New York: School of Library Service Columbia University, 1983. Softcover. Scarce. An interesting picture of the issues and artists involved in this event of over 40 years ago on the state of fine printing in the United States. It was organized by Terry Belanger, who later founded the esteemed Rare Book School now located at the University of Virginia. The conference sessions were organized around the components of fine printing: paper, bookbinding, ink and type. Participants included such notable figures as Timothy Barrett Carol Blinn, Ruth Fine, Walter Hamady, Jerry Kelly, Hedi Kyle, Kim Merker, Michael Peich, Leonard Seastone, Claire Van Vliet, and Kathy Walkup. Softcover in blue covers with titling in black to cover and spine. In addition to transcripts of the sessions, there are lists of the names and addresses of the participants the intitial list of who was invitied. and the exhibitors at the public book fair. Inserted are a prospectus and a letter sent by Belanger to Jake Chernofsky, editor of the AB Bookman's Weekly. This was apparently his copy. Near fine condition. 8.5 x 11 inches. 121 pages. BOB/011024. Near Fine.
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Washington DC: Abstract Orange, 2024. Softcover. Number 5 of 20 copies signed and numbered by the book artist. Lauren Emeritz is a book artist, letterpress printer and graphic artist who founded and runs Abstract Orange. She creates prints and books by hand using a Vandercook press and wood type, including type she designs and carves herself. Lauren holds a BFA in Graphic Design from the University of Delaware. She is the President and Creative Director of Abstract Orange, a graphic design firm in Washington, DC, and a letterpress associate at Pyramid Atlantic Art Center in Hyattsville, Maryland. Her work can be found in many institutional and private collections. This is another powerful work by Lauren in which she addresses social and political issues and events. It is based on the United States Civil Rights Act of 1964. The book has a series of 10 brown sheets of cardboard paper, each with text from provisions of the Act printed in green from hand-carved wood letters of the alphabet. The texts include "equal access to public accommodations," "access to public education," "expand civil rights commission," "equal employment opportunities, " and more. The ten sheets are housed in a bright green paper folder with the title printed in darker green on the cover and a velcro closure. In fine condition. Measures 7 x 11 inches. ARTB/122023. Fine.
Toronto: Aliquando Press, 1978. Hardcover. Number 47 of 100 copies. A charming book written in verse about well and poorly behaved cats. Illustrated in a cartoonish style by the author. The Aliquando Press began in 1962 and has since published over 100 books. Oblong, bound in white patterned paper covered stiff paper boards with green title label to front. Printed and designed by William Rueter at the Aliquando Press. Housed in a blue cardstock slipcase with green paper title label to spine panel. [32 pages.] Size: about 3 x 4.5 inches. PRI/120723. Fine.
Toronto: Aliquando Press, 1978. Hardcover. Number 46 of 100 copies. A charming book written in verse about well and poorly behaved cats. Illustrated in a cartoonish style by the author. The Aliquando Press began in 1962 and has since published over 100 books. Oblong, bound in white patterned paper covered stiff paper boards with green title label to front. Printed and designed by William Rueter at the Aliquando Press. Housed in a blue cardstock slipcase with green paper title label to spine panel. [32 pages.] Size: about 3 x 4.5 inches. PRI/120723. Fine.
Canton, NY: S.W. Amoroso, 1999. Paperback. 1 of 100 copies. A collection of poetry, letterpress printed and bound for the author. Special thanks is given to Mark McMurray (of the Caliban Press) and St. Lawrence University. Gift inscription from the author on the colophon. Bound in stiff decorative handmade paper with sewn binding. Marbled endpapers. Business card of the author laid in to front cover. Unpaginated. [about 26 pages] PRI/122623. Fine.
