Monmouthshire: The Old Stile Press, 2006. Hardcover. Number 59 of 150 copies numbered and signed by Davis and Adams. The story of Bluebeard has a long history, from Perrault's Fairy Tales through Maeterlinck, and is deeply embedded in the dark storytelling of the early twentieth century. Béla Balázs, heavily influenced by the French Symbolists, wrote a play which inspired his fellow countryman Béla Bartók to create a truly Hungarian opera. The music and the libretto in their turn have drawn from Susan Adams a sequence of stunning images. Each page evokes the unfolding terror that the walls of Duke Bluebeard's castle have witnessed. The chilling story is of the young bride, Judith, brought to her new home by the Duke. She longs to fling open windows, to let sunlight flood into her castle but gradually she has to face the truth of what may have happened here -- the truth of the destroyed lives of three previous wives. The libretto is the English version made by John Lloyd Davies for performances of the opera in the UK. Printed in Eric Gill's Joanna type on BFK Rives paper. The 18 images by Adams use two printmaking techniques, printing directly from woodblocks in black (with two in white) and digitally generated photopolymer line blocks, printed in red. The small folio book is bound in black and red paper and covered with red paper with printed with woodcuts on both covers. The slipcase has grey sides with a black border, again printed with images by Susan Adams. A particularly striking production from this excellent private press. In fine condition. Unpaginated [56 pages]. PRI/061416. Fine.
Refine search resultsSkip to search results
Monmouth shire UK: The Old Stile Press, 1998. Hardcover. Number 160 of 200 copies. Signed by the artist and essayist. From the Press: "When The Affectionate Shepheard was first published, in London in 1594, its author was 20 years of age and immediately became a celebrity -- although he ceased to write six years later. In the centuries since, however, both poem and poet have largely disappeared from sight. Printings have been few and this one is thought to be the very first to be accompanied by images. The poem followed the rich tradition of pastoral poetry and was influenced especially by the second Eclogue of Vergil, taking unrequited love as its theme and, as its subject, the love of a shepherd, Daphnis, for the young man, Corydon. An essay, putting the work fascinatingly in its historical and literary context, has been specially written by Dr. Peter Wakelin for inclusion in this edition. If the poem is an unusual and worthwhile rediscovery, so is the printmaking technique employed by Clive Hicks-Jenkins. Involving glass and a layer of pigment, it is more akin to line engraving on, say, metal than to any form of drawing. This publication is also remarkable for being the first of our books to be printed entirely on paper handmade by Frances McDowall at The Old Stile Press." Printed in Bulmer types on McDowall's handmade paper.Illustrations on each page produced from autographic relief images using a variant form of cliché verre. Bound in vegetable parchment hand toned by the printer, illustrated on both covers with outline designs printed in grey, black spine titling. Special endpapers handmade by Frances McDowall. Foxing to some pages. Housed in a folding slipcase covered in burnt orange cloth, lined with blue Ingres paper. Octavo in near fine condition. 58 pages. PRI/061416. Near Fine.
Monmouthshire, England: The Old Stile Press, 2008. Hard Cover. Number 70 of 195 copies in Main Edition. Illustrated by Michael Onken and signed by him. This book came when the McDowells, proprietors of the press, discovered this text among the papers of George Mackay Brown. He wrote it in 1984 and it had a single public reading but was never published. The play draws on the tales of the Selkie folk. The American artist, Michael Onken, has found Orkney to be his "spiritual" home, and also was drawn to the Selkie legends. This book is a result of the play's discovery. Bound in cream cloth front cover with illustration in brown. Backing and rear board are blue linen. Housed in fine grey slipcase with paper illustration of Mackay Brown affixed to front. Designed and printed by Nicolas McDowell in Albertina type on grey Velin Arches paper. The artist's wood engravings, woodcuts,and linocut images were printed in black and white from the original blocks. Binding by The Fine Book Bindery using paper printed at The Old Stile Press. In fine condition. Unpaginated [56 pages]. PRI/061316. Fine.
Oldham, England: Old Stile Press, 2012. Hardcover. Number 24 of 100 copies. Signed by the illustrator and author. This story is about the author overcoming her fear of swimming in the Medway River, which was close to where she grew up. The accompanying black and white photographs, which are composed of multiple layers, effectively capture the emotions and perceptions of the author as she wades through an eerie river landscape. This is the author’s first complete short story. It was published in The Warwick Review and in Salt’s Best British Short Stories 2011. Bound in grey paper covered boards with the title printed on the front cover and the name of the press on the rear cover. A flowing design of lines is printed continuously on the spine and both covers in brown and blue ink. Clean and bright with tipped in illustrations. Printed on Velin Arches paper in Zapfino type with Aries italic. Includes ten photographic illustrations printed using archival inks on FibaPrint photographic paper. In fine condition. Unpaginated. PRI/070912. Fine.
