Minneapolis: Indulgence Press, 2011. One of 20 copies. Arthur & Barbara is a portrait of art critic/philosopher Arthur Danto and artist Barbara Westman as seen reflected in the space of their New York City apartment on Riverside Drive. This book embodies their life and work in symbolic forms of thoughtful play. Arthur & Barbara is a collection of simple objects, images and “games” referring to both Duchamp’s Boîte-en-valise and to Fluxus Collections. The box contains laser-etched glass with a plan view of the apartment. Beneath the glass, separated spaces hold a DVD with images of Arthur, Barbara and their apartment, a hand-bound codex filled with photographic illustrations and brief text, a glass block laser-etched with an illustration by Barbara Westman, two chairs, handmade dice, and a spinner. A drawer holds a folio of letters written by Sean Scully, Shirin Neshat and Barbara Westman, and an introduction by David Carrier. A fascinating way of documenting the lives and personalities of this interesting couple. In fine condition. Size: 13 x 12 x 7 inches. PRI/041111. Fine.
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Minneapolis: Indulgence Press, 2012. Hardcover. Number 26 of 50 copies. Signed by the book artists. The book was produced by Schilling and Pittman for an exhibition Cull-arbor-ation. They describe the exhibit and the book as a record of urban deforestation. The exhibit documents tree stumps as artifacts that allow one to reimagine space and time based on what is left behind. The book juxtaposes pictures of tree stumps with pictures of newspaper articles on environmental protection developments. It also provides a glossary of tree diseases. Accordion structure bound in brown cloth with black design on covers. Includes a vinyl record with tree cutting and chipping sounds in rear pocket. In fine condition. Unpaginated. PRI/121312. Fine.
Portland, ME: The Mosher Press, 1929. Hardcover. Signed by the author. 1 of 750 copies. Printed on Ven Gelder paper. Light blue paper covered boards with dark blue title to spine and front cover. A few short closed tears to paper along the hinges. Minor wear to edges of boards. Bookplate of a lady on horseback (possibly Joan of Arc?) to front endpaper. Offsetting to endpapers, else clean and bright. Four leaf clover laid in. Housed in a brown paper covered slipcase with black title to spine and front panels. Heavy rubbing to panels and seams are splitting. 52 pages. PRI/051718. Very Good.
Simi Valley, CA: Pie in the Sky Press, 2014, 2016. Hardcover. The book's writer and illustrator, Rebecca Chamlee, states: "Like the self-taught naturalists of the Victorian era, my recent work examines the intersection of my artistic and scientific interests by collecting and cataloging the natural world. I am inspired to record, interpret and celebrate nature. My new letterpress printed artist book project records and observes the natural world around me." Her creative aesthetic is beautifully complemented by Karen's own. Karen Hanmer’s artist-made books are physical manifestations of personal essays that intertwine history, culture, politics, science and technology. She utilizes both traditional and contemporary book structures, and the work is often playful in content or format. Karen was the winner of the Jury Prize for Binding in the 2009 Helen Warren DeGolyer American Bookbinding Competition. One of only ten graduates of the American Academy of Bookbinding’s Fine Binding program, she has studied with many notable fine binders. She exhibits widely, and her work is included in collections ranging from Tate Britain and the Library of Congress to UCLA and Graceland. Her masterful bindings wed the ancient art of book binding with the high tech use of the computer to aid her process. This beautifully executed unique binding was done from a few printer's proofs that the writer left in sheets for hand bookbinders. Karen's binding uses a design of Quercus lobata (valley oak) leaves and vintage botanical instruments that reference the author's documenting of the native flora surrounding her home in an arid inland valley in Southern California. In a German Bradel binding with a green goatskin spine, boards covered in orange Khadi handmade paper with Cave paper onlays and pigment inkjet printed illustrations. With three-color hand-sewn silk endbands, and the top edge decorated with sponged gilt acrylic, acrylic pochoir on spine, and hand-titling in gold foil. Roma endpapers. The book measures 9 x 6 x 1 inches. Housed in a brown cloth bound clamshell box with leather title label to spine. In fine condition. Fine.
New York: Kelly-Winterton Press, 1998. Huskey, Trevor. Hardcover. 1 of 105 copies. Poetry by Kenneth A. Lohf (1925 - 2002), former director of Columbia University's rare book and manuscript library. Fine in navy blue cloth boards with grey paper title label to spine. Pristine. Includes three geometrical drawings by Trevor Huskey. Unpaginated [15 pages]. PRI/102708. Fine.