Mission, BC, Canada: Barbarian Press, 2022. Softcover. One of 135 copies. This is the first of a series of Wayzgoose Pamphlets, to be issued occasionally, on subjects relating to printing and printing history. So ran the opening of the colophon of this pamphlet, issued in March 1984 for inclusion in Wayzgoose 84, published by the Public Art Gallery, Grimsby, Ontario. Notice the word ‘occasionally’: there has been no subsequent Wayzgoose Pamphlet in the intervening 38 years.The ‘occasion’ of our 50th wedding anniversary Wayzgoose this fall seemed the perfect opportunity to resurrect this vintage idea of a series of pamphlets on printerly subjects. We have decided to restart the series with a facsimile reprint of this first – and so far only – Wayzgoose Pamphlet. Apollonia Elsted with her our friend and sometime apprentice, Lea Sanchez Milde, re-set the text from the original edition and printed the pages on a Heidelberg Red Ball Press.It was hand-set in Kennerly in blue and black on Mohawk Letterpress, with a wood engraved headpiece by Sarah Chamberlain. The gathering was then sewn into wraps of St-Armand Canal paper in time for our Wayzgoose in September (2022). In fine condition. Measures 5.5 x 8.5 inches. 8 pages. PRI/120523. Fine.
Mission, Canada: Barbarian Press and Sperling Printshop, 2023. Softcover. One of 110 copies each accompanied by a handsome original woodcut of a raven, signed and numbered by Edith Krause. This delightful book is a flock of poems on birds by 15 Canadian poets. The book provides a diverting anthology of poems about birds by sixteen contemporary Canadian poets, some of them well established figures, such as Lorna Crozier, Susan McCaslin, Harold Rhenish, and Bill Richardson, and others younger emerging poets. The result is a rich cross-section ranging from the lyrical to the satirical, the humorous to the elegiac. Edith Krause provides an introduction to the project itself; ornithologist Rob Butler, a thoughtful ecological preface; and wildlife biologist Phil Henderson, a short reflection on the relationship between the poems and the birds in the book. Edith’s 26 woodcuts of birds, each representing a letter of the alphabet, provided the core of the project. In addition she created four further woodcuts to accompany the three prefatory essays and an extra poem, and provided a title page block, a selection of woodcut feathers for the endpapers, and a press device. Book artist and proprietor of the Barbarian Press, Crispin Elsted writes about the book: "Early in 2023 we were approached by woodcut artist Edith Krause and poet Susan McCaslin with a ready-made book project in hand for which they needed a printer. It had been many years since we had printed a book for another publisher, and it was a practice we had not planned to renew – especially since we had a considerable list of our own book projects in various stages of planning or production. However, we were struck at once by Edith’s delightful woodcuts of birds, and it seemed to us that the project deserved to be encouraged. Crispin consulted on the design of the book and Jan and Apollonia [Elsted] devised the imposition of the pages and subsequent details of placement and colour. Jan and Apollonia, Edith and Susan sorted out the logistics of acquiring materials and established the nature of the collaboration, and work began." The poems and other texts were handset by Apollonia in Joanna roman and italic type and printed on Hannemühle paper, with help from Kirsten Way and Lea Sanchez Milde, while the lion’s share of the presswork, comprising all the poems and the prose elements, was done by Apollonia, Jan printed the preliminary pages and the second colour title lines. We decided that we would make a departure with the blue paper binding of An Avian Alphabet, and imposed the texts and images so that the pages could be French-folded (i.e. with the fold at the foredge), then stabbed (that is, drilled) and laced into the covers with waxed coloured linen cord in an exposed sewing, and housed in a beige cloth covered slipcase with title label to spine. In fine condition. Measures 6 7/8 x 10 inches. Unpaginated [About 70 pages] PRI/112023. Fine.
