Washington DC: Abstract Orange, 2022. One of 45 copies. Corita Rules! is inspired by the work and rules of Corita Kent. Corita Kent (1918–1986) was an artist, educator, and advocate for social justice. She created many pieces using bright colors and typography. One of her works entitled “Power up” was a multi-section serigraph featuring the words “Power Up”. This book, that pays homage to Kent's use of color and typography, is an accordion using different color papers bound together to repeat her message of “Power up” — a call to action. The other words in this piece come from the “Ten Rules”, which was a collections of rules she used in her classroom. The book is letterpress printed using handcut wooden type. In Sister Corita’s practice, she did not number her pieces. This was a choice she made so that no one piece would be more valuable than the others. Following her tradition for this piece, the books are not numbered. In fine condition. Measures 5 x 7 inches. Unpaginated. PRI/041223. Fine.
Refine search resultsSkip to search results
Harper Woods, MI: Adagio Press, 1967. Hardcover. Number 60 of 473 copies. In this interesting work, Leonard Bahr explores ornamental as a fascinating aesthetic challenge. The Bradley combination ornamnets were designed 1952 by Will H. Bradley and released by American Type Founders. He states that this pamphlet was more than a year in the making. It gives the background of the creation of the ornaments, illustrates the basic four-square combinations and shows more than forty multiple combinations, including three engraved for this publication by Paul Hayden Duening. The pamphlet was printed on four colors of Italian Fabriano paper. It took about 41 different press runs to print the text pages. The pages were sewn into a white cover and a dense black wrapper. The owner of this copy bound the publication in its original wrappers in a handsome three quarter black leather binding with blue and green marbledpaper covers. Rather oddly, the owner apparently used a binding done for a different publication, as the gilt titling to the spine is for a completely different work by Albert Lantoine. This binding is in near fine condition with light wear to leather corners of covers. Marbled endpapers and an attractive bookplate on the pastedown that doesn't name its owner. Interior pages are also about fine. Accompanied by the prospectus and an undated Christmas card from Ann and Leonard Bahr. Measures 6 1/2 x 9 7/8 inches. Unpaginated [16 pages]. PRI/090123. Fine.
Minneapolis: Angel Bomb Press, 2022. Deluxe Edition. Number 31 of 50 copies, signed by the artist. This story was originally published in "Astounding Science-Fiction" in August 1938 under the pseudonym Don A. Stuart. It was later adapted into multiple film versions, the most recent being "The Thing" in 2011. This horrific tale of alien encounters and Antarctic exploration is presented here in a fine letterpress edition with nineteen striking, color illustrations by Todd Thyberg. It is in a special binding of quarter tan goatskin over blue Japanese cloth covered boards. It is housed in blue cloth covered tryptich folding case with an interior folder holding a suite of five letterpress illustrations, each signed and dated by the artist. The case is made to look like a government file with maps lining the interior and an official resin medallion stating "Secondary Polar Expedition: Antarctica" to the front panel. The interior maps have been hand-altered with pencil notes of expedition locations. The book, maps, and illustrations were letterpress printed with Ehrhardt Monotype and Haboro Contrast types on Classic Crest Bare White eggshell paper. Polymer plates by the Boxcar Press. Binding by the Campbell Logan Bindery featuring a hand cast, hand painted resin medallion by the artist on the front of the case. 60 pages. PRI/072423. Fine.
Mission, B.C. Barbarian Press, 2023. Softcover. One of 150 copies. This delightful piece is the second in a series of Wayzgoose Pamphlets to be issued by the Barbarian Press. They write in the colophon: "The examples of dingbats were taken from a selection which has expanded over the years - although we are hard put to remember where most of them came from....We have identified as many as possible from typefounders' specimen books in our library....Some remain mysteries." The pamphlet was hand-set in Joanna type in red and black by Apollonia Elsted with help from Kirsten Way after a design by Crispin Elsted. The headpiece was engraved by Sarah Chamberlain in 1984 and is printed from the original block. The paper is Mohawk Superfine and is sewn into rose colored St-Armand Canal Sisal Current covers. The numerous examples of dingbats are printed from the original castings. In fine condition. Measures 8.5 x 5.5 inches. 12 pages including 4 pages of text and 8 pages with dingbat images. PRI/091423 PRICE: C$55.00. Fine.
