Bloomfield Hills, MI and Columbia, SC: Bruccoli Clark, 1974. Hardcover. Number 187 of 350 copies, of which 300 were offered for sale. Signed and numbered by the author. Brown cloth boards with dark brown paper title label pasted down to front cover. Clean and bright, printed on fine paper. Designed by Gary Gore and composed in Cloister types. 32 pages. PRI/041818. Fine.
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Rockville, MD: Crooked Crow Press, 2017. Limited edition. A pair of beautifully designed and printed broadsides with several hundred ornamental printing blocks of various sizes and shapes arrayed in a intricate fashion that highlights their beauty. From the colophon: "The collection of blocks above was obtained by the proprietor of the Pembroke Press, Mr. Roland Hoover, circa 1980 from the Pridemark/Garamond Press in Baltimore, MD. Some of these blocks came from an earlier Baltimore printer, Norman T.A. Munder the 'Dean of American Printers," and the display type used here, designed by Robert Wiebking, is "Munder Venezian' named in his honor. Blocks signed with a "G" were designed by Frederic Goudy and some of his original drawings for them are part of the Goudy Archive at the Library of Congress." The broadsides were composed and printed by Chris Manson at his Crooked Crow Press. These are splendid examples of fine printing for private press, book arts, and related collections. In fine condition. Each broadside measures 18.5 x 27 inches. PRI/113018. Fine.
Iowa City, Iowa: The Cummington Press, 1963. Hardcover. LIMITED EDITION. NUMBER 174 OF 250 COPIES. Fine in light brown cloth covered boards with gilt title to spine. Pristine interior with unopened pages. In original rice paper dust jacket. One of 250 numbered copies. Author's first solo book. 69 pages. PRI/102016. Fine / Fine.
West Branch, Iowa: Cummington Press, 1970. Limited Edition. Hardcover. LIMITED EDITION. Number 116 of 300 numbered copies. First edition. Fine black cloth backed, beige covered boards with black title to front board. Interior is clean and bright with lovely color illustrations. In white dust jacket with no title or text. Small closed tear to top edge of rear panel of dust jacket. 20 pages. PRI/102516. Fine / Very Good.
Omaha: The Cummington Press, 1987. Steele, Priscilla. LIMITED EDITION. Hardcover. 4to. 1/250 c. "A Dramatic Monologue" with a signed intaglio copperplate by Steele. Maroon cloth boards with white paper spine label. Printed by Harry Duncan from Romulus roman, Lutetia italic, and Perpetua types on Mohawk Superfine Text paper. 46 pp. PRI/042707. Fine.
Omaha: The Cummington Press, 1990. Littell, Harry. Hardcover. 16mo -. 140/243 c. Beautiful copy of compilation of Howard's poem, with 7 photoengraved plates by Harry Littell. INSCRIBED on colophon by writer. Light brown Japanese cloth with spine label with author name wrapped over front board with title. Printed by Harry Duncan on moldmade paper by Caratier Miniani Fabriano. Bembo type. 120 pp. PRI/020207. Fine.
Omaha: Cummington Press, 1993. Paper Covered. 12mo. 87/140 c. Lovely poems in nicely printed book. Pink and gray marbled covers with spine label extending onto the front cover. Bembo type printed on Lana Royal paper by Harry Duncan at the University of Nebraska Book Arts Center. 59 pp. PRI/031907. Fine.
Omaha: Cummington Press, 1987. Limited Edition, Privately Printed. Hardcover. 12mo. 78/300 copies. Another fine work printed at Harry Duncan's press. Mr. Duncan was described by Newsweek as the father of post-WWII private press movement. Gray cloth binding with paper label on spine and front board. Pristine. 77pp. PRI/011607. Fine.
West Branch: Cummington Press, 1968. Limited Edition. Hardcover. LIMITED EDITION SIGNED BY THE AUTHOR. Beige linen covered boards with beige paper label with black title on the front board. Pristine interior with unopened pages. Fragile Japanese paper dust jacket with closed tear on the back panel. Else is fine. At head of title: presented by the scholar-translator. Of 320 copies, this is number 125 of 150 signed by the author and illustrated on the title-page with a plate etched and wiped by Carol Heinerberg Yeh. Unpaginated. PRI/101916. Fine / Very Good.
Cummington Press, 1943. Hardcover. 238 of 430 copies. The Latin text with an introduction and English translation by Allen Tate. Black cloth boards with red title to spine. Slight bump to bottom corner of front board. Wear resulting in exposed book board to bottom corner of rear board. A few spots of foxing to end pages, else clean. Sticker from Bull's Head bookshop to front endpage. PRI/012808. Very Good. No DJ as Issued.