Oosterhesselen, Netherlands: Agri Montis Pers, 1989. Softcover. Number 15 of 29 copies printed as part of the Syllable series. The press was founded by S.H. de Roos (1877-1962), a book and type designer who was an important figure in the private-press movement in the Netherlands.De Roos studied lithography at the Royal Academy of Art, Amsterdam. Among his early activities were furniture design and the design of decorations for tin containers. His first book design was for Kunst en Maatschappij (1903; “Art and Society”), a translation of a collection of the writings of the English poet and designer William Morris, whose Kelmscott Press was the beginning of the private-press movement in England. In 1907 Roos joined the Typefoundry Amsterdam, where he remained until he retired in 1942. About 1928 he founded the Heuvel Press, at Hilversum, the second private press in the Netherlands, for which he designed Meidoorn type. Of the four books printed by Heuvel, the edition of Dante Gabriel Rossetti’s Hand and Soul (1929) is considered particularly fine. This book in Dutch is bound in dark green paper covers with white title label on front cover. Light fading to top of front cover. Interior pages are clean and bright. A sleeve on the inside of the rear cover has bifold printed samples of pages from the press's books in Latin, German, French, and English. The pages in English are from the press's edition of Hand and Soul. The pages in French are from Les Maitres d'autrefois : Hollande. In near fine condition. Measures 8 x 11.75 inches. 7 pages. PRI/111323. Near Fine.
University Park, TX: Bridwell Library, Southern Methodist University, 1983. Hardcover. One of 275 copies (250 for sale) printed for the Bridwell Library by the famed Bird & Bull Press. An inscription in ink on the colophon states that this copy is "one of two printer's copies in a trial binding that was not used for the edition." This interesting book explores the famous feud between C.H. Cobden-Sanderson and Emery Walker over the ownership of the type of the renowned Doves Press. It offers a new perspective through the discovery by Michael Hornby, son of St John Hornby, of previously unknown correspondence between Cobden-Sanderson and St John Hornby, Sidney Cockerell, and Walker. The letters, mostly dated from 1906 to 1908, shed new light upon the controversy and provide fresh insight into the intensity of Cobden-Sanderson's preoccupation with the type. The unsigned inscription on the colophon was possibly written by Henry Morris, founder of the Bird & Bull Press. Morris founded his press in 1958 and continued to print their highly regarded letterpress books until his retirement in 2014. From Princeton University “…Morris’s publishing program has been a boon to the historian of the book. He is correct when he writes, ‘It pleases me to know that without the Bird & Bull, many books on worthwhile, albeit esoteric subjects would probably never have been published.’ And all these works have been printed by letterpress from metal type on either Henry’s own handmade or on imported mould-made papers.” The inscription is written to Abe Lerner and Kit Currie "on the occasion of their visit here on Oct. 8/1983." Abe Lerner and his wife, Kit Currie, were both important figures in the world of books in the twentieth century. Abe Lerner (1908-2002) was a highly respected and talented typographer/book designer with links to the likes of the great Bruce Rogers. With a meticulous eye for detail and clean design, he was constantly working on new projects. With a career that landed him as the Director of Design and Production at Macmillan, President of the Typophiles, and lecturer at the Grolier Club in New York, Abe Lerner was certainly one of the finest typographic designers of the 20th century. Kit Currie began her career in the antiquarian book trade as the personal assistant for London bookdealer Bertram Rota. She moved to California in 1964 and began working at Dawson’s Book Shop in Los Angeles, where she stayed for 14 years. She moved to New York City in 1977 with her husband, noted typographer and graphic designer Abe Lerner. Unable to find work initially, Currie ventured to start her own bookselling business, and issued her first and only catalog in the winter of 1977-1978. Soon afterward, however, she was offered a position with H. P. Kraus. Bound in brown paper covered boards with brown cloth spine. Title debossed in blind to front cover. Minimal wear to corners. Text pages are clean and bright. Printed in Centaur types on Bugra Bütten paper. Folded prospectus is inserted. In fine condition. Octavo. 31 pages. PRI/102423. Fine.
