Rutland, VT: Carolyn Shattuck, 2016. Hardcover. Number 3 of 10 copies. This is a stunning work from well-known artist Carolyn Shattuck that uses the carousel structure and includes origami figures resting on brightly patterned Art Nouveau style papers. In addition to artists' books, she is a painter and creator of paper art. Carolyn exhibits her work nationally in numerous juried exhibitions and has received many awards. Her books have been collected by a number of special collections libraries at universities throughout the country. She teaches Book Art workshops in New England and Florida. She describes this work as "an expression of living life to the fullest while being aware of its risks." She writes: of the book "I love patterning and design so I explored combining two different art forms, Art Nouveau and Japanese Origami. Each origami figure including the turtle, the butterflies, carp, and the peacock signify the mystery, complexity, and variation of life on earth. The interior spine is a collection of quotes describing approaches to living life in excess." Printed with original origami paper and Red River paper. Housed in a black slipcase made with Lama Li paper. In fine condition. 5.5 x 8.75 inches. ARTISTS/010422. Fine.
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Rutland, VT: Carolyn Shattuck, 2021. Hardcover. One of 10 copies. This inventive work by Carolyn Shattuck joins previous artist's books she has produced to call attention to endangered animal species such as elephants and rhinos. The little known mammal in this work is the pangolin. She states that it is one of the world's most trafficked mammals, prized for its scales, which are used primarily for medicinal purposes in China and Vietnam. The book is a complex production that displays Shattuck's skill in using various book structures to convey meaning and context in the books she creates.An accordion style structure reveals a hand-painted pangolin in its painted forested environment. A foldout text lists the many ailments and other purposes that the animal's scales supposedly address. Printed on BFK Rives and painted with water colors. Housed in a black slipcase with title label on front. In addition to creating artists' books, Shattuck is a painter and creator of paper art. She exhibits her work nationally in numerous juried exhibitions and has received many awards. Her books have been collected by a number of special collections libraries at universities throughout the country. She teaches Book Art workshops in New England and Florida. She describes her work as "an expression of living life to the fullest while being aware of its risks." In fine condition. Measures 12 x 8 x 2.5 inches. ARTISTS/010422. Fine.
Rutland, VT: Shattuck Studios. Number 1 of 5 copies signed by the book artist. This is an inventive work from well-known artist Carolyn Shattuck that displays her skill in using various book structures to convey meaning and context in the books she creates . In addition to artists' books, she is a painter and creator of paper art. Carolyn exhibits her work nationally in numerous juried exhibitions and has received many awards. Her books have been collected by a number of special collections libraries at universities throughout the country. She teaches Book Art workshops in New England and Florida. She writes: Save the Elephants was designed to bring awareness of their struggle as the population is rapidly declining due mainly to poachers. Her text describes the loss of these magnificent animals and the desperate efforts of those trying to save them. Her design uses an accordion structure from which origami elephants are standing when the book is extended open. They are made with patterned Origami Lokta paper that evoke African fabric designs. The book also uses Canson Mi Teinte, Lama Li, Elephant Hide and Washi papers. The binding is a plain grey. The work is housed in a brown paper slipcase with title label to cover, a gilt paper spine, and a belly band of the same gilt paper. In fine condition. 5.25 x 13.5 x 1.25 inches closed. ARTISTSBOOK/010422. Fine.
Baltimore: Maclay and Associates, 1981. Paperback. Size quarto. Discusses the history and evolution of the Baltimore rowhouse including floorplans, notes on historic styles, and photographs. Orange side-stapled wraps with illustration and white title to front wraper. Light rubbing to wrappers. Interior is clean and bright with illustrations throughout. 39 pages. . BALT/102721. Very Good.
Boston: Wells and Lilly, 1822. Hardcover. In his preface the author writes that his practice on his tour and residence was to make daily recordings of his first impressions, after which he allowed his reflections to mature. He also consulted historians, naturalists, and witnesses of recent events. He decided to separate the historical part of his work from the descriptive, and to give a history of the people rather than their rulers. Bound in full brown leather with title and volume labels to spine. Leather is rubbed, bumped, and scuffed. Interior pages have scattered browning and spotting but are generally clean and legible. Library labels from the Franklin Academy Library are affixed to front pastedowns but are the only signs of ex-library. Pencil notations on free front endpapers. Octavo volumes. Volume I: 419 pages; Volume II: 390 pages including appendix + 2 pages of publisher ads. TRAVEL/072821. Very Good.