Riverside, CA: Bo Press Miniature Books, (2013). Hardcover. Pat Sweet describes herself as creating illuminated miniature books of curiosity, humor, and delight. She creates both miniature (under 3 inches) and macro-miniature (under 1 inch) books. She also makes miniature pocket globes, astronomical instruments, orreries, tellurions, and occasional oddities. One of 50 copies. Signed by the book artist. "We all know how the story goes: Jonathan Harker leaves the inn at the beginning of 'Dracula', and is dropped off at the crossroads by the coachman, who is afraid to take him any further. But there is another part of the story, one that Stoker's editor (so the story goes) persuaded him to omit. In this version, Harker demands to be taken down a side road that leads to a long-abandoned village, with dire results. This is the story of that dangerous digression: 'Dracula's Guest', published posthumously in 1914. It may have been a part of the novel, or it may not. The narrator is never named, and seems unlike the characterization of Harker in the novel. You can be the judge" (book artist). Designed, printed, and bound by Pat Sweet. Includes 5 illustrations. and endpapers decorated with a flying bat's wing. Bound in black and gold Japanese chiyogami paper with blood red cloth spine. 74 pages. Measures 2 1/16 inches x 1 1/2 inches. ARTB/090523. Fine.
New York: Nicholas L. Brown, 1929. Hardcover. One of 1410 copies printed from type on French Navarre paper. This was the author's own copy, with his bookplate affixed to the front pastedown along with a small oval pink and gilt decorative sticker showing two Greek figures. Tipped in is a charming original watercolor portrait of a young woman done by Franz Felix. He has inscribed it: "To Mitchell S. Buck, Esq in high esteem and friendship Franz Felix, NY 1929." The book is handsomely bound in quarter brown leather with black cloth covers. Raised bands to spine and gilt titling. Binding is near fine with the slightest wear to the corners. Interior pages are clean and bright. There are six stylized green illustrations with white background. A previous owner or bookseller has written in pencil of the free front endpaper that the book was the author's copy and includes an original watercolor. The rear pastedown has evidence that a bookseller ticket was removed. In about fine condition. Measures 6.5 x 8.5 inches. LIT/090523. Fine.
Ogdensburg, NY: Caliban Press, 2017. 69 of 104 copies signed and numbered by the highly regarded book artist and printer Mark McMurray. This is a beautifully produced new edition of A Christmas Carol that captures the power of this timeless story through the inventive use of text, images, paper, type, and binding. McMurray writes in the prospectus: "We know the story, we know the characters, but the language of the text offers new rewards with each reading. This edition of Dickens' classic returns to the dark, sleep-deprived angst of the original complete text." The prospectus states that the text in this edition comes from the 1843 edition with minor corrections. Printed on a variety of handmade and mould-made papers including Zerkal Ingres and papers from La Papeterie-St. Armand. The text is printed entirely from metal and wood types, including monotype Bell plus many from the 19th century. There are wonderful images of the ghosts that visit Scrooge on that fateful night, and many other ornaments and designs throughout. They are done in various media including pochoir, collage, wood engraving, and relief blocks. Bound in black ribbed flexible covers with a red morocco leather spine with title in gilt on spine and inside a cutout on the front cover. Housed in a stiff black paper slipcase with a subtle chain design. Prospectus and errata slip inserted. In fine condition. 7.5 x 10.5 inches. 107 pages. PRI/051023. Fine.
Ogdensburg, New York: Caliban Press, 2020. Softcover. Number 71 of 100 copies signed and numbered by the book artist. Mark writes of his new book: "As it thankfully draws to a close, 2020 has been a year of counting. Counting days, counting votes counting covid cases, counting hospital beds, counting death, counting lost jobs...so a book of numbers doesn't seem as strange as it did back in January or even back in 2009 when I first began it. Initially conceived as a way to document a growing collection of wood type which eventually filled some 53 cases with some 75 fonts. Then realizing that there was too much type...for a single volume showing alphabets, figures, punctuation marks, as well as whole words. I decided to devote the first volume to figures - what printers generally call numerals or numbers. Volume 2 is planned to be complete alphabets, with volume 3 for words, phrases, and declarations....Printed on found, left over, and scrap papers that have accumulated at the press over time. In some instances, a lot of time." Includes papers from many countries and everyone's favorite papermill, Papeterie St. Armand in Montreal. Printed with black, silver, and red inks. As always with Mark's books a lovely volvelle is incorporated. In a red spiral binding measuring 9 x 11 inches. The book is accompanied by an inserted guide to volume 1 that describes aspects of type in general as well as more specific descriptions of wood type faces such as gothics, antiques, romans, etc. A beautifully done whimsical yet serious work on type and life. In fine condition. PRI/051023. Fine.
