Israel: Even Hoshen, 2009. Someck, Ronny. Hardcover. Numbered and signed by the author and printer. A collection of five poems by Ronny Someck about ballet with two hand-colored illustrations. Someck is an Israeli poet, musician, and artist who has won multiple awards for his poetry including the Prime Minister's Award, the Hans Berghhuis prize for poetry, and the Yehuda Amichai Award for Hebrew poetry. He is internationally renowned with poems published in over thirty-five languages and ten books of poetry published in English. The Even Hoshen press was founded in 1994 by Uzi Agassi, who was later joined by his son Ido. Their work is letterpress printed on high quality paper with hand made bindings and illustrations. Pointe Shoes is a dos-a-dos structure printed in both English and Hebrew. It is bound in black cloth boards with inset cloth ballet slippers to both boards and decorative pink and black ribbons to spine. The center of both signatures features four black and pink flourishes. Printed on Grandee paper and handset in Alt-Mediaval and Margalit type. Housed in a black cloth slipcase. A fine production. Unpaginated. [18 pages.] PRI/032713. Fine.
Refine search resultsSkip to search results
Tuscaloosa, AL: Hand Papermaking / Word Way Press, 1998. Paperback. Number 91 of 150 copies. "Between 1984 and 1996, Dorothy traveled to Nepal four times. She sought out those who have preserved Nepalese papermaking and she visited new mills, some of which practice traditional Nepalese methods, others using adaptations and imported techniques. While in Nepal, she met with papermakers, discerned their methods, and collected their papers. The samples she assembled, many made using traditional lokta fiber, make up the specimens in the portfolio" (introduction). A portfolio of 18 sheets of handmade paper created in Nepal with an accompanying booklet that supplies descriptions for each sample as well as an introduction and an extensive essay about Nepal and its paper. The yellow paper wrapper covering the booklet is letterpress printed. The images within are from traditional Nepalese woodblock prints and were designed by Berinji Narayan Shrestha. Each paper sample is mounted within a folder labeled from A to P. The accompanying booklet and mounted samples are all housed in a red clamshell box with paper title label to spine. Each paper sample is approximately 7 x 10 inches or smaller. The box is 11.5 x 9 x 1.5 inches. The booklet is 40 pages. PRI/050218. Fine.
Oxford: Privately printed at the New Bodleian, 1959. Hardcover. First edition. 17 of 100 numbered copies. Signed by the author and Herbert Davis, the printer. Includes 36 poems. Bound in gray paper covered boards with printed paper label on the front board. Offsetting to endpapers and pastedowns from removed acetate dust jacket. Slight sunning to spine. Printed in Eric Gill's Joanna type from matrices lent by Rene Hague. Slight musty smell. Unpaginated. PRI/101316. Very Good.
Berkeley: Flying Fish Press, 2003. Number 61 of 100 copies signed and numbered by the book artist. At the time this book work was first created, Julie Chen described it as "by far the most ambitious and extravagant piece ever to be produced at Flying Fish Press. Personal Paradigms presents a truly interactive experience for the reader in the form of a game that is played and the results then recorded in a collaborative ledger book. The object of the game focuses on the player's own life experiences and perceptions at the moment that the game is being played." Presented in a sumptuous cloth covered box, the set includes a letterpress printed game board and a multitude of beautiful lasercut game pieces. The game board opens to a full size of 21 x 30 inches. Box measures 15. x 11.25 x 4.75 when closed. In fine condition. ARTISTSB/042820. Fine.
Berkeley: Flying Fish Press, 2019. Hardcover. Number 23 of 50 copies, signed and numbered by the artist/author. This book was inspired by a series of conversations between Julie Chen and her daughter, Eleanor Chen-Ranstrom about pattern, texture, perception, and learning. Artist's statement: "Wayfinding examines the relationship between physical and mental learning through the context of navigation through time and space. The piece focuses the reader’s experience on the physicality of the book as object with the inclusion of three-dimensional cast paper panels and pages that rattle when turned, all housed in a series of shallow boxes that are hinged together in layers. The inclusion of a three-dimensional alphabet abstracted from diagrams of flag semaphore addresses the activities of signaling, translation and gesture, highlighting how information is taken in by all the senses and not just through the eyes" Letterpress printed using pressure printing and photopolymer plates on handmade papers from the Morgan Paper Conservatory and Hahnemuhle Bugra. Measures 9 x16 inches byx4 .5 inches when closed, opening to a full width of 41 inches In fine condition. ARTSB/042820. Fine.