Oldham, England: Old Stile Press, 2012. Hardcover. Number 23 of 100 copies. Signed by the illustrator and author. A story about the author overcoming her fear of swimming in the Medway River which she grew up on the banks of. The accompanying black and white photographs which are composed of multiple layers effectively capture the emotions and perceptions of the author as she wades through an eerie river landscape. This is the author's first complete short story. It was published in The Warwick Review and again in Salt's Best British Short Stories 2011. Bound in grey paper covered boards with the title printed on the front cover and the name of the press on the rear cover. A flowing design of lines is printed continuously on the spine and both covers in brown and blue ink. Clean and bright with tipped in illustrations. Printed on Velin Arches paper in Zapfino type with Aries italic. Includes ten photographic illustrations printed using archival inks on FibaPrint photographic paper. Unpaginated. PRI/070912. Fine.
Monmouthshire, UK: The Old Stile Press, 2010. Hardcover. 1 of 60 copies. Illustrated with textual descriptions by Natalie d’Arbeloff. The artist created these gestural pen and ink figure drawings over fifty years ago while she was a student in New York City studying under Jack Tworkov, a prominent abstract expressionist. D’Arbeloff is now a printmaker, cartoonist, and book artist with work in collections around the world. Bound in blue paper covered boards with gilt title to spine and black illustration to front cover. Printed on Velin Arches Blanc in Aries type. The images were printed at original size with photopolymer plates. The text is printed in grey with titles in blue and illustrations in black. In fine condition. Unpaginated. PRI/081111. Fine.
Oldham, England: The Old Stile Press, 2007. Hard Cover. Number 62 of 200 copies numbered and signed by the artist. It is said that the poet, Chauras, fell passionately in love with the kings daughter, Vidya. When King Sundava discovered the affair, he threw Chauras in the dungeon and sentenced him to death. While awaiting his execution, he composed this poem about his love for Vidya. Originally written in Sanskrit, this poem was translated by Powys Mathers who knew no Eastern languages and translated mainly from French versions of Oriental poetry. He translated this poem while in an army hut during the first world war. The striking black and white lineblock illustrations are taken from collages by Glenys Cour. Fine in green and gray patterned paper with a magnatized flap closure. An illustration of Vidya is printed on the inside of the flap so that her image can be ever present as the poem of her lover, Chauras, is read. The interior is printed on Zerkall paper and is printed in Benguiat type. The binding and all of the printed papers were designed at The Old Stile Press and executed at Fine Bookbinders Ltd. A beautiful book in fine condition. Unpaginated. [72 pages] PRI/061016. Fine.
Oldham, England: The Old Stile Press, 1989. Hardcover. Number 149 of 220 copies. Signed by the illustrator. The Gymnopaediae was an ancient Greek festival at which nude young boys would dance, sing, and display their athletic abilities to honor Apollo. Filled with linocut illustrations of nude male athletes in various poses. Bound in quarter black cloth with blue paper covered boards. Black title to spine and terracotta illustration of a Greek sculpture of a nude boy to the front cover. Printed on Saunders HP mould-made paper in Joanna and PerpetuaLight Titling type. Housed in a beige cloth covered slipcase printed in terracotta with a series of figures. In fine condition. [80 pages]. PRI/071112. Fine in Fine Slipcase.
Oldham, England: The Old Stile Press, 1989. Hardcover. 145 of 220 copies. Signed by the illustrator. The Gymnopaediae was an ancient Greek festival at which nude young boys would dance, sing, and display their athletic abilites to honor Apollo. Includes a brief textual introduction and the remainder of the book is filled with linocut illustrations of nude male atheletes in various poses. Bound in quarter black cloth with blue paper covered boards. Black title to spine and terracotta illustration of a Greek sculpture of a nude boy to the front cover. Printed on Saunders HP mould-made paper in Joanna and Perpetua Light Titling type. Housed in a beige cloth covered slipcase printed in terracotta with a series of figures. [80 pages]. PRI/071112. Fine in Fine Slipcase.
Lincoln: Penmaen Press, (1980). First Edition. Hardcover. LIMITED EDITION SIGNED BY THE TRANSLATOR AND ILLUSTRATOR. Number 75 of 100. First edition. Half green cloth and decorated paper boards with gilt title to spine. Slight yellowing to top edge of boards. Minor foxing to top edge of text block, otherwise fine. Text is clean and bright with illustrations throughout. Designed by Michael McCurdy. 62 pages. Private Press. PRI/101216. Near Fine.
