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.
London: Essex House Press, 1899. Hardcover. Number 627 of 750 copies. This was the third book published by the Essex House Press. Founded by C.R. Ashbee and Laurence Hodson “in the hope to keep living the tradition of good printing that William Morris had revived, and with the help of T. Binning and J. Tippett, compositors, and S. Mowlem, pressman, who came from the Kelmscott Press to that end” (from the printer’s note). A lovely book bound and signed by Bickers and Son in brown crushed pigskin with five bands and blind embossed title on spine, top edges gilt and marbled endpapers. Front hinge repaired. Printed in black and red type on fine handmade paper. Frontispiece illustration by Reginald Savage protected by tissue guard. Very good plus condition. 426 pages. PRI/012012. Very Good +.
London: Essex House Press, 1901. Ephemera. A four page bi-fold announcement from the Guild of Handicraft dated December 1901 for a monograph from the Essex House Press, written by Ernest Godman with an introduction by C.R. Ashbee.,The prospectus describes it as having a brief letterpress, and some fifty illustrations of the architectural work,ceilings, etc. of the Old Palace. On pages two and three is a list of the books still available from the press, and 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 plus condition. PRI/040213. Very Good+.
Israel: Even Hoshen, 2010. Hardcover. Number 32 of 66 copies. Signed and numbered by the book artist. 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. The Raven is bound in full black leather with tan and black leather inlay forming the image of a raven on both boards. The binding is a dos-a-dos structure printed in English and in Hebrew. The English text was hand set in Alt-Mediaval type and the Hebrew text was set in Margalit type. It is printed on Bavaria-Butten paper and illustrated with a paper cut of a raven. Housed in a white cloth slipcase with paper title label with light, ghostly visibility under the white cloth. In fine condition. Unpaginated. Fine.
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.
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.
New York: Private Printing for William Edwin Rudge, 1919. LIMITED EDITION. Hardcover. 8vo. 1 of 250 copies. Purple cloth backed marbled paper boards with gilt title to spine. Minor wear to corners and edges. Interior is very clean with B&W frontis. Elaborate headpiece and initial to first page. Glassine dj with wear/chipping to edges. Front hinge is cracked and rear hinge is starting. Front panel of dj is present, but nearly detached. Several large open tears along spine panel. 26 pp. PRI/031105. Very Good Plus in Good Plus dj.
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.
Washington DC: Library Fellows, The National Museum of Women in the Arts, 1992. Hardcover. Number 4 of 20 copies. Signed and numbered by the artist with an original drawing in a separate portfolio. Audrey Flack (1931-) is an important American artist who is nationally recognized and whose works are in major collections throughout the world. She is known as a pioneer in Photorealism and has also been inspired by Baroque art. This book is the third volume in the artists' book series published by the Library Fellows of The National Museum of Women in the Arts. The sketchbook records Flack's travels from 1985-89, which included trips to Paris, Las Vegas, and Fort Lauderdale. The terra cotta pencil sketches that fill the sketchbook are beautifully rendered and often intimate. They are reproduced to scale. The book and the portfolio for the illustration are bound in a green, black and orange marbled cloth. Save for light creases on the free endpapers the book is in fine condition. The original drawing is a portrait from a Baroque sculpture and measures 4 x 6 inches. Both are housed in a brown cloth box with black leather title label affixed to a strip of the marbled cloth used for the binding. A lovely copy of this now rare book. Unpaginated. ARTISTS/102612. Fine.