Chicago: Starshaped Press, 2021. 1 of 40 copies. A new abecedarium from the Starshaped Press that creates each letter using only 12 point metal type and ornament. Each and every sort in the book must have 12 points along at least one side. Includes title page, colophon, 26 letters and a final ampersand. A soft cover book bound with a wraparound cover and screw posts. Letterpress printed on Somerset gray with interior pages of Zerkall soft white. Each letter is printed in two colors. Size: 12 inches square. [58 pages.] ARTB/111621. Fine.
Chicago: Starshaped Press, 2021. 1 of 50 copies. Printed as part of the Project Chicago campaign - which involved working with the Design Museum of Chicago to invite artists to help spread the word about getting vaccinated. The project called for only digital art, but the Starshaped Press decided to create a set a of limited edition posters that encompass the elements of Chicago - from its buildings and gardens to its neighborhoods, with a message to consider both self, family, and community. This poster is not only intended to promote the Covid-19 vaccine, but all vaccines. It is a reminder of the good work that these shots do. Letterpress printed in 7 colors on recycled white card stock. Proceeds from sales benefit Heartland Alliance and Howard Brown Health, two Chicago based organizations working hard to get vaccines to marginalized populations of the city. Size: 14 inches square. Fine.
Philadelphia and Chicago: National Publishing Company and Ziegler, McCurdy & Co., [1868 and 1870]. Hardcover. First editions. Alexander Hamilton Stephens[a] (1812 – 1883) was an American politician who served as the vice president of the Confederate States from 1861 to 1865, and later as the 50th governor of Georgia from 1882 until his death in 1883. A member of the Democratic Party, he represented the state of Georgia in the United States House of Representatives before the Civil War and before becoming governor. The Howes bibliography describes this book as the "most elaborate - and best - argument for the constitutional validity of the doctrine of state sovereignty and the right of succession." Stephens was a supporter of the institution of slavery but initially opposed breaking up the union. Bound in three quarter brown leather with marbled paper boards. Black title and author labels to spines. Leather is scraped, rubbed, and worn as are the paper boards. Evidence of round spine labels and signout forms on rear pastedowns having been removed. Scattered foxing throughout Volume I; Volume II is cleaner and brighter. Offsetting from the engravings in both volumes. A few margin notes in Volume II. Engravings include Liberty Hall, Jefferson, Washington, Andrew Jackson, Stephens, Stephen Douglas, Lincoln, Jefferson Davis, Lee, and Grant. A few ink notations on endpapers, bookplate and ownership signature of Dr. W.J. Murrell. Very good minus. Octavos. Volume I: 827 pages plus 4 pages of publisher ads; Volume II: 654 pages plus 3 pages with solicitations for hiring publisher agents. CIVILW/091021. Very Good -.
London: Bradbury and Evans, 1853. Hardcover. A handsome copy of this popular sporting book by Surtees. Historian Norman Gash wrote of Surtees: "Surtees's range was limited, his style often clumsy and colloquial. Even in the better-constructed novels the plots are loose and discursive. Nevertheless, his sharp, authentic descriptions of the hunting field have retained their popularity among fox-hunters.... Among a wider public he is known for his mordant observations on men, women, and manners; his entertaining array of eccentrics, rakes, and rogues; his skill in the construction of lively dialogue (a matter over which he took great pains); and his happy genius for unforgettable and quotable phrases. Although his proper place among Victorian novelists is not easy to determine, his power as a creative artist was recognized, among professional writers, by Thackeray, Kipling, Arnold Bennett, and Siegfried Sassoon, and earned the tributes of laymen as distinguished and diverse as William Morris, Lord Rosebery, and Theodore Roosevelt." His later novels such as this one were enhanced by the delightful illustrations by the renowned John Leech. This book has thirteen hand colored full page steel engravings and numerous wood engravings throughout the text. Bound in full dark red leather by the binders Lloyd, Wallis & Lloyd. With gilt rulings on covers and spine with six compartments with gilt titling and floral ornaments. Leather is somewhat rubbed, worn along spine edges, and lightly bumped. With marbled endpapers and gilt dentelles. All edges gilt. Front hinge is cracked but text block is tight. Interior pages are generally clean and bright with light aging to margins. Very good condition. Octavo. 408 pages. LIT/110521. Very Good.