New York: Caliban Press, 2014. Paperback. Number 101 of 125 copies. Signed and numbered by the printer (Mark McMurray) and artist (Guy Berard). "The Five Spot Cafe was one of New York City's most legendary Jazz Clubs ... with repeated extended stays by Thelonious Monk and his various quartets ... The club also became a destination for New York's avante-garde of the period. Abstract expressionist painters as well as poets Frank O'Hara and Amiri Baraka were frequently in the audience. Other writers, critics, and journalists came too, including Martin T. Williams (1924 - 1992) a noted jazz critic and contributor to The New York Times and Harpers Magazine" (artist statement). Bound in Celtic grey handmade paper covers with green cloth spine and circular paper title label "5". Large circular cut out to front cover revealing yellow spot and black number five. The text first appeared in Down Beat magazine on February 13, 1964 and has been edited. Illustrated with a revolving map and a double page centerpiece collage by Guy Berard. The collage is based on a photograph from 1958 of the Thelonious Monk Quartet playing at The Five Spot Cafe. [11 pages.] PRI/051023. Fine.
London: Eragny Press for Halcon and Ricketts, 1900. Hard Cover. One of 226 copies of which 200 were for sale.This is one of 175 paper copies. There were also 10 vellum copies. Founded in 1894 by Lucien Pisarro and his wife, Esther, the Eragny Press became well known for its distinctive designs, woodcuts, and printing. The press originally printed books using Charles Rickett’s Vale Press type face; however, in 1904, after the closing of the Vale Press, Lucien began publishing his own books and printing them with a typeface of his design called Brook Type. This title beautifully exemplefies the style and distinctive qualities of the Eragny Press. It is printed on handmade papers with the Vale watermark using the Vale Press typeface. Printed in red and black with striking decorated initials. The frontispiece has a woodcut portrait of Villon done by Lucien Pissaro with an ornate border of leaves designed by Lucien and engraved by his wife Esther. Bound in floral patterned paper covered boards, with a gray paper spine with gilt titling. The spine has faded with some loss of cloth to head and tail, and it has been repaired along its right edge. The corners are bumped and there are light marks on the covers. Slight offsetting to pastedowns and the rear free endpapers. The text pages are generally in very good condition, with a bit of light spotting to the title page. Gift inscription in ink dated 1916, Measures 5.25 x 7.25 inches. 88 pages plus 3 page list of titles. PRI/061323. Very Good.
London: Essex House Press, 1899. Hardcover. Number 627 of 750 copies. This was the third book published by the Essex House Press. Founded by C.R. Ashbee and Laurence Hodson “in the hope to keep living the tradition of good printing that William Morris had revived, and with the help of T. Binning and J. Tippett, compositors, and S. Mowlem, pressman, who came from the Kelmscott Press to that end” (from the printer’s note). A lovely example of the fine printing of this noted English press. Bound in the original stiff vellum with title printed in black on spine. Vellum has darkened, particularly on the spine, a few slight abrasions to spine, and a bit of bowing to the front board. Light browning to pastedowns. Browning to the gutter of the page preceding the frontispiece and some browning to page edges. Printed in black and with red shoulder notes and colophon in Caslon type on fine handmade paper. Frontispiece illustration by Reginald Savage protected by tissue guard. Interior pages are very clean and bright. With bookplate of Lewis Hotchkiss Brittin, a WWI aviator affixed to front pastedown and ownership signature in ink of Frances Ryder Leonard on front free endpaper. Despite noted condition issues a nice copy in very good condition. 426 pages. PRI/091423. Very Good.
New Haven, CT: Henry W. Wenning, 1966. Hardcover. Number 147 copies of 218 copies signed by the poet. Copies 5 to 215 were for sale, with the first three copies lettered a, b, c reserved for the poet, publisher, and printer. William Everson (1912 - 1994), was also known as Brother Antoninus, A deeply serious and religious writer, Everson spent 18 years as a Dominican monk and published many of his works under his name in religion, Brother Antoninus. He was variously classified as a nature poet, an erotic poet, and a religious poet, but, contended Dictionary of Literary Biography contributor James A. Powell, “above all else, Everson is an autobiographical, even a confessional poet. Throughout his career…he has made his personal life the predominant subject of his poetry.”was a poet, critic, and globally renowned handset printer [Poetry Foundation biography]. Bound in decorated paper covers in green, red, black on cream background, with brown leather spine with debossed titling. Spine with slight wear along joints and small tear on rear joint. Lightest wear to edges of covers. Small brown stains to fore-edges of two of free front endpapers. Signed by the poet in black ink with brown wash. Printed by Claude Fredericks in Pawlet, VT on kochi paper. Very good condition. Measures 10.5 x 6.5 inches. Unpaginated [13 pages]. PI/082423. Very Good.