Upper Denby, Huddersfield: Fleece Press, 2004. Hardcover. Deluxe Edition. Number 45 of 54 deluxe copies that include two tipped-in color prints and a signed loose print of “Cafe Dansant No. 2.” Laid in is a signed typed letter from printer Simon Laurence on his letterhead dated October 12th, 2003. This the fourth book in the John Buckland Wright series printed by the Fleece Press. It contains the “free” or autonomous prints not published in the previous volumes including book illustrations, commercial work and designs for cards, announcements and publishers’ marks. It addition it features a descriptive account of all the rejected and unfinished blocks in the studio. A description and printed examples of Wright’s experiments with color which culminated in two engravings “The Blue Dress” (1952) and “The Red Room” (1952) are also included; Wright died before completely finishing the latter. Before the printing of this book, neither of these engravings had been editioned. Fine in quarter vellum with patterned paper boards and gilt title to spine. Pristine interior with many tipped-in illustrations, some of which are in color. Printed in Modern No. 7 type set at Whittington Press by Peter Sanderson on Magnani Avorio Biblos paper and bound by Smith Settle. The tipped-in reproductions were printed in Sheffield by J.W. Northend Fine Print. The print and book are housed in a fine orange cloth clamshell box with paper title label to spine. 71 pages. PRI/122409. Fine.
England: The Fleece Press, 2010. Hardcover. 1 of 500 copies. The artist Leslie Cole, who trained under Bawden and Ravilious at the Royal College of Art in the 1930s, produced some of the finest wartiime paintings after appointed an Official War Artist, his watercolors being particularly fine, many in a Ravilious influenced style. Cole travelled through Germany (recording the scenes of horrific trauma at Belsen a week after its liberation), France, Malta and the Far East, where he recorded the action in Borneo and Singapore, a theatre of the war largely forgotten by Europeans today. Cole’s work was the equal of any other war artist, and yet he was unable, for personal or other reasons, to maintain the momentum after the war, when he seems to have slid very slowly downhill, and his early promise was unfulfilled. The book also writes of Cole’s wife Brenda . She had a very colorful teenage history, being the chief prosecution witness for the Church of England when they prosecuted the Rector of Stiffkey for importuning young girls. She disguised this past very ably through her life, even changing her name, and may not even have told her husband. Her true identity was revealed to friends before she died. This handsome work was designed and type set by Simon Lawrence, the publisher. Bound in quarter dark blue cloth with beautiful blue marbled paper made by Louise Brockman for the front and rear covers. . Printed in Miller display type. Over 130 illustrations of Cole's works and photographs of him and his wife.198 pages including index. PRI/011311. 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, 2002. Paperback. 108 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. PRI/101713. Fine in Fine Box.
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.
Netherlands: Karli Frigge, . Hardcover. Scarce. Number 32 of 48 copies. Signed by Frigge on title page. Karli Frigge is a well-known and highly regarded Dutch creator of marbled papers and other art. This beautiful book contains 72 samples of her marbling designs in a range of colors. Sixteen of the samples are 2 x 6 inches with the rest measuring 2 x 2.75 inches. They are generally grouped by color family. In her colophon Frigge describes her efforts to create the samples in the winter of 1995. They are printed on acid-free papier Marron Fonce. The samples are mounted on brown paper and bound in hardcover with stunning red marbled paper covers with title in gilt on spine and front cover. In fine condition. Book measures 6 x 8 inches. Unpaginated [29 pages]. PRI/112718. Fine.
Buren, the Netherlands: Fritz Knuf, 1980. Hardcover. The edition states it is limited to 55 copies; however, this one is number “60.” Signed and numbered by the book artist. This is Volume 5 of the series “Decorated Papers,” all created by Karli Frigge and published by Fritz Knuf. Frigge is a highly regarded Dutch bookbinder and marbled paper artist. Karli created these marbled floral images during a period of transition after she left her husband. Interspersed amongst her personal reflections, she describes parts of her marbling process and how she acquired some of the pigments used including visits to a slaughterhouse in order to obtain fresh ox-gall. A beautiful but melancholy book with text in both English and Dutch. This large folio was bound by the artist in black wooden boards with red wooden inlay and a leather spine. The boards are laced on with red parchment straps. The text is screen-printed. It includes five marbled samples of various sizes, each signed by the artist. Housed in a grey cloth case with calligraphic title to front panel and black ribbon ties. The calligraphy is by Stan van der Weyer. Slight discoloration to small spot on edge of case, else fine. The book measures 21.5 x 16 inches. 16 pages of text and 5 marbled paper samples. 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.