Mission, BC: Barbarian Press, 2013. Simon Brett. Hardcover. Endgrain Editions Four. Limited to 120 copies in the regular edition. This is the first addition to the Endgrain Editions since 2003, and it is a major return to the series. It is a celebration of the work of Simon Brett documenting his fifty plus years as an engraver. Simon is acknowledged as one of the masters of wood engraving of the past half-century. With 134 engravings printed from the wood, an introduction by the artist, and a chronological catalogue of the more than 1,000 engravings Simon has so far engraved, this is a major work of 250 pages, and is certain to be an important reference on Simon’s work as well as being a splendid book from this important private press. Text printed in Joanna with Fry’s Ornamented for display in green and black on Zerkall Cream laid with engravings printed on Zerkall White Smooth. Bound in quarter green cloth with paper patterned boards and title label to spine. In fine condition. PRI/062014. Fine.
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New York and Roslyn, N.Y. The New York Public Library and The Stone House Press, 1989. Hardcover. Limited Edition, #196 of 200 copies. SIGNED by Printer and Compiler. Fine red buckram backed gray & white patterned paper boards, 8vo. Bright gilt to spine; very light rubbing to spine ends. Interior is like new: crisp, clean and bright. Strong, tight binding, protective mylar cover. Publisher's ephemera laid-in. 113 pp. Books on Books. BOB/12163. Fine.
Montclair, NJ: Caliban Press, 1991. Softcover. Number 65 of 100 copies numbered and signed by the book artist. This early book from Mark McMurray's distinguished Caliban Press celebrates its achievements thus far, offers McMurray's philosophy of book design and content, and serves as a reference catalog for the press. To these ends, he has written and printed this handsome type specimen book from the many types he has purchased or received by donation. There are sections on text faces such as Garamond, Caslon, Palatino, and Weiss; cursives; display initials such as Erasmus and Caxton; sans serif; and wood type. They are followed by a bibliography of the sources used to research the description and history of each of the types and sample pages from previous Caliban Press publications. There are displays of versions of a type in various point sizes, often accompanied by texts from literary sources. These are printed on different colors and types of paper. The book was hand-set and printed on a Vandercook proofpress and bound by McMurray in stiff white paper covers with a stiff paper dust jacket in a colorful splatter design. The papers used are Curtis Rag, Mohawk Letterpress and Tyvek machine mades; Nideggen mouldmade; and Bhutan Resho, Iyo Glazed, Barcham Green, and Fabriano Roma handmades. A beautiful production in fine condition. Measures 9 x 12.5 inches. 52 pages plus six sample pages from the press. PRI/032519. Fine.
Maureen Cummins, 2013. Artist's Proof. One of 25 copies. Signed by the book artists Maureen Cummins and Tona Wilson. The book artists describe their work as "an impassioned paean to the flowering of book culture, as well as a mournful enumeration of deliberate acts of censorship, repression and destruction. The constrast and continuum of these two realities is represented within a dos-à-dos structure that allows the reader to flip from one narrative to the next, from a bright jewel-colored world to dark, fragmented one, neither of which is clearly the beginning or the end of the story." The book is the result of a long collaboration between Cummins and Wilson, created as part of the Al-Mutanabbi Street Coalition, an international response by over two hundred artists to the bombing of Al-Mutanabbi Street (the Street of Booksellers) that occurred in Baghdad on March 7, 2007. In the MInute Before depicts the world of knowledge and beauty. Grand epophs are contained within sweeping, horizontal spreads. In the Minute After depicts a world of chaos and annihilation, the only light that of books being burned. As they worked on the book the artists incorporated world events such as the threats to precious manuscripts in Timbuktu and the controversy surrounding renovation plaus at the New York Public Library. The book was printed on Arches cover paper with over two hundred runs of letterpress printing, silkscreen, stenciling, and hand-coloring. The blue and black covers were hand-painted, screen printed and stamped with the numbers "11:39" and "11:41," the times before and after the bombing of Al-Mutanabbi Street (artists' description). Measures 7 x 10.75 inches and contains eight spreads. In fine condition. ARTISTSB/092619. 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.
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.
Vancouver: Heavenly Monkey, 2019. Hardcover. Number 25 of 55 copies. This is one of 30 standard copies. There were also 20 deluxe copies and five hors de commerce. This beautifully produced leaf book begins with Pollard’s essay that was written for the catalogue of William Andrews Clark Jr.’s renowned book collection, published in 1921 by John Henry Nash. "Rather than a straight historical account of the two presses, Pollard offers a meditation on their influences and influence, particularly in matters of design and typography. It is embellished here with calligraphy by Martin Jackson, and accompanied by a leaf from both of the presses: the Kelmscott's Golden Legend and the Doves' English Bible." [Publisher statement] "Heavenly Monkey is the imprint of publisher Rollin Milroy, dedicated to creating books for people interested in contemporary applications of traditional book crafts: handmade papers, letterpress printing, and bindings that emphasize both aesthetic and structural integrity. Our books are designed as objects to be experienced both intellectually and physically; innovative use of technology from any era, and its skillful application are the studio's guiding principles." [Publisher website] Bound in blue paper covered boards with dark blue cloth spine and with titling and cloth title label to front cover. Printed in Centaur type and with calligraphy in red by Martin Jackson from polymer plates on dampened Arches paper. In fine condition. Measures 10 x 15 inches. 18 pages plus leaves and colophons. PRI/022819. Fine.