London: Golden Cockerel Press, 1934. Hardcover. Number 64 of 300 copies, signed by both Enid Clay and Eric Gill. This book was published to be uniform with Clay's Sonnets and Verses, published by the press in 1925. From Roderick Cave's History of The Golden Cockerel Press: "Were it not for his sister Enid Clay, Eric Gill might not ever have been tempted to work with Robert Gibbings. Gibbings had approached Gill in late 1924 with an offer of work as an artist for his newly procured Golden Cockerel Press, but Gill refused on the ground that the press was not Catholic. Their acquaintance might have ended there, but as it happened Gill’s sister was in want of a publisher for her first book. Gibbings volunteered to take her on, and Gill was induced to be her illustrator. Following Gill’s temporary refusal, Enid Clay’s Sonnets and Verses (1925) became the first Golden Cockerel publication he was to illustrate. It was the beginning of a prolific seven-year partnership." This second book of Enid Clay's poetry is elegantly printed in Caslon O.F. type on Batchelor handmade paper with a hammer and anvil watermark. There are six wood engravings by Gill including the title page. Bound in green paper boards with a cream linen spine and paper spine label. Boards are faded along edges, as is frequently the case. Interior pages are clean and bright, with evidence of a bookseller ticket having been removed from the rear pastedown. The top edge is trimmed with the other edges untrimmed. A nice copy in very good condition. Measures 6 x 8.5 inches. 44 pages. See Gill Bibliography 293. PRI/090123. Very Good.
Waltham St. Lawrence, Berkshire: Golden Cockerel Press, 1925. Hardcover. Number 294 of 450 copies. [From Roderick Cave's History of The Golden Cockerel Press] "Were it not for his sister Enid Clay, Eric Gill might not ever have been tempted to work with Robert Gibbings. Gibbings had approached Gill in late 1924 with an offer of work as an artist for his newly procured Golden Cockerel Press, but Gill refused on the ground that the press was not Catholic. Their acquaintance might have ended there, but as it happened Gill’s sister was in want of a publisher for her first book. Gibbings volunteered to take her on, and Gill was induced to be her illustrator. Following Gill’s temporary refusal, Enid Clay’s Sonnets and Verses (1925) became the first Golden Cockerel publication he was to illustrate. It was the beginning of a prolific seven-year partnership. The illustrations for his sister’s book are largely a continuation of the ones he had produced for St Dominic’s Press. In contrast to those seen in later publications, Gill’s nudes are white-on-black and lack the strong lines that characterize most of his engravings. Their Art Deco undertones render them barely distinguishable from similar illustrations of the period. As for their physical relationship to the text it is nonexistent, with none of the illustrations connecting particularly to the next." A handsome book from the famed Golden Cockerel Press. Bound in blue paper covers with light brown linen spine with paper title label. Book is lightly worn with fading to top edges, darkening to spine, and crease and tiny chip to the spine label. Interior pages are generally clean and bright with light darkening to edge of front pastedown and evidence of a label or bookseller ticket removed from rear pastedown. Top edge trimmed but fore-edge and bottom edge untrimmed. With eight full and partial page illustrations including the title page by Eric Gill. Very good condition. Measures 6 x 9 inches. 35 pages. PRI/083123. Very Good.
