Mission, British Columbia: Barbarian Press, 2021. Hardcover. From an edition of 125 copies. This is one of the copies from the Regular state of 43 sale and 10 hors commerce copies. The Deluxe state comprises 62 sale and 10 hors commerce copies. This beautiful produced work is the 50th book from the renowned Barbarian press. It presents the evocative and moving poetry of Molly Holden from her five books published during her lifetime and eight previously unpublished poems in nine thematic groups, with a half-title derived from one of the poems in each section. The introduction provides a biographical sketch of Holden, documenting her life as a writer and her struggles with multiple sclerosis, which caused her death at the age of 55. In his afterword, Crispin offers a wonderful discussion of the nature of poetry and of Molly Holden's poems in particular. He writes that her poetry is "innately curious - both persistently questioning and stubbornly independent....After spending time reading Molly Holden's poems, we might well find her own account of her state after 'Country journeys' an apt description of our own condition: I arrive at the end of journeys/prostate with experience, my backside/stiff, my humanity overflowing,/my self plural with anticipation." The poems were hand-set by Apollonia Felicity Elsted in Joanna roman and italic with Tiern Titling for display, and printed by Jan and Apollonia Elsted. Printed on Zerkall Smooth White Wove paper. The engravings by Andy English are printed from the wood. Bound in half green Japanese silk with paper decorated with typographical ornaments and housed green cloth slipcase with cream title and author label to spine. Bound by Alanna Simenson of Mad Hatter Bookbinding. In fine condition. Measures 7.75 x 11 inches. 271 pages plus an afterword of ten pages. PRI/012822. Fine.
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Moscow: Emil Goozairow, 2021. Emil Goozairow is a Russian artist who paints and draws, produces movies, and creates exceptional miniature handmade books that are printed on rare types of paper and published in limited editions. His techniques create unique designs that often are made with natural materials alone or in combination with relief decorations made from metal or poymeric clay. He creates books that he describes as "pop up," “kinetic carousel," “liporello” or “3D origami.” He also writes fairy tales, stories and mystical scenes. This delightful handmade miniature pop-up book opens into a star shaped structure with the text of Carroll's well known Christmas poem from 1867 printed on red boards juxtaposed with colorful illustrations that pop up as the pages are turned. The front cover of the book has a three dimensional structure with the author and title on the front cover and red felt on the back. A charming Christmas memento from this inventive book artist. In fine condition. Measures about 2 x 3 inches. Unpaginated. ARTB/111221.
Moscow: Emil Goozairow, 2021. Emil Goozairow is a Russian artist who paints and draws, produces movies, and creates exceptional miniature handmade books that are printed on rare types of paper and published in limited editions. His techniques create unique designs that often are made with natural materials alone or in combination with relief decorations made from metal or poymeric clay. He creates books that he describes as "pop up," “kinetic carousel," “liporello” or “3D origami.” He also writes fairy tales, stories and mystical scenes. This charming handmade edition of Lewis Carroll's well-known Christmas poem from a fairy to a child. Emil's delightful color illustrations unfold on one side of each of the eight pages, while the text of the poem appears on the other. The book's covers have a three dimensional gilt polymer star-shaped structure with a green background that evokes a Christmas tree. When closed the book fastens with a brown cord that attaches to a hook on one of the covers. A delightful Christmas memento from this inventive book artist. In fine condition. Measures about 2.5 x 2.5 inches when closed.
New York: Macgraw-Hill Book Company. Hardcover. Undated. Thin 4to. Solid copy of this emotional book. In linen covered boards with black titling to spine and black/gold illustration on front board. Red ribbon bookmark undamaged and bound in. In cream, illustrated dust jacket with black title to spine. Toning to jacket overall, more evident on spine panel. Some edgewear including long closed tear along edge of rear flap and small, somewhat crude, tape repair to front edge. 80 pages. HOLOCAUST/121521. Very Good / Very Good.
New York: Béatrice Coron, n.d. Number 2 of 3 copies. Coron and her collaborator the Canadian poet Charles Gill have created an inventive artist's book with Gill's evocative poem on gold seekers illustrated with Coron's intricate papercuts that show the gold hunters in their often desperate attempts to find gold. Coron describes her book work: "For the last 20 years, I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. These visual chronicles record archetypal stories that transcend time and space. I have been fascinated by the relation of people to their space and the sense of belonging. Using papercutting where everything is cut from a single piece of Tyvek, the profusion of individual stories makes a coherent whole world." [From her website]. This work is done from hand-cut brown Cave paper with gold leaf appliqué. The text of the poem is printed on four white labels affixed to the bottom margins of the folded pages. Housed in a folder covered with brown textured paper with a paper title label. In fine condition. Measures 6 xx 22 inches when unfolded. ARTB/090821. Fine.