High Fall, NY: Maureen Cummins, 2010. Hardcover. Number 28 of 30 copies. Signed by the artist and writer. A powerful work on the famed Salem witch trials that is the result of a decade’s long collaboration between the book artist, Maureen Cummins, and poet Nicole Cooley, based on their research at the American Antiquarian Society while resident artists. The book pairs Cooley’s cycle of poems, written specifically for this book, with images from a penmanship book of stern biblical commandments kept by a Salem boy, Josiah Peele, in 1808-09. The book seeks “to trace the psychic reverberations of the witch trials on subsequent generations” (artist’s statement). Each of Cooley’s thirteen poems is written from the voice and perspective of one of the participants in the trials. They represent the accusers and accused, survivors and condemned, focusing primarily, as the trials did, on the women. They are presented chronologically, beginning with the slave Tituba, the first accused, and ending with the girl Susannah Martin, who refused to confess to being a witch. Printed on Johannot paper with the endpapers done on a handmade Belgique sheet. The poems are printed offset with the titles in letterpress. The images are silkscreen printed. She states that the covers are like vintage writing slates such as Josiah Peele might have used. The book’s binding allows for multiple structures - that of a codex or concertina, or as a “theater in the round” that presents the chorus of voices within. Housed in a black linen box decorated with the marks of the accused, who were unable to sign their names. Maureen’s work is held in over one hundred permanent public collections internationally and has been included in exhibitions at the American Craft Museum, the Corcoran Gallery of Art, and the Rotunda Gallery (amongst others). She has received over a dozen grants and awards and has been an artist-in-residence at numerous venues, including the American Antiquarian Society and the Irish Museum of Modern Art. Size: 7 x 8 inches. In fine condition. Unpaginated (45 pages). ARTB/041317. Fine.
Seattle: Marquand Editions, . $2800. Number 23 of 25 numbered copies signed by the author and the photographer. In this remarkable edition, environmental scientist Gretchen C. Daily and photographer Charles J. Katz describe how one relict tree, the magnificent Ceiba pentandra in the village of Sabalito, Costa Rica carries physical and spiritual importance far out into the world. In poetic language interwoven with scientific fact, Daily also describes the historical and natural history of this tree and of the ceiba species in general. Katz's photographs of the tree and village amplify this message quietly yet forcefully. Gretchen Daily is the recipient of the Blue Planet Prize, the world's most prestigious award for environmental sustainability [Description from Marquand Editions]. This powerful artist's book by Daily and Katz is created in the form of text, 9 color photographs and a wood carving of the magnificent tree. The carved tree is folded down to fit into a semicircular insert box to be pulled out and detached from the container slipcase. It opens up to reveal the One Tree (attached to the lid by a string that lifts it upright as the lid is lowered). The tree is cut from 3 layers of plywood laminated together and attached tongue-in-groove to the center edge. The photographs and 2 letterpress printed booklets reside in a cut-out recess. beneath the folded tree. The indentation is also made of built up, laminated layers of plywood. The inside of the lid is illustrated with a watercolor print. The first booklet of 14 pages contains Daily's essay about the tree, with an additional signature by the author. The other supplementary booklet of 9 pages One tree / Gretchen C. Daily, Charles J. Katz Jr., contains the foreword by Charles J. Katz Jr., acknowledgments, and artist biographies. Accompanying the booklets are the nine numbered color photographs by Katz. The book is in a semicircular shape measuring 11.5 x 22.5 inches. It is housed in a rectangular slipcase. In fine condition. ARTISTSB/042219. Fine.
2005. Hardcover. Dean Dass is a noted artist, printmaker, and book artist. There have been many exhibits of his work, which can be found in both public and private collections. He has taught at the University of Virginia since 1985. Until this book, all of his books were manuscripts and thus unique. The Age of Partial Objects is his first editioned book. He worked on it for 18 months. For him the tension between the unique and the reproducible is vital. According to his artist’s statement, this book turns Melanie Klein’s clinical term “partial objects” into a metaphor for an age consisting of fragments and fragmented knowledge. The result of his efforts is a stunning book that conveys mystery, the incomplete, and the melancholy of existence. On various papers, Dass used gouache, collage, pencil, inkjet, etching lithography, Xerox and Xerox transfer, and letterpress to create this book. Bound in grey and silver paper laminated on cotton with letterpress text of title on cover. Quarto in fine condition. 150 pages. ArtistsBooks/110910. Fine.
Pasadena, CA: Deeply Game Productions, 2012. Hardcover. Number 1 of 7 copies. Signed and numbered by the book artist. Sara Press is a photographer, printer, and book artist whose work addresses science, nature, and the intricacies of our culture. This is a suite of four etchings by Ms. Press that depict contemporary mixed-martial-arts fighters. The accompanying text has been appropriated from a panther / bear fight advertising poster from the 1850s. The text describing animal fights is juxtaposed with the prints of human fighters to make an important statement on violence. The typeface is designed by Dan Mayer. Letterpress printed on a Vandercook No. 3 Proof Press. The loose prints and text pages are housed in a solid maple box with title burnt into the lid. This book was made in California and East Coast humidity has caused the box lid to warp a little along the edges. Unpaginated. ARTISTSBOOKS/030613. Near Fine.