Baltimore: Flying Fox Press, 2017. Paperback. 1 of 25 copies, initialed and numbered by the artist. Linocut of an imaginary serpent-bird printed archivally in dark green ink on tan paper. Printed at PaperBase with Sarah Robbins. Thirty-seven additional copies were printed for the Guild of Book Workers "Bird in Hand" annual collaborative project. Ten percent of each sale will be donated to Bat Conservation International. Size: 8 x 8 inches. PRI/090117. Fine.
Santa Cruz: Foolscap Press, 2010. Hardcover. Number 19 of 200 copies of which 140 were offered for sale. Signed by each author. "As a journalist Ernest Hemingway was trained to cut to the story's essentials, leaving out those words that stand between the writer and his intent. And so we have a Hemingway principle of good writing—the well-hewn sentence. It is said that Ernest Hemingway was challenged to write the shortest of short stories: the ultimate example of brevity in storytelling. Though perhaps apocryphal—no one can tell us who challenged him or on what occasion—this was the result: “For Sale, Baby Shoes, Never Worn.” Writers have attempted to equal this six-word short story with six of their own, but no one has clearly beaten the master. Those six words are just too good. Foolscap Press commissioned six writers each to write a six-page story where only the title was supplied. The writers were free to do whatever they chose within those parameters. We invited three women and three men in order to balance personal experiences and writing styles. The response is these six extraordinary stories stocked with a captivating cast of characters. And, yes, there is a distinction between the men and women writers. And what happens when it comes to dealing with an unmitigated loss (as the title might suggest)? You can read for yourself these six creations spun from six very different imaginative worlds, all in response to those six tantalizing words" (Foolscap Press). A large book bound in light blue Japanese cloth with paper title label on front cover. The book is sewn in an modified accordion structure designed so that each story is presented individually. Each story has its own title page which has been signed by the author. Each title page features a different collaged print of a pair of shoes by Peggy Gotthold on Kitakata paper. Letterpress printed on Frankfurt Cream text paper using hand-set Garamond type. Unpaginated. [60 pages.] PRI/031011. Fine.
Santa Cruz: Foolscap Press, 2015. Paperback. Number 19 of 116 copies. Signed by the poet and calligrapher. A beautiful production from this press. From the book artists' description of this book: "This book is a collaboration between Anglo-Welsh poet, critic and publisher David Annwn and the celebrated San Francisco calligrapher Thomas Ingmire. Originally, they created a truly remarkable unique book with the subject matter Saint John's Fragment. This was great for the owner, but leaves nothing for the rest of us. Weve gone back to the collaborative drawing table with David and Thomas to create our own edition, the result of a second collaboration, and although still sharply limited, it allows something for those of us who want an echo of their astounding original work.The piece of papyrus called the Saint John's Fragment was acquired in an Egyptian market in 1920 by Bernard Grenfell, an English scientist and Egyptologist. It now resides in the collection of the Rylands Library at the University of Manchester in England.This scrap of paper-like material, measuring only 3.5 by 2.5 inches, is made from the pith of the papyrus plant. It is dated from between 100 CE and 150 CE and is generally accepted as the earliest extant record of a canonical New Testament text. Written on both sides of the papyrus, it must have been part of a codex, that is, a collection of sewn and folded leaves, not a scroll or an isolated sheet. That being the case, it would be among the earliest surviving examples of a literary codex. It was written in Greek in a script known as Hadrianic, named after Hadrian (76 CE-138 CE), the Roman Emperor of that era. David Annwn has responded to this fragment in a poem that always seem to bear just below the surface remembrance of a statement from the Rylands Library: “The importance of this fragment is quite out of proportion to its size, . . .” And yet it exists, considering all which could have destroyed it, against the odds. Thomas Ingmire's calligraphy shows the image of the actual fragment, then the restored page, then the English translation of the restored pagein flaps that extend the pages in order to allow for the missing text. The calligrapher has added gold tooling to the title and half-title pages." The book is printed letterpress on Frankfurt Cream paper and bound in heavy brown handmade paper from Cave Paper with cream paper spine label. In fine condition. 8.25 x 6.25 inches. Unpaginated [40 pages]. PRI/022515. Fine.