Bussum, Netherlands: C.A.J. van Dishoeck, . Softcover. One of 200 copies. Now scarce. This is a lovely small book in Dutch with a poem by well known writer P.C. Boutens. Pieter Cornelis Boutens (1870 – 1943) was a Dutch poet, classicist, and mystic. His debut as a poet was the Utrecht Student Almanac in 1891. His early work was inspired by the verses of Herman Gorter; later sources of inspiration were Plato, Sappho and the Bible. Boutens' style became based on the idea of achieving a "higher reality". In the course of 45 years, he published some 20 volumes of poetry, but also a large number of translations of Ancient Greek (i.a. Iliad and Odyssey), Persian, French, German and English poets. CAJ van Dishoeck was a Dutch publishing house that was founded in 1889 by the founder of the same name. Cornelis Anthonij Jacobus van Dishoeck (1863 – 1931) was a member of the Van Dishoeck family, which came from Zierikzee and was included in the Dutch Patriciaat .After his education and experiences in bookstores between 1880 and 1888 (including in Leipzig ), he settled in Leiden and started a publishing house there in 1889. In 1898 he moved it to Amsterdam and finally to Bussum in 1903 where he called his villa Zeelandia. In the Netherlands he published work by Johan de Meester , but also the famous Beatrijs by PC Boutens and other works by that poet, such as Alianora .Van Dishoeck's publications were known for their beautiful design. He also attracted artists such as Jan Toorop and Jan van Krimpen . He also chose well-known artists such as Edzard Koning and Willem Vaarzon Morel for the illustrations . Moreover, he often published luxury editions of his publications: on handmade or Japanese paper, bound in full parchment or full leather, often in small, but sometimes unknown editions [Wikipedia Dutch version]. The five striking black and white woodcuts ncluding title page) were done by Joan Collette (1889 – 1958). He was a Dutch engraver, graphic designer, illustrator, monumental artist, painter, glass painter, wall painter, draughtsman, manufacturer of mosaics and bookbinding designer. Bound in plain white paper wrappers with a dark blue cover with a printer device in red on the front cover. Very light signs of handling. Interior pages are clean and bright. Printed in black letter type with occasional blue Initials. Near fine condition. Measures 5 x 6.5 inches. Unpaginated. [18 pages] PRI/111523. Near Fine.
New York: Russell Maret, 2023. Hardcover. Number 25 of 110 copies signed by Bringhurst, who gave this 2022 CODEX lecture in Berkeley in April, 2022. This stirring and enlightening lecture "was a wide-ranging meditation on the relationships between language and the forms we give it; the oral, scribal, and typographic structures with which we clothe literature; and how these forms and structures simultaneously preserve, alter and, occasionally, degrade our understanding of what they convey...Bringhurst evokes the metaphor of civilization as a shared endeavor, one that is contingent on collaboration and synthesis for its survival" [from the prospectus]. This beautifully produced book was designed by Russell Maret, and printed and bound by him and Sarah Moody. The book is set in Gremolata, Cancellaresca Milanese, Sans Pisolino, and Iohann Titling, all of which were designed by Russell Maret. Bound in decorative yellow and brown paper covers that were engraved and cast by Ed Rayher at Swamp Press. With a brown cloth spine and paper title label to cover. The text paper was handmade at the Velké Losiny papermill in the Czech Republic. The book is profusely illustrated, with photographic illustrations printed by Puritan Capital on Mohawk Paper. The prospectus is laid in. In fine condition. Measures 8.125 x 11.375 inches. 54 pages. PRI/011724. Fine.
Oosterhesselen, Netherlands: De Klencke Pers, 1994. Softcover. Number 31 of 45 copies. Scarce. A. A. M. Stols (usually called Alexander or Sander, 1900–1973) was a Dutch printer and publisher, known best for his limited bibliophile editions of Dutch poetry. Stols was a prolific publisher of many Dutch authors including Adriaan Roland Holst, J.C. Bloem, E. du Perron, J. Slauerhoff, and Antoinette Hendrika Achterberg, as well as French authors such as Valery Larbaud, Paul Valéry, and André Gide. Between 1922 and 1942 Stols published over 550 books, which were known for their attractive typography and design, with the assistance of Jan van Krimpen and later Helmut Salden. John Buckland Wright illustrated a number of his books. This Dutch book is a tribute - a book of memories about Stols - written by well known Dutch author Rico Bulthuis. It is a softcover book in dark red paper covers. There is sunning to top of front cover where book was exposed to the sun. Interior pages are in near fine condition. Measures 7.5 x 11.75 inches. 21 pages. PRI/111323. Very Good.
