UK: Fine Press Book Association, 2003. Hardcover. Deluxe edition issued in hardcover with jacket. In original grey cloth covered slipcase with grey printed paper covered side panels. With supplemental portfolio of printed pieces. The portfolio for this issue includes pieces from the following presses: Edwin Smith (courtesy of the Rampant Lions Press), Old Stile Press, Libanus Press, Gwasg Gregynog, Simon King Press, Old Forge Press, Gordon Gumn, Piccolo Press. Clean and bright. 64 pages. BOB/102721. Near Fine.
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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.
New York: Wittenborn Schultz, 1952. Hardcover. Number 65 of 250 copies. Inscribed by the publisher in ink on the front free endpaper, dated December 14, 1952. Bound in salmon pink paper covered boards with black title to spine. Clean and bright with unopened pages. Slight browning to pastedowns due to glue from covers. Letterpress printed with hand-set type by Victor Hammer and printing by Jacob Hammer at his press in Lexington, KY. In cream dust jacket with black title to spine and a lengthy text excerpt to the front panel. Minor browning to edges of jacket and spine panel. A few small chips to spine ends of jacket. 94 pages. PRI/012323. Near Fine / Very Good.
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.
Glenview, IL: Karen Hanmer, 2009. Softcover. Limited to 100 copies. Signed and numbered by the book artist. In this flip book an image of the White House deconstructs to represent blunders and evil-doings since the 2001 inauguration. Created with pigment inkjet prints. The illustration was done in collaboration with Henry Maron. In fine condition. Measures 2.5 x .5 x .75 inches. PRI/070618. Fine.
Glenview, IL: Karen Hanmer, 2014. Hardcover. Number 9 of 100 copies. Signed by the author. This book was inspired by a call for entries by the Guild of Book Workers with the theme of "vessel." Karen describes the text of her response as 60% memory and 40% casually researched, mostly on Wikipedia. Karen's book focuses on the iconic containers and conveyances of her childhood and adolescence between roughly 1962-1979. She juxtapositions her text with photographs of such "vessels" as the Chevy Nova, Crock-Pot, Electric Frying Pan, Mood Ring, Frye Boots, the 747, and more. Her words are often amusing, but they also offer astute observations on her family and our society during the period covered. This is the deluxe edition with marbled paper covers by Pamela Smith. Digitally printed and housed in a purple paper covered slip case. Digitally printed. In fine condition. 5 x 7 inches. Unpaginated [26 pages] PRI/121415. Fine.
Basel: Romano Hänni, 2022. Hardcover. Limited to 44 numbered copies. Swiss book artist and typographer Romano Hänni (1956 - ) has been experimenting with unusual compositions of letter forms and symbols since the early 1980s. His intricate designs can seem somewhat whimsical but often are reactions to society, politics, and traumatic events. Creating things manually with the participation of all of the senses is very important to him. A master of visual poetry, he enjoys teaching to pass on his knowledge and skills. This inventive book - new in this series - was hand composed and hand printed in 20 colors. It is an accordion structure with a stiff paper illustrated wrapper which, when removed, allows the twelve pages of the content to be unfolded into one continuous strip. With a paper band closure for the folded book. Includes a four page supplement featuring the title of the work and the colophon in both English and German. Please note that each copy has different cover design variations. A small book measuring 3.25 inches wide by 5 inches tall. In fine condition. [ 10 pages plus jacket.] Unpaginated. PRI/112818. Fine.
Basel: Romano Hänni, 2018. Hardcover. Limited to 290 copies. Swiss book artist and typographer Romano Hänni (1956 - ) has been experimenting with unusual compositions of letter forms and symbols since the early 1980s. His intricate designs can seem somewhat whimsical but often are reactions to society, politics, and traumatic events. Creating things manually with the participation of all of the senses is very important to him. A master of visual poetry, he enjoys teaching to pass on his knowledge and skills. This inventive new version of an earlier book of the same title was hand composed and hand printed in black, red, yellow, and blue ink. It is an accordion structure with a stiff paper illustrated wrapper which, when removed, allows the twelve pages of the content to be unfolded into one continuous strip. With a paper band closure for the folded book. Includes a four page supplement featuring the title of the work and the colophon in both English and German. A small book measuring 3.25 inches wide by 5 inches tall. In fine condition. Unpaginated. PRI/112818. Fine.