Buenos Aires, Argentina: Imprenta Ideal, 2008. Hardcover. In a unique design binding by Sol Rébora. This letterpress printed collaboration on handmade paper is limited to 25 copies. The other 24 copies are in a case binding of cloth and paper. Features a frontispiece woodcut illustration by Lucrecia Ofloff. Printed on handmade paper by Viky Sigwald in type designed by Rubén Fontana. The book design and printing was done by Mariana Pariani and Patricio Gatti. The text (in Spanish) is poetry by Luis Gruss (1953 - 2021), an award-winning Argentinian poet, journalist, author, and professor. Gruss has contributed to most of the media publications in Argentina, from Clarín, La Nación and Página to the Latido and Los Inrockuptibles magazines. He has published the books Malos Poetas (1998) and La carne (2004), among others. In 2003 he received the Argentores special prize for his dramatic work Oscura Clarice. He also wrote the essay The Unreachable (Women in the life and work of Kafka, Pessoa and Pavese), first finalist in the essay contest organized by La Nación (Intellectual Capital, 2008). As a journalism teacher at the TEA school (Workshop, School, Agency) he has received a special distinction that rewards his career. Later in his career, Gruss edited books belonging to an academic collection sponsored in Argentina by the IDAES (Institute of Higher Social Studies). Bound in full dark grey leather covered boards printed with an embossed pattern. Both boards are decorated with relief inlays of white Japanese paper. The title is handstamped in grey to the front board. Handsewn white endbands and Japanese endpapers. The interior is clean and bright overall with a few scattered spots of foxing. The construction of the text block uses a reversible stub structure, which allows for easy access to the sewing threads, making any future repairs for a conservator simple. For more details about this reversible stub structure, see this page: https://drive.google.com/file/d/1afzoVW9qSzVaQchryT8gzpL9MRi4iGvC/view Housed in a custom-made clamshell box with white leather spine printed in matching embossed pattern over grey paper covered boards. The title and author's name are hand stamped in black title to spine. The book is hand-paginated in pencil on bottom corners. [48 pages.] Sol Rébora is a designer bookbinder working in Buenos Aires, Argentina, since 1999. She is a well-recognized practitioner, receiving awards both in Argentina and abroad. Her work encompasses innovative and experimental work in designer binding and contemporary conservation methods. She studied with Deborah Evetts, Monique Lallier, Pascale Therond, Edwin Heim, Helene Jolis, Sün Evrard and Kathy Abbott, among other teachers. She currently works and teaches courses out of her studio in addition to giving lectures and workshops in person and online at schools including the SF Center for the Book and Iowa University Center for the Book, American Academy of Bookbinding and Penland School of Crafts. She has participated in group exhibitions such us Epémère, Tomorrow’s Past and Les Pages Bien Gardees. Sol’s work may be found in many privet collections and inside of institution’s collections in USA, Mexico and UK such as Athenæum Library and British Library. PRI/052623. Fine.
Washington DC: Kristin Gubrandsdottir, 2010. Soft cover. Number 9 of 11 copies signed and numbered by the book artist. Kristin is a book artist, furniture maker, and teacher from Iceland. Her works typically address feelings, memory, and experience. She studied book arts at the Corcoran College of Art + Design in Washington DC where she made this book. She currently resides in Brussels. Awakening is a powerful photobook done in response to the loss of friends that "left me wondering about the meaning of our existence and why some leave too prematurely." The photographs and text address these questions and the strange feelings that arose in her at night that left her waking up "knowing that one day I will die." The twelve evocative color photos are reproduced in an oblong accordion style book and juxtaposed with letter press text. Printed on Soberest paper using Minion Pro Regular and Medium Italic fonts. Bound in white stiff paper with titling on front cover. In fine condition. Unpainted. PRI/022119. Fine.
New York: Turkey Press, 2016. A unique design binding. The text is 1 of 100 copies, issued in a variable edition, of which 30 were offered for sale. The copies not offered for sale were offered as gifts of the press in celebration of the 70th birthday of Harry Reese and the 42nd anniversary of Turkey Press. Reprinted with permission of the translators and Persea Books. Includes the original red pastepaper wrappers bound in as well as two colorful decorative papers. Nâzim Hikmet (1902 - 1963) was a Turkish-Polish poet, playwright, novelist, screenwriter, director, and novelist that spent much of his adult life in prison or exile due to his political beliefs. A poignant poem about living fully without dwelling too much on the reality of death, written in a conversational tone. Bound in a flexible grey leather binding "Link-in-1" structure with gold hand-made paper linked in. This particular design structure was created by the binder, Sol Rébora. The leather is printed with an embossed pattern, which was designed by the binder. The title and author's name are hand stamped in black and red on the boards. The name of the binder is stamped in black to the inside of the front cover. Grey suede endpapers as well as several fine papers. Housed in a stiff silver paper enclosure with textured grey leather spine titled in red. Unpaginated. [12 pages.] Sol Rébora is a designer bookbinder working in Buenos Aires, Argentina, since 1999. She is a well-recognized practitioner, receiving awards both in Argentina and abroad. Her work encompasses innovative and experimental work in designer binding and contemporary conservation methods. She studied with Deborah Evetts, Monique Lallier, Pascale Therond, Edwin Heim, Helene Jolis, Sün Evrard and Kathy Abbott, among other teachers. She currently works and teaches courses out of her studio in addition to giving lectures and workshops in person and online at schools including the SF Center for the Book and Iowa University Center for the Book, American Academy of Bookbinding and Penland School of Crafts. She has participated in group exhibitions such us Epémère, Tomorrow’s Past and Les Pages Bien Gardees. Sol’s work may be found in many privet collections and inside of institution’s collections in USA, Mexico and UK such as Athenæum Library and British Library. Fine.
