New York: Limited Editions Club, 1934. Hardcover. Number 930 of 1500 copies signed by Pablo Picasso. This famed edition of Aristophanes's play Lysistrata is considered by many critics to be one of the very finest books published by Limited Editions Club. One of the most ribald works of antiquity,it is illustrated here with Picasso’s magnificent etchings and drawings. It is the only American publication with original etchings by Pablo Picasso and signed by him. Many scholars feel his etchings in this volume are among his most important in the classical style. This edition contains the translation of Gilbert Seldes who translated the text for a stage revival. Seldes was an American writer and cultural critic who served as the editor and drama critic of the seminal modernist magazine The Dial. George Macy, the founder of Limited Editions Club, wrote of this edition, which he designed: "To illustrate Lysistrata, Picasso has given us six etched copperplates and forty pencil drawings. Each plate, each drawing, bears witness to his mastery of method and technique. His line is sure, confident; it cries out to the world that the man who drew it knows what he was about. And the line is pure, it is that sort of line of which even the Greeks used to say that this is 'pure Grecian line.' The etchings which Picasso did for the edition were printed by hand by Charles Furth of New York." [George Macy Imagery Blog]. Bound in heavy boards covered with a three color patterned paper of cream, red, and blue with a design made by LeRoy Appleton from the Picasso drawings. The binding is very good + with very slight edge wear. In a glassine cover that is split along spine and torn along edges. The interior text pages and original etchings are clean and bright in near fine condition. Housed in a blue cloth chemise slipcase that unfortunately is soiled, stained, and worn, with top and bottom edges of chemise missing. Title spine to slipcase is partly detached and soiled. Printed in Caslon types in black and sanguine on Rives paper. Prospectus laid in. Despite problems with slipcase and glassine wrapper the book itself is beautiful. Quarto. 117 pages plus colophon. PRI/100521. Near Fine in Poor Slipcase.
Refine search resultsSkip to search results
Riverside CA: Bo Press Miniature Books, 2010. This inventive limited edition book is designed to explain little books, or rather, little case-bound books. Case-binding constructs the body of the book separately from the covers, and combines them at the end of the binding process. It is a quick and reasonably sturdy way of bookbinding, and almost all commercial hardbound books are produced like this. Every part of this book’s binding is labeled, and the back cover is left unglued to show the inner workings of the spine and hinges. The pages of the book itself contain publication data, each page labeled as itself, all the way from half-title to colophon. The book artist Pat Sweet included all she could think of that a book might possess: a tipped-in plate and barrier sheet, a fold-out diagram of the relative sizes of books (from double elephant folio to 64mo), a laid in list of extraneous matter which includes the list itself, and a note on the type, written in the typefaces used in labeling the book’s parts. The book also has examples of things attached to books: a dust jacket, a bookplate, an interior pocket containing a miniature Bo Press bookmark, a binder’s ticket, a slipcase, and a vellum belly band. This is a wonderful self-referential little reference toy for lovers of publishing and binding alike. In fine condition. 2 3/16 x 1 11/16 inches. PRI/060121. Fine.
Riverside, CA: Bo Press Miniature Books, 2018. Hardcover. From the artist: "Girdle books were a fad of the late Middle Ages in Burgundy and the north of Europe. Small books of devotions, law, lists, recipes, or formulae were carried about the person by a clever device that elongated the bottom of the leather binding into a knot that could be slipped under the belt. The books were upside-down so that the wearer could read the book, still attached to the belt, by flipping it right-side-up. This book includes many depictions of girdle books in medieval art (far more than the number of girdle books that survive), a short history of the form, and some examples of the precious few that still exist. The book can be removed from its leather chemise, which had an antiqued brass closure and chain. Just remember to put it back upside down." The book is 2 x 1.5 inches, the chemise is 3.5 inches tall. ARTB/060121. Fine.