Oldham, England: Incline Press, 2012. Hard Cover. Number 118 of 250 copies. Heavily influenced by the Art Nouveau movement, E.R.Weiss (1875 – 1942) was a multitalented German artist who painted watercolors and murals, and also designed furniture, fabric, stained glass, ceramics, wallpaper, and books. This book focuses on Weiss’s book artistry including his typographic designs, calligraphy, book jacket designs, illustrations, and more. It took printer Graham Moss of the Incline Press over fifteen years to research, compile, and print this impressive collection of Weiss’s book works, which features numerous tipped-in reproductions and several original pieces. It is a large folio bound in brown paper covered boards with vellum spine and design in red to front cover. Housed in a brown paper covered slipcase with black cloth edges and title label to spine. In fine condition. 178 pages. PRI/062415. Fine.
Newton, IA: Tamazunchale Press, 1983. Number 221 of 250 copies. Author and publisher Charlotte M. Smith had been a long time collector of miniature books when she decided to start publishing them as well. She and her husband founded Tamazunchale Press in 1983 (named after a town in Mexico where they spent a night of their honeymoon) and BOOK interlude was the first book they produced. When they decided on what book to print they met with a descendant of the founder of the Enschedé firm in Haarlem, a printing company they admired. After discussing costs we selected paper, leather, end papers, and printing fonts for the printing and binding of our first publication. The book describes a book-filled 1977 visit the Smiths made to England. They toured the home of William Morris, visited antiquarian bookshops, toured the bindery of Sangorski and Sutcliffe, and bought marbled papers from Cockerell, run by the nephew of Edward Cockerell. This beautiful book was bound by Reliure d'Art de Centre in full maroon leather with gold stamping and all edges gilt. With red, white, and maroon Cockerell end papers. in fine condition. Measures 2 3/4 x 1 7/8 inches. 44 pages. PRI/103017.
Liberty, WI: The Heavy Duty Press, 2018. Softcover. Number 8 of 26 copies. This charming and beautifully printed book is a fitting tribute to the art of fine printing. It reprints an article by master printer Stan Nelson that originally appeared in Parenthesis in 1999. The article described the pleasurable steps and details of typesetting and hand printing. Stan wrote that the essence of fine printing "is really the marriage of the right paper, excellent presswork, perfect type, and good typography." The Heavy Duty Press has produced a book that fulfills Stan's criteria for fine printing. The text is printed on both translucent and opaque sheets that allow the words on separate pages to show through and continue the flow of sentences. Interspersed are designs showing snow through a window. Tipped in is a small facsimile of a letter sent by Stan to Mike Koppa in 1998 about printing. Printed in 10 pt. Century Old Style type on Zerkall Laid and Classic Crest papers on a Vandercook press. The book is hand bound and inserted into one-of-a-kind covers, constructed without adhesive, featuring designs taken from the Specimen Book and Catalogue of the American Type Founders Company. In fine condition. Measures 4.5 x 6.5 inches. Unpaginated. PRI/050719. Fine.
Kirkwood, MO: The Printery, 2006. Hard Cover. Number vii of ix copies reserved for the author. (There were 150 copies in the edition.) Inscribed by Jack Walsdorf to Greg Campbell, who bound the book at his Campbell-Logan Bindery: "For Greg Campbell from the author, Jack Walsdorf, 11-04-06." Laid-in is a thank you note from Jack to Greg for the gift of another finely bound book. This beautiful work is a fitting homage to the great William Morris for his impact on the history of printing and the renaissance of the private press. It is a beautifully printed work that was a runner-up for the prestigious Carl Hertzog award for outstanding achievement in the book arts. The engaging text describes the collecting experiences of the late Jack Walsdorf, one of the most significant collectors of books by or about Morris in the past half century (Jack unfortunately died earlier this year). Walsdorf, in fact, formed not one but three major Morris collections over a period of more than thirty years, selling each and then setting out to build another of equal merit. This version of the book is bound in green quarter leather with gilt titling and with Morris inspired green and gilt floral paper boards. Set in Jenson and Italian Old Style types and printed on a handpress in six colors on Somerset Book, a mould made paper from England. The book has an original leaf from the Kelmscott Press's Child Christopher (pages 247-248) There are also tipped-in facsimile photos of Morris and of his study and five illustrations of items from Walsdorf's collection. Housed in a green silk cloth covered slip-case. In fine condition. 37 pages. MOR/092217. Fine.
England: The Whittington Press, 2016. Softcover. One of 660 copies. Another interesting collection of articles on various aspects of fine press printing, with many examples of typography, paper, and illustration. Contributors for this edition include Nicholas Barker, Simon Brett, Sebastian Carter, Jerry Cinamon, Nick Gill, Peyton Skipwith, and Paul Whitfield among many others. John Randle and Michael Taylor offer articles on the third annual Manhattan Fine Press Book Fair. In black and white illustrated paper boards with brown paper dust jacket with photograph of Matisse affixed to front cover. In fine condition. 168 pages. BOB/121216. Fine / Fine.