Baltimore: The Etchcrafters Art Guild, 1939. Hardcover. Number 69 of 200 copies. The 100 etchings in these two volumes are all artist proofs, individually signed by Don Swann. Inscribed from the artist and author: "Aunt 'Madge' and Uncle 'Ed'. December 25th 1941 with Best Wishes. From Don Sr. & Don Jr." Don Swann Sr. (1889 - 1954) grew up in Baltimore, attending Maryland Institute College of Art, and is known for his etchings of colonial and Neo-classical American architecture. In addition to houses he also did multiple etchings of Baltimore cityscapes. His son Don Swann Jr. (1911 - 1998) followed in his father's footsteps to become a master etcher. He continued to operate the Etchcrafters Art Guild after the death of his father. Both volumes are bound in blue leather over blue leatherette boards with gilt titles to spines. Minor scuffing to both spines and light stain to spine of second volume. Minor foxing to interiors (heaviest on tissue guards) and browning to endpapers. All etchings have the original tissue guards bound in. Bound by the Elliott Bookbinding Company in Baltimore. Printed on Rives, Woven, Imported paper with Old Style Caslon type at the Monumental Printing Company in Baltimore with typography by Norman T.A. Munder. Continously paginated - 425 pages. Size: Folio. MD/122121. Very Good.
Union Spring, NY: The Press of Robert LoMascolo, 2016. Hardcover. Number 141 of 200 copies. This splendid book is the culmination of Robert LoMascolo's long time wish to publish a series of "Leaf Books" dedicated to the work of famous printers and type designers. Robert established his press in 2005 while studying the book arts at Wells College in Aurora, New York. He graduated cum laude winning prizes for art, book arts and book collecting. In 2011 Robert completed his MFA in the book arts at The University of Alabama. While at Alabama he was also recognized for his outstanding collection of works by the influential book designer, Bruce Rogers. Currently, Robert is now working full time printing, designing, and binding for a varied array of clients. "This book is somewhat of a rarity in our modern age, as it is a true leaf book that contains two original leaves (4 pages) printed in 1591 by David Sartorius in Ingolstadt. The scholarly text, written by noted type historian and book designer Mark Argetsinger, explores how the types of French masters such as Claude Garamond came to be used in Sartorius’ printing house in southern Germany. The peregrinations of early French types is a subject that deserves more study, and this book will be of interest to all those concerned with the history of the book, history of typography, descriptive bibliography, and printing of the Counter-Reformation. Retired Rochester Institute of Technology (RIT) Professor Herbert H. Johnson has written the foreword as well as provided the leaves from an incomplete volume in his impressive collection of rare books " [from the Press website]. Beautifully letterpress printed from plates on Crane's Lettra paper in red, black, and gold inks. Illustrated throughout with 12 type specimens as well as over 30 woodcuts taken from Sartorius's work. Quarter bound by hand with vellum spine, gilt titling, and red and cream letterpress-printed, paper-covered boards. In fine condition. Measures 8.75 x 13.75 inches. 52 pages. PRI/120621. Fine.
London: Robert Baldwin, 1813. First edition of this interesting travel book by Thomas Thomson written after a several week trip throughout Sweden. It was written in an engaging conversational style that makes it quite readable today. Thomas Thomson FRS FLS FRSE (1773 – 1852) was a Scottish chemist and mineralogist whose writings contributed to the early spread of Dalton's atomic theory. His scientific accomplishments include the invention of the saccharometer] and he gave silicon its current name. He served as president of the Philosophical Society of Glasgow [Wikipedia]. He was also a member of The Geological Society, the Wernerian Society, and the Imperial Chirurgo-Medical Academy of Petersburgh. As a mineralogist, there is an emphasis in the book on the geology of Sweden, but he also writes extensively on all aspects of Swedish society, culture, history, and customs. The book has thirteen plates that include maps of Sweden, Gothland, and Stockholm, portraits of the Crown Prince and the late King Gustavus Adolphus, and others of geological interest. Bound in three quarter brown leather with marbled paper boards. Decorative gilt and title to spine. Leather and boards are scuffed and bumped. Joints are tender. Marbled page edges. Spotting and soiling to endpapers and offsetting to text pages from maps and plates. Otherwise the text is generally clean. Maps of Sweden and Stockholm have spotting and soiling. Ownership signature in ink to first page of text. A nice and sound copy of this rather scarce title. Small quarto. xii; 460 pages including two page publisher advertisements. TRAVEL/072021.
