Munich: Bremer Presse, 1929. Hardcover. Number 177 of 250 copies printed in Germany at the Bremer Presse for Random House. An additional 280 copies were printed for Bremer Presse subscribers. This handsome book provides an excellent example of the fine printing done at the Bremer Presse. The press produced books from 1911 to 1934, with a break during World War I. Stylistically influenced by the English Doves Press, the press was a strong influence on German book art. Ralph Waldo Emerson's essay, "Nature" was written in 1836. In the essay Emerson put forth the foundation of transcendentalism, a belief system that espouses a nontraditional appreciation of nature. Transcendentalism suggests that the divine, or God, suffuses nature, and suggests that reality can be understood by studying nature. Bound in grey, white, and red marbled paper covered boards with cream vellum spine titled in gilt. Minor browning to spine and minor wear to edges, corners, and joints. Top edge gilt, with deckled fore-edge and bottom edge. Letterpress printed on Zanders handmade paper in black and red, with red title and initials designed by Anna Simons. Clean and bright overall with inscription from previous owner in pen to front free endpaper dated 1929. 86 pages. PRI/010923. Near Fine.
Refine search resultsSkip to search results
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.
Barcelona: Printed at The Folio Club for Sandra March, 2014. Hardcover. Number 83 of 100 copies signed and numbered by Sandra March. Text in Spanish, Catalan, and English. March is a talented young book and installation artist. With this work she draws a metaphorical, graphic, and auditory journey captured by words, illustrations, and sound. Thus the contents comprise the book, two posters, and a CD. She writes that this project has a scientific basis with a therapeutic and artistic impulse, starting on a subconscious level after losing both her sister and her father from heart diseases. The journey goes from a symbolic loss of the heart until its restoration, through a tour of the beautiful and varied morphology of the cardiac systems of thirty-one different animals and the sounds of their heartbeats. The heartbeat sounds are from a jellyfish, starfish, black widow spider, giant tortoise, Nile crocodile, frog, parakeet, and human being among many others There were a number of contributors to this project, including the biologist Francesc Uribe Porta, sound engineer Vicente Rosati, and illustrator Raquel Bullon. Bound in a white cardboard CD case, with posters attached to the back cover by a pink elastic band and CD held on the middle fold of the case. In fine condition. 58 pages. PRI/042715. Fine.
Chicago: Sherwin Beach Press, 1992. Hardcover. Number 163 of 200 copies. "The Essence of Beeing" is an account by Michael Lenehan of two beekeepers: one who has hives on the roof of his apartment building in the city, and one who keeps bees on his farm in the country. In the process of describing the beekeepers and their work, the book tells a great deal of what is known about bees and honey. It was written by Michael Lenehan, executive editor of the Chicago Reader, where it appeared originally in 1977. Mr. Lenehan has contributed many pieces to the Reader during his more than 30-year association with it; he has also published elsewhere, notably in the Atlantic Monthly. Here, Alice Brown-Wagner has illustrated the text with drawings of the tools of beekeeping. "The laid-back style of the narrative belies well-packed information....It is a delightful essay....Binding and type were well and sensibly chosen. Any beekeeper would enjoy this for a generous present—as has, indeed, this reviewer. Others may find it tempts them toward one of the world’s absorbing occupations." —Colin Franklin, Bookways. The book was designed by Bob McCamant, hand set in 12 and 14 point Cooper Oldstyle by Alice Brown-Wagner, Kate Friedman, and Bob McCamant, and printed on Fabriano Roma Michelangelo by Bob McCamant. It was casebound, cloth over boards, by Ann Repp, and has a dust jacket of blind-embossed Roma Raffaello. 45 pages, 9 1/4 x 12 inches. Published in 1992, numbered but not signed. PRI/031620. Fine.
Washington: Wiesedruck, 2018. Hardcover. Number 31 of 40 copies that included five deluxe copies. Vogel Totentanz is a bird dance of death alphabet book inspired by Hans Holbein’s Dance of Death woodcut alphabet. After the Black Plague ravaged Europe in the late 14th century, death as inevitable regardless of status or age became a pervasive motif in art and literature. My present-day Totentanz is a reflection of that idea in context of our environmental crisis. Birds are indicator species for overall environmental health and human well-being [from the artist's website]. The 29 etchings were drawn from specimens at the Cashmere Museum, the Wenatchee Valley College collection, and the Burke Museum in Washington State along with other found remains. Diotima types were used throughout. The text was letterpress printed on Zerkall Book paper by Arthur Larson of Horton Tank Graphics. This regular edition is bound in a bird-footprint-etching printed blue paper and housed in a slipcase. Binding and slipcase by Claudia Cohen. In fine condition. Measures 6.875 x 5.5 inches. Etchings are 2.5 x 2.5 inches. [60 pages.] Sarah Horowitz has been awarded multiple grants and has held residencies at several arts centers including ArtBellwald in Switzerland. She taught printmaking at Portland State University for over ten years and was a member of Atelier Mars printmaking workshop during her time in Portland. Her press is named for the Wiese stream that runs through her grandparents backyard near Basel, Switzerland. Much of her work is printed on a Charles Brand Press once owned by Leonard Baskin. Her work is held in private and institutional collections across the U.S. PRI/122121. Fine.
Peshastin, Washington: Wiesedruck, 2016. Hardcover. Number 37 of 40 copies. Signed and numbered by the artist. This book includes a collection of plants native to Chelan County in central Washington State, documented by Horowitz during daily walks in the region. The artist sought guidance in choosing flowers iconic to this region from local botanists and naturalists of the Washington Native Plant Society. A sample of flowers chosen include: Mule's ears, Glacier lily, Oregon anemone, Cat's ear lily, and Henderson's shooting star. McNutty's essay: "Gestures of Stone and Water: A Natural History of the Wenatchee Watershed" was composed for the Wenatchee River Watershed Art project in 2002, and is reprinted here with permission. Following is an excerpt from McNutty's essay: "The craggy, windswept summit of Mount Stuart in Washington’s central Cascades feels like the top of the world. Granite walls plunge into glaciers and snowfields, and surrounding peaks fall away in a dizzying whirl. When the wind eases, the rush of meltwater streams thunders softly in canyons far below. For the Wenatchee watershed—nearly a million acres of converging ridges and flashing river canyons—9,415-foot Mount Stuart is the top of the world. From there, nearly fifty miles north to Chiwawa Mountain and half that distance southeast to Mission Ridge, a spectacular jumble of snowy peaks and ridges spills east in a grand gesture from Cascade crest to sagebrush steppe.” Green leather spine titled in gilt with green pastepaper covered boards featuring a gilt wildflower to cover. Includes 23 plates drawn, etched, printed, and hand-colored by the artist. The text was letterpress printed by Art Larson onto hand-made paper by Katie MacGregor. Bound by Claudia Cohen. Housed in a tan cloth covered box with dark green leather title label to spine panel and green pasted-paper covered edges. Unpaginated. Box size: about 9 x 12 inches. Sarah Horowitz has been awarded multiple grants and has held residencies at several arts centers including ArtBellwald in Switzerland. She taught printmaking at Portland State University for over ten years and was a member of Atelier Mars printmaking workshop during her time in Portland. Her press is named for the Wiese stream that runs through her grandparents backyard near Basel, Switzerland. Much of her work is printed on a Charles Brand Press once owned by Leonard Baskin. Her work is held in private and institutional collections across the U.S. PRI/122722. Fine.