Basel: Romano Hänni, 2015. Hardcover. Number 57 of 187 copies. Swiss book artist and typographer Romano Hänni (1956 - ) has been experimenting with unusual compositions of letter forms and symbols since the early 1980s. His intricate designs can seem somewhat whimsical but often are reactions to society, politics, and traumatic events. Creating things manually with the participation of all of the senses is very important to him. A master of visual poetry, he enjoys teaching to pass on his knowledge and skills. This inventive new version of an earlier book of the same title was hand composed and hand printed in black, red, yellow, and blue ink. It is an accordion structure with a stiff paper illustrated book which, when removed, allows the twelve pages of the content to be unfolded into one continuous strip. With a paper band closure for the folded book. Includes a four page supplement featuring the title of the work and the colophon in both English and German. A small book measuring 3.25 inches wide by 5 inches tall. In fine condition. Unpaginated. PRI/072015. Fine.
Basel: Romano Hänni, 2018. Hardcover. A set of three books in the Words Make the Infinite Finite series. Volume VII is limited to 290 copies, Volume VI is limited to 187 copies, and Volume V is limited to 86 copies. Swiss book artist and typographer Romano Hänni (1956 - ) has been experimenting with unusual compositions of letter forms and symbols since the early 1980s. His intricate designs can seem somewhat whimsical but often are reactions to society, politics, and traumatic events. Creating things manually with the participation of all of the senses is very important to him. A master of visual poetry, he enjoys teaching to pass on his knowledge and skills. Each of these books was hand composed and hand printed in black, red, yellow, and blue ink. All are accordion structures with stiff paper illustrated wrappers, which when removed, allow the twelve pages of the contents to be unfolded into one continuous strip. With a paper band closure for the folded book. Includes a four page supplement featuring the title of the work and the colophon in both English and German. A small set in a slipcase measuring about 3.25 inches wide by 5 inches tall by 1.25 inches thick. In fine condition. Unpaginated. PRI/112818. Fine.
Penland School of Crafts, 2017. Hardcover. Number 12 of 16 copies. Signed by the artist. An exploration of women's domestic roles in the late 19th century through the language of Henrik Ibsen's play, "A Doll's House" juxtaposed with pastel renderings of domestic objects. The text oscillates between a husband's dialogue to his wife and her inner dialogue, including: "Has my little spendthrift been wasting money again? ... They all think that I am incapable of anything really serious - that I have gone through nothing in this world of cares.... My little songbird must never do that again. A songbird must have a clean beak to chirp with - no false notes! ...." Grey cloth boards with silhouette of a vessel to front board. Text and images are letterpress printed on cotton and Japanese papers. Size: 7 x 5 inches. ARTB/090320. Fine.
Philadelphia: Heirloom Press, 2017. Hardcover. Number 4 of 5 copies. Signed by the artist. Folio. "Curio is a collection of quotidian objects that speaks to the idea of woman as domestic curator and as weaker vessel. Images of household vases, cups and bowls are paired with inkblots that evoke the trappings of middle-class existence" (artist's statement). Includes text adapted from the 1868 collection of articles, "Modern Women and What Is Said of Them" and the Kate Chopin novel "The Awakening." Many of the excerpts that the artist has chosen to include objectify women, likening them to jewelry, tables, and other precious possessions. For example: After scolding his wife for sun bathing, Mr. Pontellier looks "at his wife as one looks at a valuable piece of personal property which has suffered some damage." Also "The mind ought to be developed a little, and in such a way as to make the body more piquant and attractive. Like the candle inside a Chinese lantern, it may serve to lighten up and show to advantage the pretty devices outside. But the outside is the important thing, and the inside only incidental" (from "Modern Women ...). Others comment on how wives should be controlled or "managed" and the power dynamics within the home. A powerful book about the subjugation of women. Bound in full white alum-tawed leather with seven raised bands to the spine. Printed using letterpress, screenprint, and lithography on paper handmade by the artist. Size: 22 (wide) x 14.5 (tall) inches when open. ARTB/060920. 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.