Foolscap Press, 2016. Hardcover. Number 16 of 100 copies. The Snails is a short story by Patricia Highsmith (author of The Talented Mr. Ripley) about giant snails with huge teeth that inhabit a remote island. When an out-of-shape professor decides to visit the island in hopes of capturing one of the snails in order to secure fame for himself, his plans go awry. A seemingly peculiar topic for a story, it was perfect for Highsmith who kept snails as pets and was known to take them to parties on leaves of lettuce in her handbag. The book is housed in a brick red cloth box with a cast-paper sculpture of a snail shell to the top cover. The book is bound in tan cloth with an illustration of a snail pasted down to the front cover. Within the folds of the accordion structure binding are smaller gatherings of pages, which include the text. Illustrations of snails roaming the island and encountering the professor are printed on the larger pages. An interesting structure, as is frequent with books issued by the Foolscap Press. Letterpress printed from polymer plates. In fine condition. Unpaginated. [44 pages] PRI/022217. Fine.
Santa Cruz: Foolscap Press, 1990. Hardcover. 1 of 150 copies. This story by humorist Stephen B. Leacock (1869 - 1944) was originally published in 1911 in a collection of stories called "Nonsense Novels." Leacock "forces us to face our still-uncertain future, but we find ourselves enjoying the experience" (introduction). Fine in blue Japanese cloth boards wth white paper label to spine and front cover. Designed, printed, and bound by Peggy Gotthold and Lawrence G. Van Velzer as the first book from their Foolscap Press. Printed on a Hacker Hand Press on Mohawk Superfine paper in Monotype Sans Serif type. 28 pages. PRI/033111. Fine.
Santa Cruz: Foolscap Press, 2019. Hardcover. Number 22 of 90 copies, numbered and signed by the binder and printer. The press describes the book: "The Travels of Sir John Mandeville follows a journey that began in 1322 and continued on for more than thirty years. This edition commences as Mandeville leaves the Holy Land and travels east to the lands beyond Egypt, which were mostly unknown to Western Europeans at that time. It is a strange journey and one that has kept his book alive and in print since it was first published in manuscript form in 1357.... His was a piece of European literature rather than a history of exploration... The book was carried aboard ship by Christopher Columbus and others on their voyages of discovery, adding to their confidence that they could safely circumnavigate the globe. Our edition is illustrated and illuminated by Peggy Gotthold following Mandeville’s observations of strange flora and fauna and the remarkable beings he encountered; and especially of the wondrous and powerful kingdoms he chanced upon, which held more gold and jewels and strange customs than his contemporaries could imagine; here are kings and emperors with power at their finger tips beyond the reach of any autocratic ruler in Medieval Europe. Our text is based mainly on the Cotton MS, a translation that was first edited in 1725 and continues to be a starting point for serious study of Sir John Mandeville. Though imperfect, it adheres very closely to the original... As no inventive travel book should be made without including a map or two, we have supplemented Mandeville’s narrative with five imaginative maps created for this edition. These are maps that would make sense to a fellow traveler of Mandeville’s time. They are not modern maps where one might expect to identify one’s place on land or the sea. There are no precise coordinates of latitude and longitude. These maps are also narrative and allow the reading traveler to follow Sir John Mandeville, whoever he was, through an unfamiliar landscape. The modern reader will also discover the bizarre and unexpected in the world and share in Mandeville’s amazement and curiosity while traveling alongside him." Bound in flexible red paper covered boards with paper title label to front cover. Includes five double-page maps printed on handmade linen paper from Papeterie St. Armand. Hand-applied illuminations appear throughout. Letterpress printed on paper handmade at the University of Iowa's Center for the Book under the direction of Timothy Barrett in Silentium text, designed by Jovica Veljovic. Housed in a red cloth covered clamshell box. Size of book: 9 x 12.75 inches. 104 pages. PRI/061319. Fine.
Mount Vernon, NY: The Golden Eagle Press, . Hardcover. Number VI of 108 copies. Signed and numbered by the artist. Includes fifteen plates. There are thirteen original watercolors by the noted artist, Kurt Roesch. The frontispiece and a second hors-text plate are lithographs. This is an overlooked livre d’artiste, published six years before the press printed Orpheus, a book recognized in The Artist and the Book 1860-1960. This work is the whimsical and mysterious story of a boy, Sprig, and his horse Turfy, and their nighttime adventure and transformation. In the colophon, Roesch writes: “This Archetype Edition of Sprig and Turfy is not only the first but unique in the history of the printed book. It is conveniently limited to one hundred and eight copies, each containing original paintings in watercolor over a key plate in black, printed by S.A. Jacobs, The Golden Eagle Press, Mount Vernon, N.Y.”. Bound in tan buckram with a gilt device on the front board, cloth ties, in a tri-fold chemise in a slipcase, both also covered in tan buckram. Book in near fine condition. Slipcase and chemise are very good with light wear. Unpaginated. PRI/081111. Near Fine.