Canton, NY: Caliban Press, 2008-2009. Softcover. Number 29 of about 114 copies. According to Mark McMurray, this marvelous book was published in conjunction with Cat's Head Press of Quebec. It is a book of bon mots, bagatelles, and tableaux de l'imprierie as told to an American. It is also a sometime type specimen and leaf book. It is an inventive and fascinating book comprised of fourteen leçons, lessons, in English and French concerning the Arts of the Book and various other old and new topics. In an announcement for the book, it states that the lessons and topics are collected from found and fabricated texts by the two main semi-fictional characters, Cal & Prosper, exiles on a visit to Paris to learn the art of printing. Lecons recalls printers past and present who have produced books in Paris and McMurray has created his own look at printing history in Paris. Bound in flexible quarter dark vellum with grey-brown paper boards, with white spine label to front cover. Printed in several colours on cylinder and hand presses from foundry, monotype, photopolymer and wood types set by hand, machine composition, and computer. The primary type is Garamond, with additional faces that include Fournier, Caslon, and Nicholas Cochin. An international range of papers are used, including Rives and Arches, as well as a vintage Barcham Green handmade, St-Armand handmades from Montreal, Kochi from Japan, and handmade lokta from Nepal. There are striking images and tipped in pieces that include an original pochoir by Jef Aerosol of Samuel Beckett, an original relief print of Nanacy Cunafd by Melissa Schulenberg, a stencil by Guy Berard, and various found images and stencils. Issued with a separate sheet of "Lecons Notes" which explain some of the images and text. From Melissa Schulenberg's portrait of Nancy Cunard (original relief print) to figures from the 1493 "Liber chronicarum" to woodcuts to found images, this tour of Paris delights. There is one of McMurray's signature volvelles and there is a small "gold" man (cut-out paper doll) in the Treizieme Lecon, "Who's that?" - It is collaged on a page of Arab text opposite a map of the Quartier Latin with text in French and English guessing at his identity. Housed in a gray paper boarad slipcase. In fine conditon. Measures 8.25 x 12 inches.  pages. PRI122323. Fine.
[Easthampton, MA]: Cheloniidae Press, 1990. Hardcover. Number 221 of 100 (xxi/c) copies in the deluxe edition, signed and numbered by illustrator and book designer Alan James Robinson. There were also 26 copies bound in quarter leather. This magnificent book was undertaken by the press as a celebration of its tenth anniversary. It is one of the great achievements of Robinson's Cheloniidae Press, one of the most respected American private presses. Founded in 1979, the press went through several incarnations during its existence. The constant throughout was the artistry of Alan James Robinson, who became famed for his superlative wood engravings and etchings of animals, birds, the sea, and more. The original text for this edition was written by Arthur F. Kinney, who was then the Thomas W. Copland Professor of Literary History at the University of Massachusetts and an extensive publisher and lecturer on Shakespeare. From the prospectus: this book "focuses on popular bird and animal lore and the way Shakespeare turns it into lines of haunting and indelible beauty by describing the familiar and unfamiliar ideas about [many creatures] and by showing how Shakespeare used these [ideas] to shape character and plot in his plays....Shakespeare's imaginative use of observed detail and magical fantasies is matched by the intricate and mysterious wood engravings of Robinson." Beautifully bound by noted binders Claudia Cohen and Sarah Creighton in full rust morocco with the title stamped in gilt on the front panel within a blind rule at the outer edge of the covers, raised bands, and leather hinges. Illustrated with 54 wood engravings depicting the birds and beasts found in Shakespeare's plays and poems, plus two portraits of the Bard: one etching and one wood engraving. The book is accompanied by an additional suite of 56 signed and numbered prints from the illustrations. There is also an original watercolor of a Barnacle goose that is not known or called for in the prospectus. They are housed in a linen covered portfolio. The prospectus is also included. There are beautiful hand marbled endpapers by Faith Robinson. The book was printed on special Cheloniidae Rag paper carrying the press watermark that is the exact size of the First Folio of 1623. The type is Centaur and Arrighi set by M&H Type in San Francisco with additional hand composition by Arthur Larson. The book was letter press printed by master printer Harold Patrick McGrath. Housed in a custom clamshell box in near fine condition covered with beige linen with a brown leather spine label. The book is In fine condition. Book is 10.5 x 16 inches. Box is 11 x 17 inches. iv + 87 single fold pages. PRI/102423. Fine.
