Minneapolis: Angel Bomb Press, 2022. Deluxe Edition. Number 28 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/112222. Fine.
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Minneapolis: Angel Bomb Press, 2022. Number 86 of 200 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. Bound in tan cloth backed blue cloth covered boards with embossed title to front board and paper belly band with "Secondary Polar Expedition: Antarctica." 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/112222. Fine.
North Hills, PA: Bird & Bull Press, 1982. Hardcover. One of 500 copies. A facsimile of the the important 1664 history of printing by Richard Atkyns and the Caslon specimen book published in 1764. The introductory text by Carey Bliss was composed in Van Dijck types and printed on Frankfurt paper. The facsimiles were printed on Mohawk Text and the binding was done by Gray Parrot. Bound in beige cloth with title label on spine. Housed in a blue paper covered slipcaseshowing slight wear. In fine condition. Quarto. 137 pages. PRI/112222. Fine.
Bedford Park: Caradoc Press (H.G. Webb), 1906. Vellum Backed Paper Covered. One of 350 copies. The Caradoc Press was founded in 1899 by H. George Webb and his wife. During its ten year existence it published only twenty books, of which this book was number seventeen. The influence of the Kelmscott Press is evident in the use of Kelmscott’s Batchelor paper for most of their titles. This book also takes cues from the Kelmscott Press with a red title to title page and numerous printing flourishes that decorate and successfully display Morris' influence. The beautiful poem is written in early English. There is a glossary at the end of the book with “translations” of unfamiliar words and spellings. In vellum backed gray paper covered boards with gilt title stamp to spine and blind embossed emblem to cover. Very clean and attractive binding with only slight edgewear near the corners and light soiling to spine vellum. Internally the book is presented beautifully on handmade paper with an elaborate black border with a red emblem to the frontis. Slight split to gutter between the frontis and title page, however the binding remains tight and sound. Tasteful bookplate of "John Stockbridge Barrow on pastedown. Offsetting to free endpapers. Very good condition. 78 pages including glossary. PRI/112122. Near Fine.
Hammersmith: Eragny Press, 1905. Hardcover. One of 175 paper copies. There were also 10 vellum copies. Founded in 1894 by Lucien 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 beautiful copy is bound in full dark green morocco boards with gilt title to spine and gilt rulings to covers. It has been expertly restored with a modern spine and five raised bands. The beautiful leather covers have Art Nouveau style inner dentelles featuring a pink inlaid floral motif. The binding is signed by H.S. Chatfield. An article in the New York Times of February 12, 1915 describes Chatfield's work to be “charming and discreet, his inlays almost persuade the most conservative, the best of his linear decoration is firm and true in execution and well-balanced in design.” There is minor wear to the edges and corners of the boards. The interior is clean and bright with the original pink and green floral patterned color wrappers bound in. The frontispiece, printed in olive green, was designed and cut by Laurence Binyon. The decorations and initials were designed by Lucien Pissaro and engraved by Esther Pissaro. Pencil ownership signature of Hilda Beecher Stowe of New York. Near fine condition. 28 pages plus colophon. PRI/112122. Fine.
Chipping Camden: Essex House Press, 1906. Boards. One of 300 copies. An attractive copy of this book of 43 lovely poems by Housman's from the well known Essex House Press. The Essex House Press was founded by C R Ashbee, who also ran the Guild of Handicraft in London. The Press is named after the London workshops of the Guild at Essex House on the Mile End Road in the East End. Ashbee bought the Kelmscott Press’s Albion printing presses after William Morris’s death, and employed one of the Kelmscott compositors Thomas Binning. Ashbee endeavored to carry on the work of Morris’s Press. The Essex House Press moved with the Guild to Chipping Campden in 1902, and produced 84 titles. Quarto volume bound in blue paper boards with vellum spine with gilt titling. Some bumping to corners of boards and light signs of handling. Interior pages are bright and clean with offsetting to free endpapers and slight darkening to some of page edges. Very good condition. 56 pages. PRI/112122. Very Good.
Santa Cruz: Foolscap Press, 2002. One of 200 copies. This is an unusual and lovely scroll book, which, according to the Press, follows the written record of a wondrous monument standing in Athens. The Tower has been explained by scholars from antiquity to the present, yet the Tower of the Winds was and still is a mystery to those who study it. The work is original to the Foolscap Press both in content and exterior form, and was created as a biblio-artifact, both a book and an object. The book is in a pre-codex form, allowing the reader to scroll through history viewing the subject along a panorama 25 feet in length. In addition to reproducing historic texts, there are illustrations of the Tower by James Stuart and Nicolas Revett, two important early British architects. The work is printed in Adobe Herculanum type on Zerkall Book and hand made papyrus from Egypt. It is housed in a formed sculptural / architectural case. Each case is a rigid cylinder hinged with cloth and lined with a map of ancient Athens. Issued with handling instructions. It is a stunning and inventive work from this press. Scroll is in fine condition. PRI/102022. Fine.