London and New York: George Routledge & Sons and E.P. Dutton & Co., n.d. [early 1900s]. From The Photogravure Series. Retold in English by the author and with six charming color illustrations by him. This is a lovely copy with a full red leather binding by Riviere & Son, with gilt designs on the covers and spines and dentelles. Red marbled endpapers and all edges gilt. Binding is very good with a few light marks, wear to spine ends, slight bumping to corners and wear along front joint. Interior pages and illustrations are also very good with light browning to text pages. Book plate of Leolyn Louise Everett. An ideal gift book. Measures 5 x 7.5 inches. 95 pages. LIT/101221.
Paris: G. Masson, Bibliothèque de La Nature, n.d. [circa 1886]. Hardcover. In his preface, the author says that travel to the United States from Paris was now easy and wonders why his fellow citizens don't sail there to see that beautiful country. He notes that the United States does not have monuments of art, or historic sites, but reminds his readers that it is a very young country. The country does display its extraordinary energy and extreme hard work. The traveler will see there the results of their intelligence and see the grand works that they have accomplished. Albert Tissandier (1839 – 1906) was a French architect, aviator, illustrator, editor and archaeologist. He was the brother of adventurer Gaston Tissandier with whom he collaborated in writing the magazine La Nature, a French language scientific journal aimed at the popularization of science. Tissandier was also a passionate writer and traveller. In 1886, he started a long trip around the world in America, subsequently traveling to the East Indies, Ceylon and many other Asian locales, sending his magnificent illustrations back to Paris so they could appear in La Nature [Wikipedia]. This account in French of his travels in the U.S. naturally focuses on what he finds most interesting - engineering achievements such as the Brooklyn Bridge; natural wonders like the canyons of the west and Niagara Falls; and important developments in transportation and manufacturing. His text is accompanied by his wonderful illustrations. There are eight two-page plates, 82 engravings, and two maps. One of the maps shows Tissandier's route across the United States. Bound in half red leather with marbled paper boards. Spine with raised bands, gilt titling and ornaments. Leather is rubbed with wear along edges and paper boards have some chipping and bumping. Interior pages are clean and bright with a bit of foxing to first and last few pages. Very good condition. Measures 6.25 x 10 inches. 298 pages plus page listing plates and maps. TRAVEL/092121. Very Good.
Chicago: Pascal Covici, 1928. Hardcover. Number 113 of 375 copies. A collection of three letters that were originally printed in periodicals. "The three sketches gathered in this volume are the earliest work of Mark Twain that has been preserved and are, incidentally, the first for which he received pay" (introduction, xii). Fine in brown paper covered boards with olive light brown cloth spine. Tan paper title labels with black titles to spine and front cover. Minor darkening to top edge of one front page. 59 pages. LIT/031618. Fine / Very Good.
Rockport, ME: Two Ponds Press, 2017. Hardcover. Number 262 of 300 copies signed by the poet and photographer. This compelling book was created as a collaborative project between Presidential Inaugural Poet Richard Blanco and contemporary landscape photographer Jacob Bond Hessler. In it, Blanco's powerful poetry is juxtaposed with Hessler's evocative photographs. From the Prospectus: "Blanco's poems and Hessler's phonographs together investigate the visible and invisible boundaries of race, gender, class, and ethnicity, among many others; they challenge the physical, imagined, and psychological dividing lines - both historic and current - that shadow America and perpetuate an us vs. them mindset by inciting irrational fears, hate, and prejudice. In contrast to the current narrowing definition of an America with very clear-cut boundaries, Blanco and Hessler cross and erase borders. As artists, they tear down barriers to understanding by pushing boundaries and exposing them for what they truly are - fabrications for the sake of manifesting power and oppression pitted against our hopes of indeed becoming a boundary-less nation in a boundary-less world." Bound in black cloth with silver design across the covers and silver title to spine. Printed with Gotham and Baskerville types on Mohawk Superfine Cover, Ultra White, Eggshell paper. Presswork was executed by Puritan Press. Housed in a red cloth slipcase. Accompanied by the prospectus. In fine condition. Oblong measuring 9.75 x 14 inches. Unpaginated. PRI/112921. Fine.