Toronto: The Coach House Press, 2000. Paperback. Number 221 of 300 copies. Signed and inscribed by the author to Nina Matheson and her husband. Nina is a bibliophile, ex-rare book dealer, and the director emerita of the Johns Hopkins Welch Medical Library.With laid in card reading "with compliments of Marie Korey and David Mason." Originally presented as a talk at Alumni Hall, Victoria College, University of Toronto, 30 November 1999, under the auspices of the Toronto Centre for the Book and the Friends of Victoria University Library. Bound in cream paper wrappers with red title to front panel. Clean and bright. Laid in is another speech given by David Mason in 2002 at the L.M. Montgomery Institute University of Prince Edward Island titled "Anne's Adventures on Her Way Home" printed on 8.5 x 11 paper, stapled, and folded with a few handwritten edits and a note on the front that it was printed pre-publication. A handwritten letter from David to Nina and her husband is with the printed speech. 27 pages. PRI/102623. Fine.
Munich: Drei Masken Verlag, 1923. Hardcover. Good in the original tan paper wrappers with maroon title and black illustration to front board. Heavy chipping to paper covering spine and edges of boards. Spine panel is no longer present. Boards are a little loose with splits along joints, but they remain attached. Decorated with woodcut title page and initials. Clean interior with offsetting to endpapers. In GERMAN. A fragile binding. 51 pages. PRI/010523. Good.
Norwalk, CT: Easton Press, 2014. Number 245 of 1000 copies. This is a particularly sumptuous production from the Easton Press, issued as a deluxe limited edition. The book is accompanied by a four page insert that describes the origin of this remarkable manuscript in the late 700's to early 800's AD as being created by Scottish monks on the island of Iona. It was moved to Kells, Ireland later in the century and has been protected by Trinity College in Dublin since about 1673, The insert continues by describing the artistry of the Book of Kells and the effort and devotion shown by the monks in its creation, stating that each page is a magnificent work of art in its own right. This edition reproducing each of the was Book's 680 pages was created using printing plates from high-resolution digital imagery from Hammes Keller, Visipix in Switzerland. The book is bound in cream leather imported from Italy, with cover designs made with hand-miller stamping and debossing dies by Lotus Creations. All edges gilt. Printed on Mohawk Via Felt paper especially milled for this edition by Mohawk Fine Papers. Housed in a custom clamshell box with a cream cloth binding that repeats to book's cover design. In fine condition. Measures 9.5 x 13 x 2.25 inches. Unpaginated [680 pages] PRI/012324.
Norwalk, CT: Easton Press, 2013. Hardcover. Number 189 of 400 copies. This handsome deluxe limited edition from the Easton Press is a facsimile of the original edition first published by order of Congress in 1856, with all of the original illustrations. The Perry Expedition led directly to the establishment of diplomatic relations between Japan and the western Great Powers, and eventually to the collapse of the ruling Tokugawa shogunate and the restoration of the Emperor [Wikipedia]. In a custom binding or brown cowhide leather imported from Italy. The covers have a decorative black and gilt border with a gilt illustration of ships at harbor on front. All edges gilt. Printed on Mohawk Superfine text and illustration paper. Housed in a custom slipcase of brown cloth with repeat of the design of the book's cover. Accompanied by certificate of limitation. In original shipping box. In fine condition. Measures 8.75 x 11.5 inches. 537 pages including index. PRI/012324. Fine.