New York: Kelly-Winterton Press, 1990. Hardcover. 1 of 100 copies. Thin quarto. Fine in black cloth boards with gilt title (Aeneidos VI. 637 - 901) to front board. Pristine. The English translation is printed alongside of the original Latin. An accessible, but dignified translation. Printed in black and red from Adobe Garamond type generated directly onto film. Binding by Moroquain, Inc. 17 pages. PRI/102708. Fine.
Hammersmith: Kelmscott Press, 1892. This monumental three volume work was one of the early achievements of the renowned Kelmscott Press. This is a single sheet from the book (pages 521-522 from Volume II) with two ten-line and one six-line beautiful ornamental initials designed by William Morris. Printed in Golden type on Flower paper. Small chips and light browning to margins otherwise very good condition. PRI/120518. Very Good.
Hammersmith: Kelmscott Press, 1892. This monumental three volume work was one of the early achievements of the renowned Kelmscott Press. This is a single sheet from the book (pages 467-468 from Volume II) with one ten-line and two six-line beautiful ornamental initials designed by William Morris. Printed in Golden type on Flower paper. Small chips and light browning to margins otherwise very good condition. PRI/120518. Very Good.
Hammersmith: Kelmscott Press, 1892. This monumental three volume work was one of the early achievements of the renowned Kelmscott Press. This is a single sheet from the book (pages 353-354 from Volume I) with one ten-line and one six-line beautiful ornamental initials designed by William Morris. Printed in Golden type on Flower paper. Small chips and light browning to margins otherwise very good condition. PRI/120518. Very Good.
Hammersmith: Kelmscott Press, 1892. This monumental three volume work was one of the early achievements of the renowned Kelmscott Press. This is a single sheet from the book (pages 159-160 from Volume I) with one ten-line and one six-line beautiful ornamental initials designed by William Morris. Printed in Golden type on Flower paper. Small chips and light browning to margins otherwise very good condition. PRI/120518. Very Good.
Hammersmith: Kelmscott Press, . A nice collection of nine leaves from Kelmscott’s famous edition of Reynard the Fox. The pages include two copies each of pages 34-35, 139-140, 193-194 and 207-208; and one copy of pages 133-134. There is no evidence that the pages were ever bound, and leaves 207-8 are each folded in opposite ways. One 207-8 leaf has a contemporary signature of William Copeland Borlase, “Borlase, WC” but is oddly dated 1877.One of the copies of pages 139-40 has a contemporary ink note at top “Acton (Lord) Catalogue, and one of the pages 208 has “Austin Stephen” written in at the bottom and upside down. With several large initials and decorations, In Troy type on Flower paper. There is some soiling and browning to the leaves, and closed tears to page 193 but still a very good collection that would be ideal for teaching purposes. PRI/042116. Very Good.
Hammersmith: Kelmscott Press, 1896. This is an original leaf from the Kelmscott Press masterpiece, The Works of Geoffrey Chaucer, accompanied by an essay by the bookseller John Windle on its commercial history. The leaf is from a disbound and dispersed damaged copy. Copies were presented by Windle in a paper portfolio in 1994 as a keepsake to members of the Colophon, Roxburghe, and Zamorano Clubs. The folio-sized leaf is from pages 215-216, “The Persouns Tale.” There is no illustration, but there are one large and twelve small decorated initials. The leaf is in very good condition except for a bit of rubrication (red ink text) bleed-through on the two shoulder titles and one section heading, and a little rippling along top edge. The first page of the accompanying essay is decorated with a Burne-Jones illustration and woodcut borders reproduced from the Chaucer. The essay includes a chart comparing auction prices of the Chaucer to three other notable books, 1966-1993, on the other pages. MOR/110414. Very Good.