Rockville, MD: Erik Delfino, 2015. Number 5 of 10 copies signed by the book artist. A stunning production by book artist and photographer Erik Delfino. In his accompanying pamphlet about the 1964 fair, Delfino writes that his parents took him to the fair when he was four years old. His memories are still vivid and treasured, and he hopes that the photographs of the still remaining structures that he took for this book at the fiftieth anniversary celebration have captured the spirit of the fair. The photographs and text are digitally printed on loose sheets of 19 x 13 inch Epson Exhibition Fiber paper. The twenty-five striking and evocative color photographs are of the structures still remaining at the fair site. They are bold and often abstract and geometric. The photos are interspersed with text offering his brief impressions from viewing the site. The photos are followed by a leaf with pictures of Delfino and his parents on the day they visited the fair. There is a table of contents on the colophon page. The leaves are housed in a taupe cardboard folder that is housed in a blue cloth case, which is encased in a 19.5 x 14 inch stainless steel box with an impression of the iconic stainless steel unisphere. Includes a copy of Cotter and Young’s The 1964-1965 New York World’s Fair. Unpaginated. ARTISTSBOOK/112916.
Victoria, Australia: Electio Editions, 2013. Paperback. Number 13 of 26 copies, of which 22 were offered for sale. Numbered and signed by the printer. According to the foreword, “this work has its origins in an abandoned printing of Nicholas Jenson’s last will and testament, illustrated with Jenson’s Greek letters.” It includes quotes from Jenson in Greek from Noctes Atticae and quotes from other scholars in English. It also includes original poetry by the printer, some of which was created from words excerpted from Jenson’s will and translated into English. Bound in orange handmade Cave paper with “I, Nicholas Jenson alien & printer of books” printed in red and silver inks across the rear, spine, and front panels. A small spot of foxing to a few pages, but clean and bright overall. Illustrated with hand drawn Greek letters by Deirdre Hassed and printed from magnesium blocks. The binding style was created by Keith Smith. The book is housed in a blue cloth covered clamshell box with a magnetic folding closure. Unpaginated. [48 pages] PRI/111616. Fine.
Tacoma: Elliott Press, 2011. Pictorial Boards. Number 39 of 50 copies. This was a collaboration between printer Jessica Spring and librarian Jane Carlin's William Morris class that resulted in this book, a series of "homes" inspired by William Morris. The book is an artful construction and a charming homage to the great Morris. In fine condition. Unpaginated. MOR/100212. Fine.
Bryn Mawr: Kurios Press, 1974. Hardcover. "Here is a book that is destined to lead millions to feeling the joyful omnipresene of the Lord in their own lives" (jacket). First printing, Number 5 of 100 copies. Signed and inscribed by the author with love and best wishes. This book was conceived of in the author's hospital room after suffering and recovering from back surgery. Yellow cloth boards with blue title to spine and front cover. A few spots of foxing to covers. In yellow illustrated dust jacket with blue title to spine and front cover. Light foxing to jacket and endpapers, else clean and bright. Includes many photographic images, mostly in black and white with a few in full color. Text is Bible verses and religous inspired poetry and thoughts. In yellow paper covered slipcase with minor soiling to top panel and inner edges. REL/030719. Very Good.
London: Eragny Press, 1901. Hardcover. One of 226 copies, of which 200 were for sale, issued by Hacon and Ricketts. Founded in 1894 by Lucien Pissaro and his wife, Esther, the Eragny Press became well known for its distinctive designs, woodcuts, and printing. This lovely book is an edition of Flaubert’s story about the beheading of John the Baptist. In an early full crimson morocco binding with five raised bands to spine. Title, author, and date in gilt to spine. Slight rubbing to hinges. Leather turn-ins are gold tooled and the endpapers are marbled paper. Red hand sewn endbands with a three color silk ribbon marker and top edge in gilt. Interior pages are bright and clean save for evidence of a bookplate on verso of free front endpaper that has lightly offset on opposite page. Includes a woodcut frontispiece illustration by Lucien with borders and initials done by Esther. Near fine condition. A lovely fine binding. In French. 104 pages. PRI/080514. Near Fine.
London: Essex House Press, 1901. Ephemera. A four page bi-fold announcement from the Guild of Handicraft dated November 1901 for the fourth book in the vellum series from the Essex House Press, The prospectus describes it as having a hand-coloured frontispiece by Reginald Savage and illuminated throughout with gold and blue initials. On page three there is a description of the upcoming titles and authors to be issued in the vellum series. The last page has an order form with instructions for those wanting special bindings. In very good condition. PRI/040213. Very Good+.
London: Essex House Press, circa 1900. Ephemera. A proof page of the table of contents of American Sheaves & English Seed Corn. The book contained eight essays and addresses by Ashbee made during a tour of the United States on behalf of the National Trust. Printed in red and black with decorated initial "A." In very good condition. PRI/040213. Very Good.