Rockport, ME: Two Ponds Press, 2015. 2600 / 1560. Number 35 of 75 copies, signed and numbered by Joseph Goldyne. Joseph Goldyne was born in 1942 in Chicago, IL. He came to prominence as an artist on the West Coast. He has been credited as one of the artists responsible for the rebirth of monotype and monoprint as valuable approaches to art. He is also known for his artist's books, often done in collaboration with printer Peter Rutledge Koch. From the Prospectus: "Joseph Goldyne brought this project to our attention, and the Press was convinced that this little-known oratory by George Bernard Shaw deserved wider recognition, one that Goldyne thought a most unexpectedly wondrous and humorous introduction to Albert Einstein, perhaps the most transformative and towering figure of the twentieth century. Goldyne's own introduction, " An Introduction to an Introduction," speaks to his discovery of Shaw's speech, its presentation, Shaw's record of condemning anti-Semitism, and his public support for Einstein. The full text of Shaw's speech is reprinted, together with Einstein's response, delivered in German and printed here in English translation. Goldyne illustrates the volume with five drypoint etchings created especially for this publication. They pay tribute to the featured speakers as well as to the sense of the event." Beautifully bound in cream paper covered boards with gilt dotted rulings and ornament on front cover of circle with initials "S|E" in its center. Gray leather spine and trim along front edges, with gilt titling on spine. Printed in Monotype Bembo and Gill Sans types on paper handmade at the Velké Losiny mill in the Czech Republic. Letterpress printing by Arthur Larson at Horton Tank Graphics with additional hand composition by Rose Ku'ulealoha Wisotzky. Design and typography planned by Michael Russem Housed in a slipcase covered in dark red cloth with "S|E" symbol on spine. Accompanied by prospectus. A lovely book in fine condition. Measures 6.5 x 10 inches. 39 pages. PRI/112321.
Rockport, ME: Two Ponds Press, 2020. Number 29 of 60 copies. Copies number 1 to 20 are the deluxe edition. This beautifully conceived and executed limited edition private press work explores in parallel two critical contemporary issues: the impact of climate change and the status of the increasing number of refugees in our world. Nansen’s Pastport is an artistic re-invention of Norwegian polar explorer and humanitarian Fridtjof Nansen’s refugee passport for post-Great War Europe. The book, designed and conceived by artist Anneli Skaar, is re-imagined as a climate refugee passport for humanity, using Nansen’s own words in a contemporary context, inviting consideration on how to meet the pressing issues of current and future climate migration with wisdom from the past. Skaar writes: "The Pastport's design is based on the United States passport, arguably one of the most recognizable and coveted identity documents in the world. On its pages the U.S. passport features a number of iconic American landscapes and quotations by well-known citizens.... Nansen's Pastport also features landscapes and quotations. The quotations...are taken directly from Nansen's 1922 Nobel Lecture, 'The Suffering People of Europe.' Although Nansen's words reference the issues facing the displaced citizens of post-war Europe, the excerpts feel equally relevant and inspirational even today." The Pastport is bound from blue North Atlantic salmon leather sourced from Iceland. On its cover is the image of an Arctic tern, the animal the migrates the farthest, making a 50,000 mile trip back and forth from the poles every year. The blue cloth covered box housing the Pastport is constructed to feel like an atlas, its dominant size symbolically enforcing geography's significance to the passport within. On the inside cover of the box is a mounted copperplate etching by Skaar. Named Carta Borealis (Northern Map), it emulates the perspective of an Arctic map; its center is the star of the North Pole. The outer case measures 19 x 13 inches. Nansen’s Pastport is 5 x 3.5 inches, 32 pages, identical to a standard passport. Letterpress printing by Art Larson at Horton Tank Graphics and bound and boxed by Amy Borezo. The Pastports cyanotypes processing by Sal Taylor Kydd and the map was printed from the copper plate by Wingate Studio. Accompanied by a softcover illustrated catalog by Anneli Skaar that describes the book, with an introduction by Steven R. Koltai. In fine condition. PRI/111021.