Riverside, CA: Bo Press Miniature Books, 2020. Hardcover. Number 15 of 24 copies. Signed and numbered by Pat Sweet. She writes: “The English Toy Theatre” is the first book devoted to this charming souvenir of the Victorian stage since George Speaight’s “A History of the English Toy Theatre” in 1946. With texts by artist and toy theatre enthusiast Tom Knechtel and illustrations drawn from Knechtel’s extensive collection of toy theatre sheets, it is a beautifully detailed portrait of the 19th century English stage as seen through the lens of a children’s pastime.The book is, in itself, a theatrical performance, as it moves from surprise to surprise, from tableau to spectacle. It is the most ambitious book in Bo Press’s history of creating books that entertain us while challenging our preconceptions of what the book is. The three-volume set is in a limited edition of 24, with the first volume (the one with the history) produced as an unlimited edition The book consists of three volumes in a black moire silk-covered slipcase, each volume bound in the Union Jack with black moire silk spines. The first volume consists of a history of the toy theatre and its publishers, a short memoir by Knechtel of how he fell in love with the theatre, and a fragment from a toy theatre play. There are numerous black and white illustrations with colored endpapers drawn from the theatre. The second volume is an elaborate set of black and white pop-up scenes from toy theatre plays, which culminates in an anarchic recreation of one of the surreal pantomimes that are such a feature of toy theatre plays. The third volume is a portfolio which, when opened, reveals a complete toy theatre in glorious color. The theatre includes a curtain which can be raised and a trick in the pantomime taking place on stage. (The proscenium was painted by Knechtel and includes an orchestra of cats.) Below the stage is a small pocket containing a tiny book , “The Toy Theatre in Performance,” which describes how the theatre actually worked." The books are 2 7/8 x 2 1/8 inches. The slipcase is 3 3/8 x 2 5/8 x 2 1/8." In fine condition. PRI/060121. Fine.
Riverside, CA: Bo Press Miniature Books, 2014. This is a welcome reissue of one of Pat Sweet's most inventive miniature works. "Welcome to Hell" comprises twelve pieces of Hellish ephemera that play with some of the images and ideas of the infernal regions from popular culture. The result is a surprisingly humorous and engaging production. Pat described it as one of her most fun projects ever. She writes: "Most religions have discarded the idea of a retributive afterlife, but the idea remains in the popular consciousness as folk belief. Images of old-time Hell are much more common than those of Heaven: Dante invented a whole complex gradation of torments for an exactly sorted list of sins. But grinning devils with pitchforks continue to poke burning sinners, and Satan continues to offer shady your-soul-for-your heart's desire deals in folk tales and legends." The items are stored inside a shopping bag labeled "Welcome to Hell." Your goody bag from Hell includes: Welcome To Hell! (with FAQs! - for example, "Am I really here for all of eternity?" "Yes") A Gallery of Hell (Hell in famous paintings) Visitor's Book (Yes, some people get to leave) Hellhounds of the Underworld (Hell has a surprising number of dogs) Go To Hell (a board game for sinners of all ages) Devil Cards (collect 'em all!) Seven Deadly Sins Post Cards ( by Bruegel) Hotel Grand Pandemonium dinner menu (Annual Famous Last Meals Banquet),an extra gameboard, Hellmouth Pop-up Cards (three thrilling maws) Maps of Hell (maps of Dante's Hell). Also included is a complimentary fan - Hot Enough For Ya? - with picture of devil's head - not that it would do much good. The bag is 3 x 2 3/8 x 1 3/8 inches. The items in the bag vary in size but are all miniature. In fine condition. PRI/060121. 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." In fine condition. It measures 2 5/8 x 2 inches. Unpaginated [56 pages]. PRI/060121. Fine.
Berkeley: The Codex Foundation, 2019. One of 50 copies. The CODEX Foundation recently published WORDS on the Edge, a limited edition portfolio of poetry and lyric prose in broadside format. This portfolio, consisting of twenty-six poems and lyrical texts powerfully addressing themes of nature and its irresponsible destruction, is a part of an international artists' intervention—EXTRACTION: Art on the Edge of the Abyss that is sponsored by the CODEX Foundation as a commitment to art and the environment. It is a multimedia, multi-venue, cross-border art intervention that will investigate extractive industry in all of its forms, from mining and drilling to the reckless exploitation of water, soil, trees, marine life, and other natural resources. For this impressive project, twenty-six notable poets, artists, and writers were paired with an equal number of highly regarded letterpress printers from four countries to produce an editioned broadside/print especially for this portfolio. Poets and writers include Margaret Atwood, Wendell Berry, Peter Coyote, Jo Harjo, and Barry Lopez among many others. Printers include Peter Koch, Ninja Press, Taller Martin Perscador, Barbarian Press, Foolscap Press, and Midnight Paper Sales. The broadsides have all been signed by the writer and the printer. They of course vary greatly with the use of different papers, types, and illustrations and all display a beautiful mastery befitting the importance of the effort. The broadsides are housed in a handsome custom box. Size: Folio, about 19 x 12.5 inches. In fine condition. PRI/052720. Fine.