Hammersmith: Kelmscott Press, 1893. One of 1500 copies. This copy is in an exquisite binding from master Chicago binder Alfred J. Cox (1835-1909). Cox founded a bindery in Chicago in the 1860s that became the largest commercial bindery west of the Mississippi River. Cox was also a serious book collector who bound many books in his personal collection in sumptuous designer bindings. His philosophy was that "books of the imagination...demand rich morocco, fanciful ornaments, and gilding. This binding exemplifies his philosophy. It is in brown morocco with a beautiful gilt flower design on the front and rear covers, with gilt ruling around the edges. The spine has five raised bands with title, author, and ornaments in the compartments. The dentelles also have a lovely gilt floral design. With marbled endpapers. The book's colophon states that Gothic Architecture, first given as a lecture for the Arts & Crafts Exhibition Society in the year 1889, was printed by the Kelmscott Press during the Society’s exhibition in 1893. It is printed in Golden type on Flower paper, and was the first book printed in 16mo. by the press. According to William Peterson's bibliography of the press (p. 48-51), “there were three impressions of the book, presumably of 500 copies each.” There were two misspellings in the first impression. “Van Eyck “ was misspelled “Van Eyk” (p. 45, l.1.), and “guilds was spelled “gilds” (p. 45, l. 16). This copy has the correct spellings of these two words and is from the second or third impression. Printed with Golden type on Flower paper. There are four and six line initials and red shoulder notes throughout. Light paper aging along fore-edge otherwise near fine. MOR/021720.
Hammersmith: Kelmscott Press, [1896-1897]. Six Leaves from “The Man Who Never Laughed Again” in The Earthly Paradise that offer a wonderful example of the fine printing of the Kelmscott Press and the impressive poetry of Morris. Pages 179-180 are from the text of the previous work, “The Story of Acontius” with a beautiful ten-line initial “I.” Pages 181-190 are from “The Man Who Never Laughed Again.” The first two leaves, pictured here, are double-page with the title and its beautiful decorative borders and a ten-line initial “A.” Golden type on Apple paper. In near fine condition. PRI/042116. Near Fine.
Hammersmith: Kelmscott Press, [1896-1897]. Six Leaves, pages 83-94, from "The Wanderers and March" in The Earthly Paradise that offer a wonderful example of the fine printing of the Kelmscott Press and the impressive poetry of Morris. Pages 83-90 are from "The Wanderers". Pages 91-94 are from "March", with the opening text , border decoration and ten-line decorated initial "S" of March. Other pages with four and six line decorated initials. Printed in black and red Golden type on Apple paper. In near fine condition. PRI/050216. Near Fine.
Hammersmith: Kelmscott Press, . Arthur Gaskin. Five text pages plus two of the twelve full page illustrations by Arthur Gaskin. This was one of the later books of the Kelmscott Press, and it was finished several days after Morris's death on October 3, 1896. These beautiful sample pages include the first three pages for "Januarie" and the first two for March. The Januarie pages are in near fine condition but the March leaf has a tear along the bottom margin not affecting text. Each has a striking ten line first initial. The two Gaskin illustrations are printed on the versos of a bifold leaf. There is a three inch tear along the bottom of the fold not affecting the illustrations. Accompanied by a proof of the front cover showing the lettering. Very nice examples of Kelmscott Press printing and illustration. PRI/011816. Very Good.
Eugene, OR: Knight Library Press / University of Oregon, 2000. Robin Eschner. Paperback. 62 of 125 numbered copies. Signed by the author and artist. An additional 10 lettered artist’s copies were also printed. This wonderful short story by Lopez was originally published in the Fall 1997 issue of The Georgia Review. In the story, a Peruvian man writes of the effects on his life and faith from having read at different points in his life, secret love letters written in the 17th century between Rosa and Martin. The two were later canonized as saints, and the writer comes to understand their divinity and love of God as expressed in the letters. The book is a beautiful production from the Knight Library’s fine press publishing program. It was designed, printed, and bound by Sandy Tilcok. It is printed on Heine paper using Bembo types. There are five lovely tipped-in hand-colored etchings done by Robin Eschner. Marilyn Reaves did the calligraphic title, headings, and ornaments. The colophon describes the cover as being made by laminating two handmade papers of brown and rose. The covers are fastened by thin leather straps for which instructions are provided on a laid-in card on how to re-tie them in the original intricate fashion. Unpaginated. ARTB/120209. Fine.
[Raleigh NC]: Jon Kolkin, 2014. Hardcover. Number 37 of 50 copies. Inscribed: "May you experience Inner Harmony as you continue along your life's journey - Jon Kolkin #37/50." Kolkin is a fine arts photographer, Buddhist, and an international speaker on achieving a more enriching and balanced life. This beautiful book has thirty black and white images selected from his photographic series, Inner Harmony. The evocative and mysterious photographs were taken at Buddhist monasteries in China and Bhutan. The text is both in English and traditional Chinese with calligraphy created by Oi Yee Tai. Bound in black Japanese cloth and bound using a traditional Chinese binding technique. In fine condition. 12 x 13 inches. 72 pages. PRI/031215. Fine.