New York: Béatrice Coron, 2013. Paperback. Number 6 of 6 copies. This is an inventive book that renowned book artist Béatrice Coron did with her frequent collaborator, the poet Mick Stern. In his poem, Stern asked an onion, "Who am I?" The onion replies by instructing the seeker to look inside of the inside; peel away name and address; peel off family, country, religion; remove language, gender, and race; teling the seeker that he is left as a tear that dried on his mother's cheek as she chopped an onion. Coron's illustrates the poem by cutting an onion shape on each page that gets smaller as the pages are turned. The shape on the last page is the mother's tear. Coron describes her book work: "For the last 20 years, I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. These visual chronicles record archetypal stories that transcend time and space. I have been fascinated by the relation of people to their space and the sense of belonging. Using papercutting where everything is cut from a single piece of Tyvek, the profusion of individual stories makes a coherent whole world." [From her website]. Hand-cut on textured white Fabriano paper. Housed in a yellow paper sleeve with a cut-out revealing the onion shapes of the book's pages. In fine condition. Size: 6 x 7 inches. Unpaginated [13 pages printed on verso only]. ARTB/081921. Fine.
Barcelona: Granja Grafica, 2014. Hardcover. Number 29 of 72 copies. An inventive work from Barcelona's Granja Grafica Press. The press was founded in 2008 by Elies Plana, a Catalan printer, and Gaby, an Argentinean graphic designer. Edgar Allan Poe's poem, "The City in the Sea," first appeared in 1831 under the title "The Doomed City." In 1836 another version, "The City of Sin," was published in the Southern Literary Messenger. Not until 1845 was the poem published as "The City in the Sea." It has been called one of Poe's best poems. In this book the poem is printed both in English and Catalan. The translation is by Francesc Parcerisas, an important and prolific Catalan poet. The book is printed in an accordion structure that allows the pages to be turned conventionally or to be unfolded to show all of the pages with the striking original continuous linocut by Elies Plana of modern city rooftops. Done in black and white with various color skies. Verso pages have a geometric grey and white design that echoes the blue and green endpapers. Bound in gray paper covered boards with title and author in black to spine and front cover. Letterpress printed in Weiss, Italic and Helvetic type on Biblios, Guarro paper. Housed in a black cloth covered slipcase with a gray ribbon pull. In fine condition. Unpaginated. PRI/050322. Fine.
London: William Heinemann Ltd., 1925. Hardcover. Later edition of this classic, finely bound with Stars of the Desert and The Garden of Kama. These popular volumes of lyric poetry were written by Adele Florence Nicolson using the pseudonym of Laurence Hope. In 1900, Adela Nicolson, who also used the name Violet Nicolson, began to publish her poetry under the pseudonym Laurence Hope. Hope’s formal verse, steeped in the Indian landscape and Sufi symbolism, often assumes the voices of Indian dancers and slaves to engage themes of passionate love and loss. Her first collection, The Garden of Kama (1901), was initially presented as a translation and arrangement, rather than the original poetry it was later revealed to be. In 1904 her husband died during a medical operation; two months later, at the age of 39, she committed suicide with poison [ Poetry Foundation]. Beautifully bound by Sangorski & Sutcliffe in dark red leather with gilt rulings to covers. Spine with gilt decorations and author and title labels to six compartments with raised bands. Some light chipping to spine hinges but very good. All edges gilt. With gilt dentelles and lovely patterned endpapers. Interior pages are also very good, with frontispiece portrait of author. Octavo volume. Indian Love: 92 pages; Stars of the Desert: 152 pages; The Garden of Kama: 174 pages. POETRY/021622. Very Good.
London and Philadelphia: J.M. Dent and J.B. Lippincott, 1894. Hardcover. A charming set of British ballads. They range by those from anonymous composers and writers to those by such well known figures as Wordsworth, Scott, Keats, Browning, Kipling, and Swinburne. The ballads are accompanied by many delightful black and white illustrations and vignettes by Cooke. Bound in three quarter brown leather with marbled paper boards and endpapers. Leather is scuffed and worn. Spine labels missing from Volumes I and II. Scuffing to paper boards. Top edges gilt. Text pages are generally clean and bright with occasional light spotting. Very good condition. Measures 5 x 7.25 inches. Volume I: 254 pages: Volume II: 285 pages; Volume III: 290 pages; Volume IV: 311 pages. POET/102121. Very Good.
Oxford: Clarendon Press, 1908. Hardcover. A lovely little volume of French poetry that includes such writers as Baudelaire, Chateaubriand, Froissart, Gautier, Hugo, Moliere, Ronsard, Villon, and Verlaine. Bound in full dark red leather by the binder Morrell with raised bands, gilt titling, and gilt dentelles. Light wear to edges and joints. Rear hinge is cracked. Rear dentelles have chips. Offsetting on free endpapers from leather turn-ins. Call number faintly visible on spine and small accession number in ink on verso of title page. Remnant of signout slip on rear endpaper. Interior pages are clean and bright. Bookplates of Elsie Bogardus Murphy and John P. King. Still very good condition. Measures 4.25 x 6.75 inches. 492 pages. FRENCHL/101921. Very Good.