New York: Russell Maret, 2021. Number 60 of 90 copies of which 87 were numbered and 3 were proofs. Signed and numbered by the book artist. This work comprises three volumes housed in a custom clamshell box. It is a powerful response by one of our most acclaimed contemporary book artists to the alarming state of the country and the fractured state of political discourse in America. Maret writes in his colophon: "This book was designed and printed between November 2020 and February 2021. During that time Joe Biden defeated Donald Trump in the presidential election by a margin of 74 electoral votes and more than 7 million popular votes. Rather than concede defeat, Trump has continued to promote the baseless claim that the election was rigged by the Democratic party and its "deep-state" operatives. At a rally on January 6, 2021, Trump incited a violent insurrection of the United States Capitol building, an action that is clearly described in the Constitution as treasonous (Article III, Section 3). Despite this, the mob that carried out Trump's failed coup attempt overwhelmingly identified as people willing to die or, more likely, kill to defend the Constitution.....Three Constitutions is my response to these events and the culture that bred them. It is well known that Trump does not read, but the glaring disconnect between basic constitutional principles and the actions of Trump's followers raises the question of whether these self-described patriots have read any part of the constitution besides the second amendment. Three Constitutions is my response to these events and the culture that bred them. The large volume contains the full text of the Constitution and its amendments. It is set in a typeface that, though difficult to read, is legible once one becomes accustomed to its forms. The texts of the two smaller volumes were arrived at via the two most prevalent modes of constitutional interpretation: algorithmic skewing and selective redaction. The text of the volume titled Constitution. United States. was arrived by feeding the text of the Constitution through Google Translate,going from English to Esperanto to Russian to Chinese and back to English. The other small volume was set in metal type and subsequently redacted by physically turning key words and phrases over and printing the underside of the type. The resulting text is not the hopeful re-write I would conceive; it is intended to reflect the cynical, ineffectual state of political discourse in the United States." All of the typefaces were designed by Russell Maret. Printed on Zerkall and Twinrocker Handmade papers. The large volume is 10 x 14.25 inches and held in a clear acrylic box. The two smaller volumes measure 7 x 10 inches and have black cloth covers with white titling to front cover. All three are housed in large clamshell box covered in gray cloth. It measures 16 x 11.25 x 2.75 inches. Accompanied by the prospectus. In fine condition. Fine.
Boston: Daniel B. Updike at the Merrymount Press, 1904. A first edition of a scarce and lovely book. From the colophon:"Here ends the life of the divine Michelagnolo Buonarroti, written in Italian by Ascanio Condivi, and first printed at Rome, on XVI July , MDLIII, by Antonio Blado, printer to the Camera, and now done into English by Herbert P. Horne, and newly printed at Boston in the United States of America, at the Merrymount Press, by Daniel Berkeley Updike, I September, MCMIII, with the types and ornaments designed for him by the translator." In original paper grey boards. Wear to spine and torn along rear cover. Soiling and rubbing. still a nice copy of a fragile book with interior pages in very good condition. With bookplate of author William Greenough Wendell. Small octavo. x, 85 pages. PRI/042921. Very Good.