New York: Turkey Press, 2016. A unique design binding. The text is 1 of 100 copies, issued in a variable edition, of which 30 were offered for sale. The copies not offered for sale were offered as gifts of the press in celebration of the 70th birthday of Harry Reese and the 42nd anniversary of Turkey Press. Reprinted with permission of the translators and Persea Books. Includes the original red pastepaper wrappers bound in as well as two colorful decorative papers. Nâzim Hikmet (1902 - 1963) was a Turkish-Polish poet, playwright, novelist, screenwriter, director, and novelist that spent much of his adult life in prison or exile due to his political beliefs. A poignant poem about living fully without dwelling too much on the reality of death, written in a conversational tone. Bound in a flexible grey leather binding "Link-in-1" structure with gold hand-made paper linked in. This particular design structure was created by the binder, Sol Rébora. The leather is printed with an embossed pattern, which was designed by the binder. The title and author's name are hand stamped in black and red on the boards. The name of the binder is stamped in black to the inside of the front cover. Grey suede endpapers as well as several fine papers. Housed in a stiff silver paper enclosure with textured grey leather spine titled in red. Unpaginated. [12 pages.] Sol Rébora is a designer bookbinder working in Buenos Aires, Argentina, since 1999. She is a well-recognized practitioner, receiving awards both in Argentina and abroad. Her work encompasses innovative and experimental work in designer binding and contemporary conservation methods. She studied with Deborah Evetts, Monique Lallier, Pascale Therond, Edwin Heim, Helene Jolis, Sün Evrard and Kathy Abbott, among other teachers. She currently works and teaches courses out of her studio in addition to giving lectures and workshops in person and online at schools including the SF Center for the Book and Iowa University Center for the Book, American Academy of Bookbinding and Penland School of Crafts. She has participated in group exhibitions such us Epémère, Tomorrow’s Past and Les Pages Bien Gardees. Sol’s work may be found in many privet collections and inside of institution’s collections in USA, Mexico and UK such as Athenæum Library and British Library. Fine.
Baltimore: Hill Press, 2014. Number 32 of 60 copies. This handsome book combines Heaver's interest in two subjects and their confluence: Dutch-Inspired type faces and English prayer books. He states in his preface that this fascination had its foundation in years of typographic contemplation and that his HIll Press, founded in 1987, was an early manifestation. In this book, Heaver and his contributors explore the early Dutch types and typographers and how the use of their types spread to other countries. The Book of Common Prayer was chosen for detailed examination because of its beauty and the need to narrow the scope of the analysis. Bound in red cloth with white titling on spine and cover labels. Printed on Twinrocker paper with Fry Baskerville type. With many illustrations and tipped in items throughout. Title page illustration by Chris Manson. In fine condition. Measures 7.25 x10 inches. 65 pages. PRI/021221.
Montgomery Village, MD: Shireen Holman, 2013. Paperback. Number 15 of 20 copies signed and numbered by the artist. This complex and beautiful artist's book explores time from the viewpoints of religion, literature, science, and philosophy. The book artist, Shireen Modak Holman, has been a printmaker for more than thirty-five years and a book artist for more than twenty. She was born in India, and her work often involves the interaction of her Indian and American cultures. She states that she is fascinated by time and spent several years reading, sketching, and selecting texts to illustrate the imagery she was creating as she tried to visually express time. She has used texts from the writings of Shakespeare, Tagore, Einstein, Thoreau, Hawking, and others. As the design of the book came together, she created a full-sized colored pencil mock-up. The finished book consists of woodcuts printed onto pulp-painted handmade paper. The text was letterpress printed on gampi paper and then pasted onto the handmade sheets. The pages are folded in such a way that one can see a little of each of the subsequent pages from the current page. Thus from the beginning to the end of the book one can see a little of the future from the present. Each page has semicircular areas cut out so that the calendar at the bottom right of the colophon page is visible at all times. Housed in a cream paper clamshell box with the title "Time" in raised letters affixed vertically to the cover. Linen spine. In fine condition. Accompanied by a softcover book titled "The Making of the Artist Book 'Time.'" Unpaginated. [16 pages]. 13.75 x 19.25 inches. ARTISTS/041916. Fine.
Omaha: Abbattoir Editions, University of Nebraska, 1979. Number 156 of 235 copies. This book is by Ben Howard, an American poet, essayist, scholar and critic. This copy is unique, with a stunning custom designer binding by renowned English bookbinder David George Sellars (1949-2015). Sellars started his bookbinding career at the age of fifteen and quickly became most interested in the artistic side of binding. He had a varied professional life that included setting up his own studio, teaching, and serving as the President of Designer Bookbinders. By the end of the 1990s, Sellars focused on creating design bindings on commission, special designs for limited editions for small presses and publishers, one-off commissions for authors and special presentation bindings for publishers. His work is represented in most major libraries in the world and many private collections. This beautiful leather binding marries different green and brown shades and varied textures of leather along with copper strands of thread to express the movement of water. The title and author are debossed on the spine. The page edges have a decorative pattern. With suede pastedowns, and Sellars's monogram on rear pastedown. Housed in a custom clamshell box covered in black cloth with white title label to spine. In fine condition. Book measures 5 x 7.5 inches.