Norwalk, CT: Easton Press 2012. Hardcover. Number 11 of 400 sets of this lovely deluxe limited edition from the Easton Press. It is a re-creation of the limited edition first published in 1893 by George Allen, London. The tales were translated by H. Oskar Sommer, and it included 100 black and white illustrations by Arthur Gaskin. Arthur Joseph Gaskin RBSA (1862 – 1928) was a preeminent English illustrator, painter, teacher and designer of jewellery and enamelwork.. Gaskin and his wife Georgie Gaskin were members of the Birmingham Group of Artist-Craftsmen, which sought to apply the principles of the Arts and Crafts movement across the decorative arts. Like many of the group, Gaskin studied at the Birmingham School of Art under Edward R. Taylor and later taught there [Wikipedia]. The original book as well as this facsimile includes over 100 of Andersen's writings including such famous stories as "The Ugly Duckling," "The Emperor's New Suit," "The Little Match Girl, " and "The Little Mermaid." Gaskin's charming illustrations complement the tales. Bound by Kingsport Book of Tennessee in cream cowhide leather imported from Italy, with beautiful gilt titling and illustration to front covers and gilt titling to spine. All edges gilt. Printed on Mohawk Via Laid paper especially milled for this edition by Mohawk Fine Papers. Housed in a custom slipcase by Dominion Carton of Virginia. Accompanied by a certificate from the press attesting to the limitation, and is in its original packing box. In fine condition. Measures 8 x 10 inches. Volume I: 398 pages; Volume II: 429 pages. PRI/012324. Fine.
Norwalk, CT: Easton Press, 2014. Hardcover. Number 201 of 800 copies of this deluxe limited edition from the Easton Press. It includes all 100 illustrations by Frederick Barnard and others from the famed Edition Deluxe of 1880 published by Strahan and Company. Bound in white cowhide leather imported from Italy, with multi-color decorative covers and gilt titling to spine. Custom binding by BindTech of Nashville. All edges gilt. Printed on Mohawk Superfine Softwhite paper, with lithography by Falcon Press. Certific of limited quantity inserted. In fine condition. Measures 9.75 x 12 inches. 327 pages. PRI/012324. Fine.
Norwalk, CT: Easton Press, 2013. Hardcover. Number 164 of 600 copies of the Deluxe Limited Edition. It is a beautiful facsimile of the 1870 edition of this book published by Cassell, Petter, and Galprin in London and New York. It was published with 118 black and white illustrations by the renowned artist Gustave Doré. Bound in brown cowhide leather from Italy, with a multicolor cover decoration and custom binding by BindTech of Nashville. It is printed on Cougar Opaque paper especially milled for this edition by Domtar Fine Papers of Wisconsin. All edges gilt. Housed in a custom brownish-red cloth slipcase with a black and white copy of a Doré illustration affixed to the front cover. Accompanied by a certificate from the press attesting to the limitation. In original packing box. In fine condition. Measures 9.25 x 12.25 inches. 737 pages. Fine.
Norwalk, CT: Easton Press, 2009. Hardcover. Number 84 of 425 copies . This is the deluxe limited edition replica of the 1896 William Morris edition, issued in 425 copies. This is a magnificent production from the Easton Press and a fitting tribute to the original masterpiece from the Kelmscott Press. From the prospectus: "This special oversized, heirloom edition includes all of the illustrations originally provided by Sir Edward Burne-Jones (there were 87 illustrations) and it features the borders, decorations, and initials as drawn by William Morris. The typeface and de-bossed cover design expertly replicate in fine detail those created specifically for this masterpiece. Beautiful marbled endsheets and gilded page ends are lavish enhancements that also provide incomparable durability." Bound in specially crafted white leather imported from Italy. The cover design, done in gilt replicates the beautiful binding done by the Doves Bindery in 1900 for about fifty copies in white pigskin, the covers tooled in gilt with a border enclosing a design of gouge-work stems, convolvulus flowers, and heart-shaped leaves; spine with six bands and offset head caps, tooled in gilt; plain endleaves. All edges gilt. Marbled endpapers by Peggy Skycraft of Skycraft Designs. Printed on Mohawk Ultrafelt warm white paper specially milled for this edition by Mohawk Fine Papers. Accompanied by a four page prospectus that discusses the history of Chaucer's Canterbury Tales, followed by a short history of the Kelmscott Press. Also inserted is an Easton Press bookplate. Housed in a green cloth covered clamshell box. In fine condition. Measures 11.5 x 16.5 inches. 554 pages. PRI/012624. Fine.