Portland, OR: Anne Greenwood, 2008. Number 8 of 30 copies. Anne Greenwood is a well-known artist who has exhibited widely and whose works can be found in museum and library collections around the country. She was born on the high Dakota Plains and was led to an art degree by her artist grandmother. In 1990 she moved to Portland, Oregon and began her career as an artist and horticulturalist. Anne’s artwork explores an interest in folk art and speaks of her kinship with the natural world and how this influences her connection to daily life. In 2002, Anne set up a textiles studio integrating handwork, book arts, and textiles into an interdisciplinary practice. From Anne's artist's statement: "My artistic practice navigates an infinite network of connections: narrating the simple and complex, physical and ephemeral, past and present, within the context of place, history, and transformation. I form relationships that expand and fortify admiration and reverence, leading to the discovery of new truths about the world around us." This interesting and evocative work exemplifies how Anne integrates her textile skills with book arts. She explains that Winter Counts were historic calendars used by the Plains Indians to record time pictographically. This book is Anne's interpretation of the Sioux tradition to record her personal history using hand-stitched embroidery and letterpress printing. The 41 embroideries were scanned and then made into print form from hand-processed photopolymer plates run on a Vandercook Universal hand press. Printing was done by Inge Bruggeman. Each is printed in the same color as the embroidered version. The loose images and text pages are housed in a light red clam shell box. The text pages are printed in Goudy Sans type and include the title page, artist's statement, two commentary pages for images titles and stitch identification, and colophon with quotes relevant to the winter count tradition. An impressive production in fine condition. PRI/031819. Fine.
Portland, OR: Anne Greenewood, 1993-2009. Softcover. Number 40 of 50 copies signed and numbered by the book artist. Greenwood writes in her colophon to this work that she calls a story of transfiguration: "Transfiguration is a complete change of form or appearance into a more beautiful or spiritual state. This story was conceived in 1993, soon after I had moved to Portland, Oregon leaving behind my home state, North Dakota." The text and black and white illustrations describe the process and effects of change. The type was handset and printed by Alisa Dix and printed on Thai Kozo and Unryu paper. The pale blue paper cover has a background pattern of vintage wallpaper. In fine condition. Measures 6.5 x 8.5 inches. Unpaginated (13 pages). PRI/053020. Fine.
Portland, OR: Anne Greenwood, 2018. Number 3 of 10 copies in the deluxe edition, signed and numbered by the book artist. This deluxe edition includes a hand-written poem in a rear folder with a bound in fabric piece. Vestiges was conceived in Iceland where Anne was an artist-in-residence in April and May 2018. This striking work includes folded, sewn, dyed, and printed crinoline cloth pieces accompanied by text. They beautifully capture the almost intangible nature of vestiges - things disappearing or no longer in existence. The book's wrap-around cover is white crinoline. The book is printed with Weiss Italic type on Mohawk Superfine paper by Diane Jacobs of the Scranton Press in Portland. The text is hand-written and authored by the artist as are the hand-dyed fabric manipulations (from the colophon). Anne Greenwood is a well-known artist who has exhibited widely and whose works can be found in museum and library collections around the country. She was born on the high Dakota Plains and was led to an art degree by her artist grandmother. In 1990 she moved to Portland, Oregon and began her career as an artist and horticulturalist. Anne’s artwork explores an interest in folk art and speaks of her kinship with the natural world and how this influences her connection to daily life. She makes objects, installations, and works with her community. In 2002, Anne set up a textiles studio integrating handwork, book arts, and textiles into an interdisciplinary practice. From Anne's artist's statement: "My artistic practice navigates an infinite network of connections: narrating the simple and complex, physical and ephemeral, past and present, within the context of place, history, and transformation. I form relationships that expand and fortify admiration and reverence, leading to the discovery of new truths about the world around us. I enter into inquiry-based community engagement through arts education, residency, public work, studio practice, and collaboration. " A lovely work in fine condition. ARTS/031419. Fine.