Lincoln: The Penmaen Press, (1976). First Edition. Hardcover. LIMITED EDITION SIGNED BY THE AUTHOR. 8vo. Near fine. Green cloth covered boards with blind stamped tire tracks to front and rear boards and gilt title to spine. Very slight dusting to top and bottom edges of boards. Without jacket, as issued. First edition. Number 68 of 200 numbered, signed copies. Preface by Richard Eberhart. Peich / The first ten, a Penmaen bibliography 10.A. Near Fine.
Lincoln, MA: Penmaen Press Ltd, 1979. Hardcover. Limited Edition. Number 193 of 300 copies specially bound, numbered, and signed by the author and artist. There were also 700 regular copies printed. A "Chaplin-esque" short story with wood engravings by Jerome Kaplan. Set in Caledonia type on Mohawk Superfine paper. Bound in three quarter blue cloth with patterned paper covered boards and gilt title to spine. Pristine. 44 pages. PRI/052411. Fine.
Pennyroyal Press, 1985. Barry Moser. Hardcover. Number 194 of 200 copies signed and numbered by Barry Moser. The preface states that the bestiary was a well-established tradition in France by the time De Fournival wrote his Bestiare d'Amour in the middle of the 13th century. In his bestiary, however, he diverted the bestiary's hallowed animal symbolism to amorous purpose. An anonymous woman composed a response to his new symbolism, which was appended to a few of the surviving manuscripts. The two works remain as an articulation of the eternal debate between Man and Woman. This fascinating text is illustrated with dozens of Barry Moser's splendid small wood engravings of animals, birds, and insects. Bound in limp vellum with gilt title to spine and housed in a grey cloth slipcase. The rear panel of the slipcase has three watermarks but is otherwise in fine condition. In monotype Dante, designed by Moser and Chase Twichell, and printed by Harold McGrath. A beautiful book in fine condition. Unpaginated. PRI/032813. Fine in Very good Slipcase.
Sutton Mandeville, England: Perdix Press, 1978. Softcover. One of 100 copies printed. Seventy were for the fourth exchange of the Society of Private Printers and thirty for private circulation. A charming small collection of 16 verses that were taken from the Oxford Nursery Rhyme Book of 1955, compiled by the nursery rhyme scholars Iona and Peter Opie. The pages are sewn into light cream wrappers with the title and decoration in blue on front cover. Hand set in 10 point Bembo and printed on a Columbian press by Walter Pattridge. In fine condition. 2.5 x 4.5 inches. Unpaginated. PRI/112717. Fine.
New Castle, DE: Oak Knoll Press, 2011. Hardcover. First Edition. When William Morris founded the Kelmscott Press, his celebrated private press, in 1891, one of the books he intended to print was an edition of the writings of Geoffrey Chaucer. Because of its size and complexity, The Works of Geoffrey Chaucer did not emerge from the press until June 1896, shortly before Morris's death. It was recognized even in its time as the most remarkable and important production from this influential press. In fine condition in fine dustjacket. 280 pages. PRI/102814. Fine / Fine.
New Castle, DE: Oak Knoll Press, 2011. Hardcover. First Edition. When William Morris founded the Kelmscott Press, his celebrated private press, in 1891, one of the books he intended to print was an edition of the writings of Geoffrey Chaucer. Because of its size and complexity, The Works of Geoffrey Chaucer did not emerge from the press until June 1896, shortly before Morris's death. It was recognized even in its time as the most remarkable and important production from this influential press. In fine condition in fine dustjacket. 280 pages. PRI/053019. Fine / Fine.
Bronx, NY: Plotzing Press, 2003. Hardcover. Number 21 of 35 copies. A graduate from SUNY College, Tammy Wofsey now lives and works in the Mott Haven section of the South Bronx, New York. She studied with Antonio Frasoni and printed at Robert Blackburn’s Printmaking workshop before establishing her own studio. Her work has been exhibited around the world and is held in several institutional collections including Yale University, the Library of Congress, and Duke University. She has won several awards including the BRIO Award from the Bronx Council on the Arts. Her beautifully constructed books often address such societal issues as war, climate change, and with this book, the food we eat. She writes: "Mankind is now at the helm of deciding what the future will be with the food we eat. The animals eating junk food represent the global problems created by genetic engineering and monoculture farming. The wild animals in this book are smart enough not to consume our creations. Once set in motion there will be no way to revert the changes corporations are making to our food chain. The animals leave the colorful junk food for the natural world leaving behind the question only the future will tell, what will be the color of regret?" The book is an accordion-fold with the pages unfolding to reveal Tammy's etched and watercolor images of animals and plants. They are printed on Coventry Medium paper with the text in Times New Roman. The cream color boards are covered with a cream dust jacket with delicate dry point illustrations of plants on the front and back flaps. The book is housed in a bright hand painted Japanese Paper Box with hand made paper, by Dieu Donne. The book measures 6 x 6 inches. The box measures 6.25 x 6.5 x 1.5 inches. In fine condition. Unpaginated [56 pages]. Fine.