[Chillicothe, OH]: The Mountain House Press, 1937. Hardcover. Number 122 of 125 copies signed and numbered by the author. Dard Hunter (1883-1966) is considered by many to be the father of hand papermaking in the United States. Hunter traveled extensively around the world, learning about papermaking and collecting artifacts related to the topic. He wrote several books on hand papermaking traditions, and also studied other paper-like materials such as papyrus and amatl. From the colophon: "The book was printed at the Mountain House Press on paper made by hand in the Orient. The specimens included with each book were gathered by the compiler during journeys in China, as well as in Indochina, Java, Sumatra, Siam, Malay Peninsula, and other Asiatic countries where the Chinese have emigrated and where their ancient customs have been retained. Due to the hand methods used in the making of this volume and to the limited number of original specimens available, only 125 copies have been printed..." With 16 illustrations and 50 samples of ceremonial paper and items made from paper, including trays for sacrificial burning, ceremonial paper money, envelopes, etc. There are eight photogravures of the papermaking process and two folding illustrations, plus two folding pages that protect larger sheets of paper. This is one of Hunter's more elaborate publications. It is also noteworthy that most of the focus is on the uses of paper in ritual, the cultural meanings of paper, if you will, not simply the mechanics of papermaking, as some of his other books are [From a contemporary review]. Bound in quarter black leather with russet colored cloth covers with an elegant design in gold. Gilt titling to spine. Very light wear to covers. Interior pages are beautiful, and the specimens and samples are in fine condition save for a few pieces with some offsetting, which is usually seen in copies of this book. Housed in a brown paper covered slipcase with some fading and wear. A very desirable copy of one of Dard Hunter's most important works in about fine condition. Quarto. 84 pages plus the unnumbered pages with specimens. PRI/083123. Near Fine.
Chillicothe, OH: Mountain House Press, 1927. Number 175 of 200 copies signed and numbered by Dard Hunter. He states on the limitation page that owing to the methods used in producing this book the edition is necessarily limited.This is a scarce groundbreaking early work by Hunter. Dard Hunter (1883-1966) is considered by many to be the father of hand papermaking in the United States. Hunter travelled extensively around the world, learning about papermaking and collecting artifacts related to the topic. He wrote several books on hand papermaking traditions, and also studied other paper-like materials such as papyrus and amatl. Primitive Papermaking was Dard Hunter’s first book on international, non-Western papermaking. Most of this volume concerns the production of tapa [bark cloth] in the Pacific and in Southeast Asia. Hunter made the case that although usually termed ‘bark-cloth’ by Westerners, this material, made by beating the fibers of the inner barks of trees, is actually paper. The first explorers to encounter this material termed it “cloth” primarily because of its uses, not because of its construction. Hunter spent years acquiring the samples of tapa, many of which were quite old. Hunter noted the affinity of “silverfish” for tapa. Thus, older pieces do not survive well in their tropical places of origin. The craft had already disappeared in places Hunter visited in the first quarter of the 20th century, although he was able to obtain historical samples [University of Utah exhibition on paper through the centuries]. Hunter traveled to the South Seas, including Tahiti, the Cook Islands, Fiji, Samoa, Tonga, and Hawaii, in addition to Mexico and parts of South America. He collected bark and bark paper specimens every where he traveled, and carefully studied and documented the techniques and methods used by the papermakers in each location. Printed with Hunter's own hand-cut and hand-cast type, with the statement in the preface: "The punches, matrices, moulds, and tools which were employed in the making of this type are now in the Smithsonian institution and after the cessation of my publishing the type itself will be destroyed." The book has photographs, illustrations of tools and techniques, facsimiles where original specimens were not available, two bark specimens and 31 bark paper specimens. Occasional light offsetting from specimens and very light browning to some page edges. With untrimmed loose bifold sheets as issued, and housed in the original paper portfolio with cloth spine and corners, printed paper cover label, and three sets of ribbon ties. Light bumping to corners. With 47 numbered pages and 56 unnumbered pages with the specimens. In very good plus to near fine condition. Folio volume measuring 12 x 17 inches. PRI/091123. Near Fine.