Baltimore: The Hill Press, 2001. Hardcover. One of 40 copies. Signed and dated by the printer, Stephen Heaver, owner of The Hill Press. This passionate and beautiful tale was written by William Morris at age twenty-one and published with many other of his writings in the short-lived Oxford and Cambridge Magazine. In his introduction, Morris scholar Theo Rehak quoted Joseph Dunlap as having observed that this particular story was the most perfect example of the works published, "a separate thing, better than the rest of the lot." Rehak also said that Morris did not allow these early pieces to be reprinted during his lifetime, and that he does not recall ever seeing an instance of their being done in a fine press book. The story tells of the journey of a Mediaeval stone cutter, his sister and her husband-warrior, all now departed. The prose is lyrical as it tells their story, and the land on which the church sat is described in all its beauty through the seasons. Morris writes of how beautiful the church is "in the solemn starry nights, so solemn that it almost reached agony - the awe and joy one had in their great beauty." This book was printed in Cloister Old Style type on paper made by Twinrocker for this book. Renowned engraver Simon Brett's engravings are printed from the blocks and include a full-page frontispiece of a cathedral interior, overlayed by by an image printed on transparent Japanese paper, and an historiated initial. The title page calligraphy by Sheila Waters was printed from an electro-plate. Bound in quarter black leather and tan decorated paper boards. Housed in grey cloth slipcase. In fine condition. Unpaginated [nine pages of text and three of introduction]. MOR/072921. Fine.
Maplewood, NJ: Olchef Press, 2020. Number 12 of 55 copies. Signed by the poet and signed and numbered by the book artist, Sydney Jean Reisen. Reisen studied at Rutgers and at the Corcoran College of Art and Design. Her books can be found in several collections nationally including the Library of Congress, the Brooklyn Museum, and the Getty Institute. Poet John Yau (1950 - ) has published over 50 books of poetry, fiction, and art criticism. His first book of poetry was published in 1976. Since then, he has won acclaim for his poetry’s attentiveness to visual culture and linguistic surface. In poems that frequently pun, trope, and play with the English language [Poetry Foundation]. Catullus (c. 84 – c. 54 BC), was a Latin poet of the late Roman Republic who wrote chiefly in the neoteric style of poetry, focusing on personal life rather than classical heroes. His surviving works are still read widely and continue to influence poetry and other forms of art [Wikipedia]. This lovely book marries Yau's evocative poem to Reisen's thoughtful and beautifully executed artist's book. She writes in her prospectus: "If Catullus is going to sail to China he better have a boat that floats. John Yau’s words take a poet to his destination, but words are impermanent. Printing, in particular letterpress, give words physicality, it forms and protects them. Printing creates text. It was the mission of this book to not impede the words’ journey by making sure the text was equally seaworthy. First, there needed to be a sea. The element of water was introduced by the flexible fibers of kozo paper. Kozo was the right substrate, but in turn it created problems of buoyancy. Another characteristic of the paper, transparency, sunk the text into a puddle. To open the route and keep the text afloat, a rig and a crew were implemented. The structure of the book, the materials, and printing techniques were developed to fill these roles. Once the text was secure on the surface, the book granted the text more liberties. It was able to rise and fall, fly and dive as it journeyed eastward. Hopefully the reader enjoys the ride more than Catullus. Nine poems are printed on Sekishu and color kozo from Hiromi Paper and stab bound in a shop-made muslin bookcloth to construct a fluid and strong book. The texts are set in cold metal Bembo in tandem with prints crafted with ornamental letterpress, wood and resingrave block, and pochoir. The applied colors are distemper inks derived from historic recipes for preindustrial wallpaper production." Housed in a black archival box with a white spine with black titling. In fine condition. Book measures 6 x 7 inches; Box is 7 x 8 inches. ARTB/092821. Fine.
London: Printed at the Chiswick Press for George Allen, 1897. Hardcover. One of 1000 sets on paper (there were an additional 28 on vellum).A magnificent edition of The Faerie Queene with Crane's glorious illustrations. Walter Crane (1845-1915) was renowned as an illustrator, artist, decorator, and designer during his career. This was Crane’s most elaborate and extensive commission as a book illustrator. It was inspired by the revival of the private press, particularly the Kelmscott Press, as well as by the transition from Art Nouveau to Arts and Crafts, and by the importance of the illustrator in book production, bound white cloth, with gilt spine lettering plus a large Art Nouveau design in gilt stamped to the front boards. This was originally issued in 19 parts, and all of the original salmon colored pictorial front wrappers are bound in. There are 88 mostly full page (one double page) black on white and white on black illustrations and 132 head or tail pieces, all from woodcut designs by Crane. The boards show very light wear and spines are slightly darker than covers. The texts are very tight throughout with front hinge to volume I somewhat cracked. Pages with some light aging to the margins and just a few have a light speckle. All volumes are in very good or better condition. 1546 pages. PRI/ 042821. Very Good.
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.