Ann Tyler, 2021. 1 of 5 copies. Signed and numbered by Ann Tyler, the book artist. Ann is a noted book artist and print maker whose works have been exhibited at many galleries across the United States. Her artist’s books are in several permanent collections including the Tate Gallery, London, the Museum of Contemporary Art, Chicago, and the Joan Flasch Artists Book Collection, School of the Art Institute of Chicago. She says of this new book: "Bloodstone Bloodstar is an accordion fold book with hand punched, layered forms embedded in corrugated cardboard ‘pages.’ The corrugated edges reference geologic strata. The abstract forms I created reference fossils and star explosions (nebulae). Material connects time and space — the micro of life forms and the macro of universe. The images on the surface of the papers was created by scanning and greatly enlarging the surface of stones collected in the southwest." The result is an imaginative and beautifully produced work. The interior ‘pages’ are comprised of 4 layers of corrugated cardboard.The cover and back ‘pages’ are comprised of 3 layers of corrugated cardboard. There are nine fossil/nebula forms that are embedded in the cardboard pages. Each form is 10-15 layers of Canson Infinity, ink jet prints, and hand punched with a 1/8” punch. Their edges are painted with calligraphic ink. On the cover is a layered form of hand punched black Canford paper (each book has a different cover form mirroring one of the interior forms). The back cover is rubber stamped with the title Bloodstone Bloodstar. In fine condition. The book measures 7 ¼ inches wide x 7 3/8 inches tall x 4 inches deep. There are 12 'pages.' ARTISTSB/072921.
Chicago: Ann Tyler, 2018. Hardcover. Number 4 of 5 copies. Signed and numbered by Ann Tyler, the book artist. Ann is a noted book artist and print maker whose works have been exhibited at many galleries across the United States. Her artist’s books are in several permanent collections including the Tate Gallery, London, the Museum of Contemporary Art, Chicago, and the Joan Flasch Artists Book Collection, School of the Art Institute of Chicago. She says of this powerful and complex work: "Catastrophic Geometries emerged from my research on Syria and the government military violence against the citizens. These books focus on one particular detention and torture site: Hospital 601. Hospital 601 is part of a military complex in Damascus. In news articles, aerial images of the site were published along with descriptions of what occurred at the site; images were smuggled out of Syria and provided to human rights organizations; testimony and documentation were provided by human rights organizations and in turn published in the media. The aerial images of building exteriors and roofs and shadows cast provided the basis of the abstractions I developed for this book. Catastrophic Geometries requires explication, as the sequencing of the text content underpins the viewer’s understanding of/relation to the abstractions – even though the abstractions comprise the bulk of the pages." The texts for each volume discuss visual and psychological factors that affect perception and understanding. For example, in volume IV: Car Garage Addendum: "The greater the distance the less detail. This tells us we are far away. Additionally, the greater the anticipated effort required then the greater the perceived distance. In tests, people within our own group are perceived to be closer while people out of our group are perceived to be further away because of the anticipated effort to understand that culture. Someone is sitting in a chair in the United States looking at a satellite image taken approximately 500 miles above Damascus, Syria reading a description of the site as told by another person who was standing at the scene photographing bodies but who has now fled to London carrying the evidence. The dead are strewn on the concrete floor of a car garage — some are isolated, some are slightly touching one arm on another, some are piled onto each other with no space in between. How do we determine distance in this scene? And what is the effort required?" This work is a four volume set housed in a custom slipcase. The books are casebound in red and magenta linen cloth and are hand-sewn with gold foil stamped titles and volume numbers on their spines. The graphite notations on one of the last pages of volume IV are individually hand-drawn lines and numbers. Being hand-drawn this page varies slightly with each set. Type set in Futura and Adobe Garamond and printed on MOAB Entrada Rag Natural paper. In fine condition. Books measure 9 3/8 x 12 1/8 inches. Slipcase is 9.5 x 12.5 x 3.5 inches. Volume I: 90 pages; Volume II: 52 pages; Volume III: 48 pages; Volume IV: 32 pages. ARTISTSB/072921. Fine.