London: John Lane and the Bodley Head Ltd. King, Jessie M. Hardcover. A lovely edition of William Morris's poems. In addition to the title poem, this romantic collection of 30 works includes King Arthur’s Tomb, Rapunzel, and Old Love. The exquisite black and white illustrations throughout exemplify Jessie M. King’s (1875-1949) imaginative and mysterious style of art. King was one of the foremost artists of the Glasgow school, active at the turn of the century. An anomoly - the illustration facing page 18 is the same as that facing page 22. The illustration listed for page 22 is not present. There is a beautiful King cover illustration in gilt, as well as lovely headpieces, and tailpieces throughout. Binding is bright red with very slight bumping to spine and book corners. Very light foxing to front and rear end papers but interior is bright and clean. Very good plus condition. 310 pages. MOR022322. Very Good+.
Hammersmith: Kelmscott Press, 1897. One of 300 paper copies. There were an additional 8 vellum copies. A lovely copy of one of the Kelmscott Press's most beautiful books. This was the last but one of the books issued by the press. It was only the second book to be printed in three colors, with the addition of blue to the usual black and red. It includes two illustrations by Edward Burne-Jones, engraved on wood by W.H. Hooper. The frontis illustration was designed for this edition. The second illustration at the end of the text was originally intended for an early illustrated edition of this work that was never produced. Bound in limp vellum with the six fragile silk ties present. Love is Enough is stamped in gold on the spine in Golden type. Some light discoloration on covers but still about fine. The text is printed on Perch paper in Troy type, with stage directions in Chaucer type. With ornamental borders and initials throughout [Peterson bibliography A52]. An exceptionally nice copy in fine condition. Housed in a serviceable clamshell box covered in red cloth with gilt title to spine. Large quarto. 91 pages. PRI/050322. Fine.
London: Macmillan & Co., 1893. Hardcover. First edition of this beautiful version of Christina Rossetti's famed poem with the influential illustrations and cover design by Laurence Housman. It remains one of the most noted illustrated books of the late nineteenth century. The scarce dust jacket is present but in barely good condition. A previous owner saw fit to use tape along the upper and lower edges, and there is fraying along top of jacket and a piece missing from the bottom of the spine. Protected by a commercial mylar cover. Bound in green silk cloth with the gilt repeating design to both covers. Very slight bumping and light wear to spine edges. offsetting to front and rear endpapers from the dust jacket. Interior pages have some mild aging to margins, and the gutters are exposed in a few places where the book was opened flat. With twelve full page illustrations and numerous text decorations. Still a nice copy in very good condition. Small octavo. 63 pages. PRERAPH/051022. Very Good.
Freeville, NY: Carol Schwartzott, 2021. Hardcover. Number 3 of 25 copies signed and numbered by the book artist. A collection of seven love poems originally from the book "India's Love Lyrics" compiled and translated by Laurence Hope. It includes the original illustrations that have been reworked from Carol's earlier book, "King Zada's Song" (1995). The interior of the book "follows a simple flutter style / accordian format, with each of the six hand-cut arched windows folding out to create tiny theaters displaying illustrations reminiscent of classic Indian miniatures" (artist statement). Bound in paper covered boards with title label to front cover. Digitally printed on Mohawk Superfine Vellum with additions of hand coloring. Housed in a handmade box covered in a variety of papers with title label to spine panel. In fine condition. Measures 3 x 2 inches in a box that is 4.25 x 2.5 inches. Unpaginated. [46 pages.] ARTISTSB/122121. Fine.
Paris: Baudry's European Library, 1838. Hardcover. Minstrelsy of the Scottish Border is an anthology of Border ballads, together with some from north-east Scotland and a few modern literary ballads, edited by Walter Scott. It was first published in 1802, but was expanded in several later editions, reaching its final state in 1830, two years before Scott's death. It includes many of the most famous Scottish ballads, such as The Young Tamlane, The Twa Corbies, The Douglas Tragedy,The Wife of Usher's Well, The Cruel Sister, The Dæmon Lover, and Thomas the Rhymer. Scott enlisted the help of several collaborators, and found his ballads both by field research of his own and by consulting the manuscript collections of others. Controversially, in the editing of his texts he preferred literary quality over scholarly rigour, but Minstrelsy of the Scottish Border nevertheless attracted high praise from the first. It was influential both in Britain and on the Continent, and helped to decide the course of Scott's later career as a poet and novelist [Wikipedia]. Each ballad is accompanied by a history and explanation of the ballad's origin and meaning. This is a later edition published in English by a French publisher. It is bound in three quarter dark brown leather with green cloth covers. Spines have red title labels and gilt decorations. Leather is rubbed, bumped and worn, and the green cloth is darkened along the spine. Hinges a bit tender. The interior pages are very good with occasional light spotting and dampstain to the top margin of the first few pages of Volume I. Measures 5 x 8.5 inches. Volume I: 313 pages; Volume II: 324 pages. SCOT/092021. Very Good.