Santa Cruz: Foolscap Press, 2022. Hardcover. Number 36 of 100 copies, signed by the author, translator, and illustrator. "A novel in eight chapters, each of which are distinct episodes in the life of the narrator. The chapters show us moments of supreme lucidity where the narrator is consciously alive to the beauty of the world and the possibility of love in its many aspects. The setting is the Brezhnev era in the Soviet Union where as the narrator states, love is in essence subversive.' The essence of this novel is how to move beyond recrimination of the past or even the promise of the future and to be consciously alive to the beauty around us, and to that possibility of love. Andreï Makine is an elegant stylist who allows us to witness these clear moments throughout this moving and thoughtful novel" (Foolscap Press). The author, Andreï Makine, was born in Siberia in 1957, but has lived in France since 1987 where he was granted political asylum. He writes in French but has worked closely with Geoffrey Stachan to translate all of his novels into English. Both the author and translator have won awards for their work. The illustrator, Vlad Zimakov, is an art proessor and director of the art gallery at Lasell University in Massachusetts. Bound in grey cloth with red leather spine titled in grey. Includes eight full page color illustrations and eight vignettes. Designed, printed, and bound by Peggy Gotthold and Lawrence Van Velzer. Letterpress printed on Rives paper in Van Dijck type. Housed in a red cloth covered box with gilt and leather title label to spine. Pristine. Size: 9.75 x 13.5 inches. ?? pages. Fine.
New York: Privately Published, 1942. Special edition bound in full leather, unnumbered. This is one of 50 copies specially bound in leather by Russell-Rutter Co. Inc. There was also a regular edition of 349 copies. Printed from type by the H. Wolff Book Manufacturing Co., Inc with illustrations printed in offset lithography by the Zeese-Wilkinson Co. According to the acknowledgment and thanks: "All materials and services have been contributed to the Joint Anti-Fascist Refugee Committee, sponsors of this special edition. All proceeds from the sale of this edition will be turned over to the Committee, whose work is to arrange for the transporation to Mexico of victims of the Fascist terror in French concentration camps." This play has the theme of anti-fascism. Bound in full dark brown leather with raised bands, gilt title and author to spine. Gilt dentelles and brown cloth endpapers. Rubbing to leather on hinges and spine bands, and edges. Smudge mark to title page and minor toning to pages, else clean. Includes multiple full page illustrations by a variety of artists including Fritz Eichenberg. Unpaginated. DRA/111122.
Hammersmith: Kelmscott Press, 1893. One of 1500 paper copies. According to the Peterson 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 appears to be the third impression with both words spelled correctly. The colophon states that this paper, first spoken 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. Bound in original blue paper boards with a linen spine. . Boards are bumped and soiled and the linen spine is darkened and a small tear at the top. A few of the gutters in the interior are exposed from the boko being opened flat. Chip in front pastedown paper and embossed ownership stamp on front free endpaper. Otherwise in very good condition. condition. 68 pages. PRI/112122. Very Good.
Hammersmith: Kelmscott Press, 1892. William Morris greatly admired The Golden Legend, a medieval collection of saints' lives. It was one of the first books printed in England by William Caxton, (1422- 1491), the first English printer, who, as a translator and publisher, exerted an important influence on English literature. In his bibliography of the Kelmscott Press, William Peterson writes that The Golden Legend was intended to be the first book produced by the press, but because of its length and some problems with paper delivery, Morris was forced to issue several shorter volumes before it was completed. The book was completed in three volumes and a celebratory dinner was held in October 1892 (Bibliography pages 19-24). It was printed in Golden type on Flower paper. These 5 leaves display the fine printing and handsome Morris-designed ornamental initials. The leaves comprise pages 603-606, 609-612, and 623-624 from Volume II. The leaves are from a disbound edition. There are twenty-one 6-line initials and three10-line initials. The leaves are in very good condition with slight aging to margins. A nice addition to a teaching collection for the printing arts and history of the book. PRI/090122. Very Good.
Hammersmith: Kelmscott Press, 1892. William Morris greatly admired The Golden Legend, a medieval collection of saints' lives. It was one of the first books printed in England by William Caxton, (1422- 1491), the first English printer, who, as a translator and publisher, exerted an important influence on English literature. In his bibliography of the Kelmscott Press, William Peterson writes that The Golden Legend was intended to be the first book produced by the press, but because of its length and some problems with paper delivery, Morris was forced to issue several shorter volumes before it was completed. The book was completed in three volumes and a celebratory dinner was held in October 1892 (Bibliography pages 19-24). It was printed in Golden type on Flower paper. These 16 leaves display the fine printing and handsome Morris-designed ornamental initials. The leaves comprise pages 529-536, 539-546, and 549-562 from Volume II. The leaves are from a disbound edition, and except for a couple of inserted leaves, they are attached together by the remnants of the threads and cords used in the binding. Some of the signatures are still unopened. There are twenty-nine 6-line initials and four 10-line initials. The leaves are in very good condition with slight aging to margins and a small crease to the right top edge of a few. A nice addition to a teaching collection for the printing arts and history of the book. PRI/090122. Very Good.