East Aurora, NY: The Roycroft Shop, 1908. Hardcover. Author's Edition. Each of the three volumes are numbered 491 of 1,000 copies. All are signed by Hubbard. Illustrated. These three volumes include writings from Hubbard's Little Journeys series which discusses authors, artists, politicians, and other people of note. All volumes are bound in three quarter navy blue leather over blue paper covered boards with gilt titles to spines. Rubbing, wear, scuffing, minor soiling, and fading to boards and edges. Interiors are clean and bright overall; however, there are occasional smudges to margins and illustrations are toned. Dampstaining to top corners of most pages in second volume. Volume I is 281 pages; Volume II is 313 pages; Volume III is 320 pages. PRI/062922. Very Good.
[Chillicothe, OH]: The Mountain House Press, 1937. Hardcover. Number 122 of 125 copies signed and numbered by the author. Dard Hunter (1883-1966) is considered by many to be the father of hand papermaking in the United States. Hunter traveled extensively around the world, learning about papermaking and collecting artifacts related to the topic. He wrote several books on hand papermaking traditions, and also studied other paper-like materials such as papyrus and amatl. From the colophon: "The book was printed at the Mountain House Press on paper made by hand in the Orient. The specimens included with each book were gathered by the compiler during journeys in China, as well as in Indochina, Java, Sumatra, Siam, Malay Peninsula, and other Asiatic countries where the Chinese have emigrated and where their ancient customs have been retained. Due to the hand methods used in the making of this volume and to the limited number of original specimens available, only 125 copies have been printed..." With 16 illustrations and 50 samples of ceremonial paper and items made from paper, including trays for sacrificial burning, ceremonial paper money, envelopes, etc. There are eight photogravures of the papermaking process and two folding illustrations, plus two folding pages that protect larger sheets of paper. This is one of Hunter's more elaborate publications. It is also noteworthy that most of the focus is on the uses of paper in ritual, the cultural meanings of paper, if you will, not simply the mechanics of papermaking, as some of his other books are [From a contemporary review]. Bound in quarter black leather with russet colored cloth covers with an elegant design in gold. Gilt titling to spine. Very light wear to covers. Interior pages are beautiful, and the specimens and samples are in fine condition save for a few pieces with some offsetting, which is usually seen in copies of this book. Housed in a brown paper covered slipcase with some fading and wear. A very desirable copy of one of Dard Hunter's most important works in about fine condition. Quarto. 84 pages plus the unnumbered pages with specimens. PRI/083123. Near Fine.
Chillicothe, OH: Mountain House Press, 1927. Number 175 of 200 copies signed and numbered by Dard Hunter. He states on the limitation page that owing to the methods used in producing this book the edition is necessarily limited.This is a scarce groundbreaking early work by Hunter. Dard Hunter (1883-1966) is considered by many to be the father of hand papermaking in the United States. Hunter travelled extensively around the world, learning about papermaking and collecting artifacts related to the topic. He wrote several books on hand papermaking traditions, and also studied other paper-like materials such as papyrus and amatl. Primitive Papermaking was Dard Hunter’s first book on international, non-Western papermaking. Most of this volume concerns the production of tapa [bark cloth] in the Pacific and in Southeast Asia. Hunter made the case that although usually termed ‘bark-cloth’ by Westerners, this material, made by beating the fibers of the inner barks of trees, is actually paper. The first explorers to encounter this material termed it “cloth” primarily because of its uses, not because of its construction. Hunter spent years acquiring the samples of tapa, many of which were quite old. Hunter noted the affinity of “silverfish” for tapa. Thus, older pieces do not survive well in their tropical places of origin. The craft had already disappeared in places Hunter visited in the first quarter of the 20th century, although he was able to obtain historical samples [University of Utah exhibition on paper through the centuries]. Hunter traveled to the South Seas, including Tahiti, the Cook Islands, Fiji, Samoa, Tonga, and Hawaii, in addition to Mexico and parts of South America. He collected bark and bark paper specimens every where he traveled, and carefully studied and documented the techniques and methods used by the papermakers in each location. Printed with Hunter's own hand-cut and hand-cast type, with the statement in the preface: "The punches, matrices, moulds, and tools which were employed in the making of this type are now in the Smithsonian institution and after the cessation of my publishing the type itself will be destroyed." The book has photographs, illustrations of tools and techniques, facsimiles where original specimens were not available, two bark specimens and 31 bark paper specimens. Occasional light offsetting from specimens and very light browning to some page edges. With untrimmed loose bifold sheets as issued, and housed in the original paper portfolio with cloth spine and corners, printed paper cover label, and three sets of ribbon ties. Light bumping to corners. With 47 numbered pages and 56 unnumbered pages with the specimens. In very good plus to near fine condition. Folio volume measuring 12 x 17 inches. PRI/091123. Near Fine.