Portland, OR: Anne Greenwood, 2018. Number 28 of 30 of the regular edition, signed and numbered by the book artist. Vestiges was conceived in Iceland where Anne was an artist-in-residence in April and May 2018. This striking work includes folded, sewn, dyed, and printed crinoline cloth pieces accompanied by text. They beautifully capture the almost intangible nature of vestiges - things disappearing or no longer in existence by Diane Jacobs of the Scranton Press in Portland. The book's wrap-around cover is white crinoline. The book is printed with Weiss Italic type on Mohawk Superfine paper. The text is hand-written and authored by the artist as are the hand-dyed fabric manipulations (from the colophon). Anne Greenwood is a well-known artist who has exhibited widely and whose works can be found in museum and library collections around the country. She was born on the high Dakota Plains and was led to an art degree by her artist grandmother. In 1990 she moved to Portland, Oregon and began her career as an artist and horticulturalist. Anne’s artwork explores an interest in folk art and speaks of her kinship with the natural world and how this influences her connection to daily life. She makes objects, installations, and works with her community. In 2002, Anne set up a textiles studio integrating handwork, book arts, and textiles into an interdisciplinary practice. From Anne's artist's statement: "My artistic practice navigates an infinite network of connections: narrating the simple and complex, physical and ephemeral, past and present, within the context of place, history, and transformation. I form relationships that expand and fortify admiration and reverence, leading to the discovery of new truths about the world around us. I enter into inquiry-based community engagement through arts education, residency, public work, studio practice, and collaboration. " A lovely work in fine condition. ARTS/031419. Fine.
Washington DC: Kristin Gubrandsdottir, 2010. Soft cover. Number 10 of 11 copies signed and numbered by the book artist. Kristin is a book artist, furniture maker, and teacher from Iceland. Her works typically address feelings, memory, and experience. She studied book arts at the Corcoran College of Art + Design in Washington DC where she made this book. She currently resides in Brussels. Awakening is a powerful photobook done in response to the loss of friends that "left me wondering about the meaning of our existence and why some leave too prematurely." The photographs and text address these questions and the strange feelings that arose in her at night that left her waking up "knowing that one day I will die." The twelve evocative color photos are reproduced in an oblong accordion style book and juxtaposed with letter press text. Printed on Soberest paper using Minion Pro Regular and Medium Italic fonts. Bound in white stiff paper with titling on front cover. In fine condition. Unpainted. PI/022119. Fine.
Wales: Gwasg Gregynog, 2004. Hardcover. Number 122 of 200 copies. In the introduction Dowd states “the present publication is designed to bring the artistic achievements of contemporary binders who have worked...for Gregynog to the notice of a wider public.” This book reproduces in color the nineteen special bindings produced from 1977 until 2002 by the press. Among the binders are Sally Lou Smith, James Brockman, Julian Thomas, Alan Wood, David Esslemont, David Vickers, and Kyffin Williams. Printed in Monotype Walbaum type on Monoadnock Astrolite paper. Bound in dark blue linen with gilt title and press name to spine and the device of the press on the front board. Housed in slipcase in same blue linen. In fine condition. 100 pages. PRI/120811. Fine.
Wales: Gwasg Gregynog, 2007. Hardcover. Number 193 of 300 copies. This book collects twelve writings commissioned to celebrate the life and work of the artist Sir Kyffin Williams, R.A. Among the contributors are Nigel Williams, Jan Morris, Anthony Jones, and the Marquess of Anglesey. Illustrated with a selection of the artist’s linocuts, some previously unpublished. The endpaper design is from Sir Kyffin’s original drawing for the covers of the special binding of Two Old Men. Printed in Monotype Bembo type on Zerkall mould-made paper. Bound in black quarter leather with blue cloth covers, blocked in black on the front cover and titled in gold on the spine. Presented in a blue linen slipcase. In fine condition. 84 pages. PRI/120811. Fine.
Portland, OR: Anne Greenwood, 2016. Softcover. One of 138 copies. Book artist Anne Greenwood celebrated the life and poetry of Hazel Hall (1886-1924) in a special edition portfolio n with the same title, limited to twelve copies. The portfolio and this chapbook republish Hall's Needlework Poems. This chapbook is laser printed and handbound. The chapbook cover art Tapestry of Hours is the republished Needlework Poems by Hazel Hall, made in an edition of one hundred and thirty-eight laser printed and hand-bound. The cover art is machine sticking in crinoline: the under print is pressure printed, hand=stitched embroidery with pochoir. In fine condition. Measures 6 x 10 inches. 22 pages. PRI/053020. Fine.
Glenview, IL: Karen Hanmer, 2002. Softcover. Limited to 100 copies. A miniature flip book of black and white photos of corn fields. The book simulates the experience of driving past a field of corn. The corn photos are pigment inkjet prints. Measures 2 x 3.5 x .5 inches. Fine condition. PRI/062618. Fine.