Lexington, KY: The Anvil Press, 1993. Hardcover. Number 35 of 75 copies. A beautiful edition of The Tempest from Victor Hammer's Anvil Press. In her foreword, Carolyn Hammer explains why they chose Capell's 18th century text for this book, including why they retained the unusual punctuation and "novelties" found in Capell. Bound in decorated paper evocative of the island on which the play's characters were stranded, with a black linen spine with a title label. Printed on Magnani paper with the text composed in Victor Hammer's American Uncial typeface. In her afterword, Carolyn thanks her collaborators on this production and notes that the Chiaroscuro woodcut on the title page was commissioned especially for the Anvil Press edition. Laid in is a bookmark from the press. In fine condition. Measures 6.5 x 9 inches. 107 pages plus afterword. PI/112221. Fine.
The Golden Cockerel Press, 1923. Hardcover. Number 135 of 450 copies. An early book from the renowned press, which produced books from 1920 to 1960. Bound in gray paper boards with linen spine. Boards are soiled and bumped. Spine is darkened with splits along the side and tear at the top. Rear hinge cracked. Some gutters exposed. Some pages unopened. Text pages generally clean with light age-toning. About very good. 250 pages. PRI/112122. Very Good.
London: Vale Press, 1901-1902. Ricketts, Charles. Hardcover. One of 310 copies, of which 187 copies were for sale in England and 100 in America. A beautiful representative production from the important Vale Press of Charles Ricketts. Volumes I and II were published in 1901, followed by Volume III in 1902. Bound in the original beige cloth boards with gilt titles to spines. Browning and discoloration to spines, minor fraying to head of spines, and minor foxing and soiling to covers. Printed on laid paper with elaborate title pages and decorative initials, all of which were designed by Ricketts. Most pages remain unopened. Very light browning to endpapers and page edges; otherwise, the interiors remain very clean and bright. Very good condition. Measures 5.75 x 9 inches. Each volume has approximately 200 pages. [Watry, The Vale Press p.163-164] PRI/112122. Very Good.
Washington: Wiesedruck, 2020. Hardcover. Number 25 of 40 copies, including five sold out deluxe copies. Signed and numbered by the artist. Poe's introduction to "The Conchologist's First Book: Or a System of Testaceous Malachology" is presented within along with forty-one etchings of fifty-six shells by artist Sarah Horowitz. She writes about this exquisite book on her website: " I received two large cardboard boxes of individually wrapped shells eight years ago after the death of my paternal grandmother. Each shell was in a cellophane bag, stapled shut with a fortune-cookie-sized strip of paper on which was typed the Latin name and origin of the shell. My grandparents had purchased the shells in the Philippines where they lived in the late 1960s. Their house was a veritable cabinet of curiosities which was magical to me. I am engrossed by collections, particularly those of complex organic objects, and by the books that document these collections. This book is as much about the history of collecting and the act of recreating my grandparents’ collection, as it is about shells. This text by Edgar Allan Poe was written as an introduction to The Conchologist’s First Book, first published in 1839 and adapted from Thomas Wyatt’s Manual of Conchology. It was intended to be a cheaper, more concise version of Wyatt’s book for use in schools. Poe was paid to have his name on the title page in order to help sales, but he also wrote an original preface and introduction, and edited and re-organized the text. Poe had an interest in shells from time spent on the South Carolina coast while in the US Navy, and considered the study of shells to be one of the most important branches of natural history. Wyatt’s original text borrowed much material from The Conchologist’s Textbook by naturalist Thomas Brown who derived his work from the writings of Jean-Baptiste Lamarck and Carl Linnaeus." Orange leather spine with decorative printed paper covered boards and gray leather title label to spine. Housed in a cloth covered box with matching paper covered edges. Letterpress printed by Arthur Larson of Horton Tank Graphics on Phoenix paper made specifically for this project by Gangolf Ulbricht in Berlin, Germany. Identification pages are printed on Kaji Natural paper. Housed in a gray cloth slipcase. Binding and slipcase by Claudia Cohen. Measures 6.5 x 9 inches. Unpaginated. PRI/090722. Fine.
Wayland, MA: Wild Pangolin Press, 2022. Hardcover. Number 7 of 34 copies signed and numbered by book artist Vladimir Zimakov. This exuberant production is based on the nonsensical poem by Lewis Carroll that originally appeared in the novel Through the Looking-Glass. The poem is a conversation between two people – the narrator and the aged man that the narrator encounters. In this edition, the subject matter of the conversation, as well as the manner of speaking at various stages of the poem, is interpreted through an inventive combination of type and imagery. Designed, illustrated, printed and bound by Vladimir Zimakov between 2017 and 2021. Printed from original linocuts, with polymer and metal type, at Wild Pangolin Press and Reflex Letterpress. Type used for the words of the narrator is Kabel. Type used for the words of the aged man: Caslon, Gill Sans, Goudy Old Style, Trajan, Futura, Caviar Dreams, Din and Porter. Some freedoms were taken to alter certain letterforms in the layout design. Printed on 250 GSM Rives BFK paper. The text of the book is an accordion structure bound in light brown cloth with a red cloth spine with black titling. Housed in a red & brown cloth slipcase. In fine condition. Measures 12 x 10 x 1..5 inches. Unpaginated [36 pages]. PRI/091422. Fine.