Oldham, England: Incline Press, 2023. Softcover. Number 7 of 60 copies printed on handmade Two Rivers paper. An additional 80 copies were printed on Zerkall paper. Signed by the author at her introduction. Hand set, printed, bound and published by Helen Morley and Graham Moss, proprietors of Incline Press. They write: "Poetry, book design and typography working together. It was an issue of some importance among private presses in the 1930s, expressed and addressed in passing by Francis Meynell of the Nonesuch Press: if poetry is better read slowly for sense, rhythm and understanding, how can the publisher assist by designing a book that slows the reader? Part of Meynell’s answer was to use italics, but we wonder if that goes quite far enough. Nancy Campbell’s poem, Song for the small hours, was published in the Spectator in 2022, and is printed here for the first time as a separate piece. Presented as unadorned typography, and deliberately set to add another answer to Meynell’s concern. We think it works very well; although our answer could be applied to any poem, here it works to perfection, so long as you are willing and able to let it." Nancy Campbell writes poetry, essays and non-fiction books. Among her works are her recent poetry book, Uneasy Pieces, and Thunderstone, a memoir of love, loss and a vintage caravan. The poem and title page use Baskerville types; the introduction and colophon are set in Bell type. This is a poem about letter writing, so all copies are sewn onto re-used vellum strips from old legal documents. This is a non-adhesive binding, using a heavy blue card paper from Two Rivers.Title and author on front cover. The bottoms of the book's cover and the fore-edge of the text are untrimmed. A lovely edition in fine condition. Measures 5 x 9 inches. Unpainted [20 pages printed on recto only plus colophon]. PI/050423. Fine.
Oldham, England: Incline Press, 2023. Softcover. Number 32 of about 100 copies signed and numbered by the author/printer. Graham Moss, the proprietor, printer, and binder at Incline Press writes: "Reclaiming the tradition of chapbooks. I try to avoid publishing my own writing as much as possible; introduction matter and occasional editorial work aside, a simple colophon usually fills my desire for writing: quiet, precise, and broadly anonymous. But versions and variations of this poem have been shunted around in my head these past two or more years, only taking this shape during the wintery months at the beginning of 2023. In lieu of anywhere else to publish it, Incline Press fills the gap! Printed on an off-cut of handmade paper it can be cheap enough to be properly called a chapbook, even though it will not see the inside of a chapman’s pack. Rather than avoiding that term, which is getting a bit pretentious of late for my taste, let us at least reclaim the chapbook for the lowest sort of price that letterpress printing can accomplish, even though this is some of the best paper that can be got for ready money!" Printed on Wookey Hole Paper, probably intended as ledger paper from the 1930s. Uncial type used for the titling is Solemnis, designed in 1954 from the Berthold type foundry. The text is set in Lectura type from the Stephenson Blake foundry. The book is hand sewn into stiff gray paper wraps. In fine condition. Measures 5.25 x 7.25 inches. Unpaginated [8 pages plus colophon]. PRI/050423. Fine.
Oldham, England: Incline Press, 2023. Number 27 of about 175 copies, signed by Peter S. Smith. The book was designed, printed, sewn, and published by Graham Moss and Helen Morley, proprietors of the Incline Press.They write on their website: "If you were to triangulate Macclesfield, Whaley Bridge, and Buxton, high in the hills of the Peak District, among old farming countryside with more than a few derelict farmsteads, you’d find Jenkin Chapel near Thursbitch. As a landscape there is little for humans beyond long walks and drives on narrow roads, a pleasure for some but just a passage for others.Peter S. Smith,esteemed wood engraver, was drawn there by the story of a curious memorial stone, and that stone is the subject of this booklet. Peter tells his story and shows his boxwood engraving of the stone, an oblique tale and it is an oblique engraving. It is shown as the centre of the trifold, the text from the two faces of the stone holding his engraving, in their grip." Smith is a well known wood engraver and printmaker. He is the former head of the school of Art, Design and Media at Kingston college, is a member of the Society of Wood Engravers, and a Fellow of the Royal Society of Painter-Printmakers. He has paintings and prints in public and private collections including Tate Britain, the Ashmolean, the Fitzwilliam and the British Museum. This lovely little book is printed on 170 gsm Zerkall paper, with the light brownish-gray cover paper made by hand at Papeterie St. Armand in Montreal. The wood type Chatsworth on the cover is from Stephenson Blake foundry, and the titling is Baker designed by Russell Maret. The text is set in16 point type that resembles handwriting, designed by the calligrapher Alfred Fairbank in 1929. The book's binding is handsewn with title and author on front cover. In fine condition. Measures 5 x 7 inches. Unpaginated [two pages of text and trifold with the gravestone text and Smith's engraving of it] PRI/050423. Fine.