New York: Poet's Press, (1968). Limited Edition. Paperback. LIMITED EDITION SIGNED BY THE AUTHOR. NUMBER 53 OF 150. First edition. 12mo. Side stapled purple paper wrappers with black title to front wrapper. Lightly faded at edges. otherwise near fine. Facsimile holograph. 10 pages. PRI/102516. Near Fine.
New York: Harrison of Paris, 1934. Hardcover. Number 550 of 895 copies. First Edition, Second issue. This is the first appearance of Porter's short story in the last appearance of the Harrison of Paris press. This was the presses thirteenth and final book. This copy is from the second issue in which page 51 / 52 was tipped in. Bound in red cloth boards with gilt title to spine. Minor fading to spine. The previous owner has penned in a key to the true identies of the characters on the front free endpage. Aside from this, the interior is clean. 81 pages. PRI/052611. Very Good.
Middletown, CT: Robin Price, Publisher, 2007. Hardcover. Number 49 of 86 copies. Robin Price has designed, printed, and published books for over twenty-five years. Her works can be found in university and public library collections throughout North America and Europe. This book is particularly personal, as well as complex and mysterious. Ms. Price says that “Text excerpts from 86 books significant to me - mostly other artist’s books - were gathered using formulas based on the number 43, which was my age at the genesis of the project.” In her announcement for this book, she says that simple formulas, using modular arithmetic with the number 43, were applied to categories such as page number, paragraph, sentence, line of poetry, etc. The text is grouped by subject matter into sixteen page spreads. Titles of spreads include “Water,” “Counting,” and “Flora.” Paper maps from locations along the 43rd parallels are bound in an accordion that structurally supports the main text, which is printed on graph paper and also hinged together as an accordion. A Legend Card and supplemental Annotated Bibliography are included. The unusual double-layer accordion is housed in an olive green cloth covered clamshell box with a river section printed in blue, and a map-paper spine label. The book was co-designed and co-produced with Daniel E. Kelm at the Wide Awake Garage. The typefaces are handset ATF Garamond and Kabel. Six colors are printed letterpress. All additional printing within the structure is also letterpress, except for the laser-printed text sheets of the 32-page bibliography. 11.75 x 8 x 1.5 inches, opens to 20 feet wide; 32 pages with supplemental 32 page booklet. ARTISTSBOOKS/012011. Fine.
Baltimore: Garamond/Pridemark Press, 1971. Hardcover. Inscribed by the author: "To my colleague and good friend Dick Kraus. With Warmest Regards, Walter Jahrreiss." Number 403 of 500 copies. Tall 8vo. Brown illustrated cloth covered boards with brown title to front board. Pristine interior. Unpaginated, about 15 pages. Private press. PRI/080310. Near Fine.
New York: Purgatory Pie Press, 2010. Paperback. Number 70 of 150. Each card was set and printed by Dikko Faust. A collection of 12 postcards contained in a box labeled "Elongated Postcards." The designers include: Elizabeth Duffy, Mike Topp, Marc Nasdor, Bryan C. Baker, Rosamond S. King, Jessi Nebraska Gifford, Eve Eisenstadt, Kit Kennedy, Jeffrey Cyphers Wright, Dikko Faust, and anonymous. Each card is signed by the printed and designer. Each card is printed on a different type of paper. Some designs are typographic, one is printed on velvet, one is embossed, most are humorous, all are interesting. Housed in a white cardstock envelope with a velcro closure. [12 pages.] PRI/010213. Fine.
New York City: Purgatory Pie Press, 2013. Hardcover. Number 54 of 75 copies. Signed by the printer, Dikko Faust. A geometric story from a wood block pattern. Fine in black paper boards with white spine panel and black title to spine. A square window is cut from the front board to reveal an image on the first page. Accordion binding with illustrations printed in black and red. [10 pages.] PRI/062113. Fine.
New York: Purgatory Pie Press, 1986. Hardcover. Number 87 of 200 copies. Signed by author, designer, and printer. An unusual "first novel" by Holly Anderson, this work is about Lily Lou, who suffers from a mysterious ailment causing recurrent vomiting. Her malady suddenly ends when she loses her virginity. The book is supposedly presented in the author's writing class, so the text of the novel, the classroom instructor's comments, and others are printed in different types, including Folio Bold, Optima, and Weiss Roman. Printed on Rosapina paper with Amora endsheets and Rives de lin paper covers.In glossy cream paper dust jacket with illustrative design in red and green, and the author's photos on the front flap. In fine condition. 6 x 12 inches. PRI/010213. Fine.