Norwalk, CT: Easton Press, 2011. Hardcover. Number 339 of 400 copies of this deluxe limited edition from the press. It is a facsimile of the original edition published in 1872 by Grant & Co. in London. This reproduction includes all 180 original illustrations by Doré. It was originally published in 13 parts, with 191 pages and illustrations, and then serialized in Harper's Weekly. It has been described as a populist picture book. Doré's 1866 illustrations for the Bible had been a success, and a Dore Gallery had opened on Bond Street. In 1868, Jerrold proposed the work as a portrait of London, inspired by Thomas Rowlandson's Microcosm of London, and work began in 1869. Doré was commissioned to create the illustrations by the publisher Grant and Company, receiving an advance of £10,000 for each of the four projected years of work. His contract required the Paris-based artist to visit London for 3 months each year, and make 250 drawings. The author and artist spent days touring the city together, often accompanied by plain clothes policemen. Jerrold led his friend Doré through the "shadows and sunlight of the great world of London/" The book focused on the deprivation and squalor of the poorest residents of London. It has been considered an early work of social journalism, documenting the high and low society of Victorian London in the mid to late 19th century [Wikipedia]. Bound by BindTech of Nashville in brown cowhide leather imported from Italy. With gilt titling and ornament to cover and spine. Marbled endpapers. All edges gilt. Printed on archival quality paper especially milled by Glatfelter Paper in Pennsylvania. Lithography by Falcon Press of Nashville. Housed in a red cloth slipcase also made by BindTech. Accompanied by a certificate of authenticity. In fine condition. Measures 11.75 x 14.5 inches. 191 pages. PRI/012624. Fine.
Norwalk, CT: Easton Press, 2012. Hardcover. Number 343 of 1865 copies. This handsome edition is a reprint of the 1912 edition published by the War Memorial Association on the fiftieth Anniversary of "the great national struggle." It offers a chronological summary and record of every engagement between the troops, showing the total losses and casualties together with was maps of the localities. It is illustrated with facsimile photographic reproductions of the official war photographs take at the time by Mathew B. Brady, with color plates by Ogden, Thulstrup, Davidson and others. Bound in red cowhide leather from Italy, with multicolor decoration and custom binding by Kingsport Book. All edges gilt. The text, photographs, and color plates are printed on Utopia Matt by Appleton Papers, with section covers on blue Wausau Exact Vellum Bristol. Housed in a custom slipcase of red cloth with repeat of book's cover design. Accompanied with a certificate of limititation and in the original packing box. In fine condition. Measures 8.75 x 12 inches. 512 pages. Fine.
Norwalk, CT: Easton Press, 2011. Hardcover. Number 25 of 400 sets of this deluxe limited edition. The Metamorphoses is a Latin narrative poem from 8 CE by the Roman poet Ovid. It is considered his magnum opus. The poem chronicles the history of the world from its creation to the deification of Julius Caesar in a mythico-historical framework comprising over 250 myths, 15 books, and 11,995 lines. The Metamorphoses is one of the most influential works in Western culture. It has inspired such authors as Dante Alighieri, Giovanni Boccaccio, Geoffrey Chaucer, and William Shakespeare. This is a magnificently produced facsimile of the edition as first published in Amsterdam by Westeins and Smith in 1732. The text was printed in Latin and English, with historical explications of the fables, written in French by the Abbot Banier. It was extensively illustrated, with classic engravings and the illustrations are here produced by lithography by Falcon Press. Bound in brown cowhide leather from Italy, with gilt titling and ornaments in a custom binding by BindTech of Nashville. All edges gilt. Printed on Mohawk Feltmark archival quality paper especially milled for this edition by Mohawk Fine Papers of New York. Accompanied by a certificate of authenticity and housed in the original packing box from the press. In fine condition. Folio volumes measuring 11.5 x 18 inches. Volume I: 1-248 pages; Volume II: 249-524 pages. PRI/012424. Fine.