 2019. Limited edition of 50 copies. The Kelmscott Bookshop owner Fran Durako worked with master printer Chris Manson to design and print this broadside in honor of the great William Morris and his Kelmscott Press. The work includes two quotations by William Morris. The first is about beautiful houses and books, taken from "A Note by William Morris on his Aims in Founding the Kelmscott Press." The second is from "The Ideal Book" and offers his thoughts on printing books. Illustrated with a handsome copy of C.M. Gere's famous illustration of Kelmscott Manor that was the frontispiece for News from Nowhere. In fine condition. Measures 12 x 21.25 inches. PRI/082319. 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, 2016. Hardcover. One of 40 copies. Signed the artist. In this powerful work, noted book artist Maureen Cummins investigates the dark side of the history of psychosurgery, as exemplified by the career of Doctor Walter Freeman (1895-1972), a professor of neurology who became known as the father of lobotomy by single-handedly popularizing the pre-frontal lobotomy in America. Although he had no formal training in either surgery or psychology, Freeman modified the traditional procedure for lobotomies by driving ice picks through his patients’ eye sockets rather than drilling into the skull to sever nerve connections in the prefrontal cortex to treat mental illness. Despite his championing of his procedure he admitted that lobotomies often created childlike behavior or a vegetative state in patients. Hundreds of patients died. The controversial procedure also raised numerous questions about patients’ rights, the abuse of institutional power, and the disproportionate targeting of women. Of the more than 3000 patients that Freeman operated on, two-thirds were women. Cummins uses physical rape as an analogy for neurological penetration, a form of sexualized violence that was perpetuated for decades in the name of medical progress. She visualizes this by a series of laser cut holes that bore through each page, becoming smaller page by page.The holes penetrate reproduced images of lobotomy patients’ heads and on the last page the title “The Rapist” becomes “Therapist?” The images of women are from 'before-and-after” photos used in Freeman’s textbook, which are re-contextualized, with lines of typography serving as blindfolds, reclaiming for these women a measure of dignity, humanity, and anonymity. The pages of the book are laser-cut aluminum with silkscreen-printed text and imagery. The covers are also laser-cut aluminum with a large hole that reveals the subsequent holes and "The" and "rapist" on either side of the cover's hole. The pages are attached to the cover by two ring binders. Housed in an aluminum box with a metal title label affixed to the top. In fine condition. 16 pages. 24” x 9” x 1” open 12” x 9” x 1 closed. ARTISTSB/100419. Fine.
Maureen Cummins, 2013. Artist's Proof. One of 25 copies. Signed by the book artists Maureen Cummins and Tona Wilson. The book artists describe their work as "an impassioned paean to the flowering of book culture, as well as a mournful enumeration of deliberate acts of censorship, repression and destruction. The constrast and continuum of these two realities is represented within a dos-à-dos structure that allows the reader to flip from one narrative to the next, from a bright jewel-colored world to dark, fragmented one, neither of which is clearly the beginning or the end of the story." The book is the result of a long collaboration between Cummins and Wilson, created as part of the Al-Mutanabbi Street Coalition, an international response by over two hundred artists to the bombing of Al-Mutanabbi Street (the Street of Booksellers) that occurred in Baghdad on March 7, 2007. In the MInute Before depicts the world of knowledge and beauty. Grand epophs are contained within sweeping, horizontal spreads. In the Minute After depicts a world of chaos and annihilation, the only light that of books being burned. As they worked on the book the artists incorporated world events such as the threats to precious manuscripts in Timbuktu and the controversy surrounding renovation plaus at the New York Public Library. The book was printed on Arches cover paper with over two hundred runs of letterpress printing, silkscreen, stenciling, and hand-coloring. The blue and black covers were hand-painted, screen printed and stamped with the numbers "11:39" and "11:41," the times before and after the bombing of Al-Mutanabbi Street (artists' description). Measures 7 x 10.75 inches and contains eight spreads. In fine condition. ARTISTSB/092619. 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.
Baltimore: Te-erra Davis, 2019. Paperback. Te-erra Davis is a local insurance adviser born and raised in Baltimore, MD. "As Brand Ambassador of Thee Insurance Lady, LLC, Te-erra's personal mission is to educate each person one by one with literature, coaching, and seminars as she leads and impacts social change" (biography). Her book offers concise, easy to follow instructions on budgeting, saving money, getting out of debt, boosting credit scores, refinancing mortgages, boosting income, and more. New in black paper wrappers with white title to front cover. Pristine. 102 pages. Local Authors. BUS/070919. Fine.
Boston: Allyn and Bacon, (1916). Hardcover. SCARCE. Very good- in maroon cloth covered boards with black title and decoration to front board and gilt title to spine. Spine faded to brown. Edgewear and soiling to exterior. Minor browning to edges of pages. A few notes in pencil to text. Text is bright. Photographic illustrations througout. 235 pages + ads. FRELANG/070219. Very Good -.