MA: Viewpoint Editions, 2012. Paperback. Number 22 of 36 copies. According to noted book artist Dorothy Simpson Krause, “This homage to Marjory Stoneman Douglas (1947-1997) and her seminal book, The Everglades: River of Grass combines my images of the Everglades with historic photographs, documents, and maps. Forty miles wide and over 100 miles long this slow moving river ranges from a few inches to a few feet in depth. Only half its original size, the Everglades has been largely destroyed to meet the demands of urban and agricultural growth. The ongoing battle for restoration of the Everglades is a moral test which hopefully we will pass.” The book’s exquisite images evoke the beauty and mystery of the Everglades, which are “one of the unique regions of the earth, remote, never wholly known” (Marjory Douglas). Printed on Yu Kou paper, on a laser printer with letterpress overlay. Interleaved with Yu Kou light tissue guards. All of the unbound pages are housed in an envelope enclosure made from brown Lokta Oil Paper to reference a packet of documents an early settler might have carried. The closure on the envelope is a native mahogany tree seedpod with rawhide and thread tie. This book was produced while Krause was Artist-in-Residence at the Jaffe Center for Book Arts, Wimberly Library, Florida Atlantic University, and was published under the auspices of Minerva: The Press at Wimberly. In fine condition. PRI/101912. Fine.
Massachusetts: Viewpoint Editions, 2011. Hardcover. Number 13 of 15 copies. This mystical book by the award winning book artist Dorothy Simpson Krause draws upon her work as a painter, collage-maker, and printmaker. The text is from Samuel Taylor Coleridge's poem "Kubla Kahn or A Vision in a Dream, A Fragment,” composed in 1797 after an opium-induced dream. Krause’s imagery creates a vision of a savage place, with holy and enchanted caverns, walls, towers and a sacred river where "the shadow of the dome of pleasure floated midway on the waves.” These haunting images of submerged architectural passageways, lit from within, reflect the branches of trees and illuminate floating leaves and flowers. Bound in gold and brown Asahi fabric over boards with gold cloth spine. The title and author are stamped in gold on a gold paper label on the front board. Laserprinted with endsheets of mustard gold Lokta paper. Housed in a gold organza bag with gold drawstring ties. In fine condition. About 5 x 7 inches. Unpaginated. PRI/100312. Fine.
New York: Privately Printed, 1916. LIMITED EDITION. Hardcover. 8vo. 1 of 200 copies. Printed for Thomas Nast Fairbanks. White vellum backed off-white paper covered boards with black title pastedown to spine. Minor fading to spine. Interior is very clean with bright text. Printed on laid paper. 10 pp. PRI/041805. Very Good Plus.
Oxford University Press, 1931. Paper Backed Boards. 4to. 1 of 250 copies. According to the introduction, little is known of Ryle except that he was the executor of Lamb's will. Letters are the personal sort between friends. Blue and red marbled boards are faded. Blue linen spine is very good. Interior is clean and pages are unopened. 7 pages + 4 pages with facsimiles of correspondence. PRI/062307. Very Good Minus.
New York: Covici Friede, 1928. Hardcover. Number 328 of 750 copiers. An additional 100 copies were signed and specially bound. A bit of a whimsy: epigrams and aphorisms by Wilde from the beyond, taken down in "automatic writing" by the otherwise unidentified Lazar. The epigrams are unfortunately not in the same league as Wilde's own trenchant observations on life and more - and Lazar would have us believe Wilde began speaking in Americanisms when he reached the other side. But as it is observed here that "pedantry is stupidity that read a book," it is probably churlish to look too closely. Set by hand in Lutitia Cursive type and printed on a Van Rees Press on Normandy Vellum paper. In tan cloth backed paper covered boards with gilt title to spine. Minor wear to edges and corners of boards. Short closed tears along the top margins of a couple pages. Clean and bright. In a good tan dust jacket with black title and design to front panel. The edges of the jacket are chipped and the spine panel is no longer present. The bottom edge of the rear panel of the jacket is dampstained, but it looks like the jacket successfully protected the book as there is no evidence of staining to the boards. 37 pages. PRI/053111. Very good in good dust jacket.
Rochester NY: Leopard, Sue Huggins, 2005. Leopard, Sue Huggins. Hardcover. 8vo. 3 of 10 copies. SIGNED BY ARTIST. Lovely work by this noted printmaker and book artist. Fine in beige cloth boards with title label on front and long beige ribbon ties. Six accordion style fold out pages reproduce stunning color prints by Huggins, each with a water theme. Unpaginated. PRI/051107. Fine.