Buenos Aires, Argentina: 1958. Unique Design Binding by Sol Rébora created in 2022. The textblock was letterpress printed by Armando Tocarello in 1958 in the home of D. Franciso A. Colombo in Buenos Aires, Argentina. It is limited to 75 copies of which this is 1 of 10 copies on Japon paper. Design and engravings by Raúl Veroni. The original paper wrappers are bound in. Includes the poem "Lines Suppossed to Have Been Addressed to Fanny Browne / Líneas que se supone fueron dedicadas a Fanny Browne" in English with a facing Spanish translation. [12 pages.] Bound in light pink and purple limp leather design binding featuring the initals of John Keats. The leather has been finely embossed with a pebbled pattern especially created by the binder. This single signature binding features an exposed sewing structure along the spine. Housed in a protective metallic pink stiff wrapper. Sol Rébora is a designer bookbinder working in Buenos Aires, Argentina, since 1999. She is a well-recognized practitioner, receiving awards both in Argentina and abroad. Her work encompasses innovative and experimental work in designer binding and contemporary conservation methods. She studied with Deborah Evetts, Monique Lallier, Pascale Therond, Edwin Heim, Helene Jolis, Sün Evrard and Kathy Abbott, among other teachers. She currently works and teaches courses out of her studio in addition to giving lectures and workshops in person and online at schools including the SF Center for the Book and Iowa University Center for the Book, American Academy of Bookbinding and Penland School of Crafts. She has participated in group exhibitions such us Epémère, Tomorrow’s Past and Les Pages Bien Gardees. Sol’s work may be found in many privet collections and inside of institution’s collections in USA, Mexico and UK such as Athenæum Library and British Library. PRI/051623. Fine.
[Hammersmith]: [Kelmscott Press], . This is an uncomomon proof page for the beautiful frontispiece woodcut illustration for Love is Enough, or The Freeing of Pharamond: A Morality, drawn by the artist Edward Burne-Jones and engraved by W.H. Hooper. Love is Enough was the final publication of the Kelmscott Press, published one year after the death of founder William Morris. It is mounted on board and measures 28.5 x 20.6 cm (11.25 x 8 inches). There are some hints of rubbing and soiling but is otherwise in near fine condition. PRI/072123. Near Fine.
Hammersmith: Kelmscott Press, 1893. Hardcover. One of 1500 copies. This copy is in an exquisite binding from master Chicago binder Alfred J. Cox (1835-1909). Cox founded a bindery in Chicago in the 1860s that became the largest commercial bindery west of the Mississippi River. Cox was also a serious book collector who bound many books in his personal collection in sumptuous designer bindings. His philosophy was that "books of the imagination...demand rich morocco, fanciful ornaments, and gilding. This binding exemplifies his philosophy. It is in brown morocco with a beautiful gilt flower design on the front and rear covers, with gilt ruling around the edges. The spine has five raised bands with title, author, and ornaments in the compartments. The dentelles also have a lovely gilt floral design. With marbled endpapers. The book's colophon states that Gothic Architecture, first given as a lecture for the Arts & Crafts Exhibition Society in the year 1889, was printed by the Kelmscott Press during the Society’s exhibition in 1893. It is printed in Golden type on Flower paper, and was the first book printed in 16mo. by the press. According to William Peterson's A Bibliography of the Kelmscott Press (p. 48-51), “there were three impressions of the book, presumably of 500 copies each.” There were two misspellings in the first impression. “Van Eyck “ was misspelled “Van Eyk” (p. 45, l.1.), and “guilds was spelled “gilds” (p. 41, l. 16). This copy has the correct spellings of these two words and is from the second or third impression. There are four and six line initials and red shoulder notes throughout. Light paper aging along fore-edge otherwise near fine. MOR/052223. Near Fine.