Tartu, Estonia: TYPA, 2019. Hardcover. Number 29 of 150 handbound copies. An additional 150 copies were letterpress printed and machine bound. This is a letterpress edition of the classic children’s story. It was printed at TYPA, a print and paper art centre in Estonia, specializing in letterpress publications. In 2020 TYPA won the Europa Nostra, Ilucidare Special Prize for heritage-led innovation. It is a unique museum and studio as every item of their machinery is still in use, and they continue to create fabulous hand-printed publications using traditional techniques. Hand bound by Pauline Rummel in natural linen with black title and illustration silk screened to front cover. In full color illustrated dust jacket with yellow title to spine panel and blue title to front. The illustrations were re-drawn for letterpress and the layout was redesigned by Mana Kaasik. Body text composed with Literaturnaya Bold on a Linotype machine. Title page and dust jacket set by hand with Admiral typeface. Composed and printed on Holmen Book Cream paper by pressman Jörgen Loot. 95 pages including a two page epilogue by Lemmit Kaplinski, former director of TYPA. Size: About 8 x 6 inches. PRI/090721. Fine / Fine.
London: Henry S. King & Co., 1874. Hardcover. Sold as is. Somewhat uncommon. Grey cloth boards with gilt title to spine and front board. Chipping and wear to head of spine and cloth along along front hinge. Wear to corners. Several large splits to textblock with some pages coming disbound. Ex-library from the Redemptorist Library, New Orleans with stamp to title page. Many pages remain unopened. Browning to margins of some pages. Pages are very brittle and some corners have chipped off. Text on a few pages is affected. A good reading copy of this uncommon book. 484 pages. ENG/102021. Good.
Baltimore: Day Printers, 1907. RARE. Paper Wrappers. RARE. Very good oblong octavo in white illustrated paper wrappers with red and gilt raised title stamp to front and rear covers. The spine is covered by dark green book binding tape. Front cover has a major crease in bottom right corner, a small piece missing in top right corner, owner's name handwritten at top, and other smudging. Back cover has two small tears at top and bottom, plus some creasing and smudging. Interior is very clean and bright on glossy paper with many black and white illustrations and advertisements. Includes the article "How Baltimore Grew" by Mrs. E.W. Litimer, facts about Baltimore, additional articles about Baltimore's greatness and places of interest, photographs of men on the various Home-Coming committees, program of events held throughout the week, a chronology of Maryland, population list by county from 1790 - 1900, list of mayors, and several additional articles. Contains pages of information, statistics and photos regarding the Baltimore fire of 1904. Not paginated. 200+ pages. A very scarce item. Still a very nice item given its scarcity. MD/122815. Very Good.
Philadelphia and London: J.B. Lippincott Company, 1922. Hardcover. "This is not a history of Delaware and the Eastern Shore, but rather a delightful interpretation of the rare and somewhat elusive charm of a region distinguished for the variety of its quiet landscapes, the rich freshness of its woodlands, and the unique beauty of its waters" (jacket). Includes 50 illustrations. Uncommon in dust jacket. First Edition. Very good in the original grey cloth boards with black title to spine and front board. Black and blue illustration of a ship to front board. Ownership signature in pen to front pastedown. Browning to first and last few pages. Several splits to interior, but textblock remains attached and pages bound. Bump to head of spine and minor fading to edges of rear board. Short closed tear to bottom of front hinge. Clean and bright overall. In grey dust jacket with black title to spine and front panels. Browning to spine panel of jacket and chipping, tears, and wear to edges. 330 pages. STA/102021. Very Good / Very Good.
London: Henry G. Bohn, 1851. Hardcover. First edition of this comprehensive view of the landscape and fauna of the Selborne region, written as a series of letters. With forty black and white plates illustrating the diversity of mammals and other wild life. Bound in modern green cloth with gilt titling to spine. New endpapers and missing the called for frontispiece. Generally clean with scattered spots to some text pages and plates. A nice copy of this work that was later reprinted several times. Measures 4.5 x 7.5 inches. 416 pages. NATURE/072821. Very Good.