Benjamin Iluzada, 2017. Hardcover. Number 5 of 15 copies. Signed and numbered by the book artist. A collection of memories from the author about the places he's lived and his experiences ranging from a tarantula on his head when he was a child to adventures in sledding to noisy neighbors making love in the apartment above him. While each memory is very personal, anyone reading it can immediately relate to this nostalgic memoir. Letterpress printed with linoleum cuts, Resingrave engravings, pressure plates, and polymer plates on Fabriano Rospina paper. Created and printed for Sarah Nicolls' MFA Letterpress class at the University of the Arts, in Philadelphia, PA. Benjamin Iluzada is an up and coming printmaker currently working on his MFA at the University of the Arts in Philadelphia. Size: 5 x 5.25 inches. PRI/070219. Fine.
Oldham, England: Incline Press. Hardcover. Number 32 of 160 copies signed by the artist. This is a handsome book with striking prints from artist Nick Wonham. From the press: "Collective nouns, the stuff of schooldays, always seem to amuse us. A parliament of magpies has to be a favourite, especially if you’ve heard a group of them cackling together in the Springtime. But we prefer the alternative, a charm of magpies, which certainly suits this poem better. It is one version of a folk rhyme which has many local variants, all superstitiously foretelling the future through random occurrence. Although Iona & Peter Opie’s Dictionary of Nursery Rhymes does not include it amongst the counting rhymes. It makes a nice counting or even skipping song, and we present it thus, with the numeral and its word facing each picture to encourage learning by mixing reading with the action of counting. Magpies are often known a thugs in the garden, stealing eggs and chasing off their more delicate rivals. As printers, though, we have a fondness for them because of their “ink on paper” plumage and their latin name pica pica, which recalls the printshop unit of measure. The heart of our book is the ten two-colour linocut prints. Each one 8 x 6 inches, their bold, dense colours add to the edgy feel of the images. Hand set in Monotype Bemb from 24 to 72 points in size. The numerals are Winchester 30-line woodtype from Stephenson, Blake. The paper is Zerkall. Bound with a dark blue cloth spine and light blue printed paper over boards with specially printed endpapers by Roger Grech at his Papercut Bindery. In fine condition. Measures 14.5 x 10.25 inches. Unpaginated [27 pages]. PRI/102518. Fine.
Oldham, England: Incline Press, 2009. Paperback. "U unwillingness, slowness to learn. V is the vomitting the great fish is forced to make our hero change and turn, if only stumblingly, mind not yet open. W's the whale and the gobbling worm. X is exposure to why, Yahweh. Z is the zeal that makes Yahweh squirm" (last page). A chapbook issued to celebrate The Books of Jonah, the summer exhibition at Chetham's Library in Long Millgate, Manchester. Letterpress printed with metal type and illustrated with wood cuts printed in various colors. Bound in marbled paper wrappers with yellow title label to front cover. Clean and bright. Size: 4.5 x 3.5 inches. [8 pages] PRI/120518. Fine.
Oldham, England: Incline Press, . Hardcover. 1 of less than 240 copies printed of which only 50 (including this one) were bound for subscribers. This book was produced to commemorate Boccaccio's 700th anniversary in 2013 for the international conference and exhibition 'Locating Boccacio in 2013,' held at the John Rylands University Library and Town Hall in Manchester. This is an excerpt from De mulierbus, the first collection of biographies of women in Western literature. Fine in beige paper covered boards with red cloth spine. The text is printed on blue paper with Poliphilus type. Includes woodcut frontispiece illustration of Joanna, Queen of Jerusalem and Sicily (1541), initials, and head and tailpieces. In a fine tan dust jacket with red title to spine panel. 22 pages. PRI/092013. Fine / Fine.