Lexington KY: Anvil Press, 1986. Hardcover. Number 11 of 100 copies. According to an article by Burton Milward, “Private Press Tradition in Lexington, Kentucky,” published in 1992 in the Kentucky Review, the Anvil Press was part of the resurgence of fine press printing in Lexington, led by Joseph Graves, who was influenced and taught by Victor Hammer. The Anvil Press was unusual in that it was an association comprised of ten members, inspired and guided by Hammer and his wife, Carolyn. Their books were printed on any one of the several presses owned by members of the group, and were sold at cost. This Greek tragedy in five acts, written in verse, was composed by Racine at the age of 27 and performed at the Court of Louis XIV. Bound with black cloth spine and red paper covered boards with red paper title label to spine. Pristine with numerous illustrations by Fritz Kredel, a prolific German artist who emigrated to the United States during World War II. In matching red paper dust jacket with black title to spine and front panels. Creasing to jacket and minor wear to edges. Printed in red and black inks at the Windell Press in Victor Hammer’s American & Andromaque uncial types. 51 pages. PRI/031314. Fine / Very Good.
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Upland CA: Blackbird Press, 2007 [Distributed in 2010]. Hardcover. Number 40 of 100 copies. Signed by the poet, the book artist, and the illustrator. Writes Gillingwators, "When I first read B. H. Fairchild’s poetry collection The Art of the Lathe, I knew I wanted to publish the opening poem “Beauty” as a letterpress limited edition book. The poem has book characteristics–narrative structure and four, chapter-like divisions–and its visceral, lyrical appeal motivated me." Fairchild's poetry has been widely published and he has been the recipient of numerous awards. The Art of the Lathe was described in the LA Times as "a contemporary classic...finely crafted and perfectly pitched." The book artist continues: "I knew from the initial reading that my book edition would have metal covers, reminiscent of the corrugated-metal buildings that often house machine shops [where the poem takes place]. The making of the book took three years as the book artist and illlustrator learned how to make the tiny metal hinges for the book and how to age the thin aluminum used for the book covers. Each step required research, test trials, and practice. Printed with Centaur and Arrighi monotype on Zerkall Book paper, with linocuts by Alquitela. Housed in a grey clamshell box with title and author in red to spine. In fine condition. 7 x 11". Unpaginated. [11 pages] PRI/031715. Fine.
Toronto: Cheshire Cat Press, 2017. Number 19 of 42 copies. Signed by the printers and the author of the introduction, who are ardent and well-known Carroll admirers. The Cheshire Cat Press was formed by book designer and printer George Walker in 1991. The press began when he and two colleagues produced new editions of Alice's Adventures in Wonderland and Through the Looking Glass. Edward Wakeling, who wrote the introduction, is an internationally known authority on Carroll. From the prospectus: "Here finally is a book collecting all the Alice associated images into one volume. In this book is the work of the other PUNCH illustrators who were influenced by John Tenniel’s pictures for Lewis Carroll’s Alice. Oh yes we include Tenniel too! Through the many decades that Punch existed (1841-2002), references to the Alice books have been a common feature. Now you can have them all in one volume. The images are printed by hand directly from polymer plates made by Boxcar Press, except Alice Reigns Supreme (page 27) which is printed photo-mechanically. The plates were created from high resolution scans made directly from the original PUNCH publications. Printed on 115 gsm Rives Lightweight Buff 100% rag paper using a Vandercook Sp15 letterpress." Bound in green cloth with gilt title to spine and gilt ruling and Punch figure to front cover. Punch figure repetitive design to endpapers. Housed in a green cloth slipcase. In fine condition. 10 x 13 inches. 57 pages. PRI/010819.
West Branch, Iowa: Cummington Press, 1970. Limited Edition. Hardcover. LIMITED EDITION. Number 116 of 300 numbered copies. First edition. Fine black cloth backed, beige covered boards with black title to front board. Interior is clean and bright with lovely color illustrations. In white dust jacket with no title or text. Small closed tear to top edge of rear panel of dust jacket. 20 pages. PRI/102516. Fine / Very Good.
Victoria, Australia: Electio Editions, 2013. Paperback. Number 13 of 26 copies, of which 22 were offered for sale. Numbered and signed by the printer. According to the foreword, “this work has its origins in an abandoned printing of Nicholas Jenson’s last will and testament, illustrated with Jenson’s Greek letters.” It includes quotes from Jenson in Greek from Noctes Atticae and quotes from other scholars in English. It also includes original poetry by the printer, some of which was created from words excerpted from Jenson’s will and translated into English. Bound in orange handmade Cave paper with “I, Nicholas Jenson alien & printer of books” printed in red and silver inks across the rear, spine, and front panels. A small spot of foxing to a few pages, but clean and bright overall. Illustrated with hand drawn Greek letters by Deirdre Hassed and printed from magnesium blocks. The binding style was created by Keith Smith. The book is housed in a blue cloth covered clamshell box with a magnetic folding closure. Unpaginated. [48 pages] PRI/111616. Fine.
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.
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.
Minneapolis: Indulgence Press, 2012. Portfolio. Number 7 of 10 copies. Signed and numbered by poet and illustrator. This is one of several books produced by Wilber "Chip" Schilling, owner of the Indulgence Press, in collaboration with author-artist Thomas Rose. In this book they created a beautiful and mysterious work that combines Rose's haunting photographs with the poetry of Lo Ch'ing, a noted modern poet from China. In his foreword, Rose states that "art deals with primary intention and those aspects of objects and space that are unavailable to logic. His images are constructed from various sources including shadows and reflections. They are illusions, reflections in glass. Lo Ch'ing's poems give these images...depth and richness." The pairings of the photographs and poems are open-ended and ambiguous, allowing for conjecture as to how the images and text meet. The eight photographic prints are originals by Rose, and Lo Ch’ing wrote the interpretive poems for this book, with his original brushwork and translations. They were printed letterpress from plates by Schilling. Each image is printed in color on a fine woven paper. Each poem is printed in Chinese and English along with the striking black brushwork on a light and semi-transparent paper that slightly reveals the image beneath. The elephant folio sized sheets are housed in a green and black cloth portfolio with diagonal boards that fasten with a black bone closure. A stunning production from the noted Indulgence Press in fine condition. PRI/121312. 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.
Knight Library Press / University of Oregon, 2002. Margot Voorhies Thompson. Flexible covers. Number 36 of 100 copies. There were 10 additional lettered copies for participants. Signed by the artist and author. A haunting essay by Pattiann Rogers about the relationship between animals and people. She describes both our love and adoration of animals but also our exploitation and cruelty: “Some of us like to sculpt them and make statues and carvings of them ... Some of us like to go out and catch them and kill them and eat them.” Pattiann has won numerous awards for her poetry including a Guggenheim Fellowship and the Lannan Award for Poetry. Bound in flexible boards with black morocco spine and red paste paper covered boards. Features four etchings by Margot Voorhies Thompson printed on Mulberry paper. Includes a CD of the author reading her work. Printed on Heinemule Heine in handset Bembo for the body text. Housed in a red cloth clamshell box. Unpaginated. Fine in fine box. PRI/033011. Fine in fine box.
Petersham, MA: The Lone Oak Press, 2012. Hardcover. Master wood engraver Abigail Rorer is considered one of the finest engravers working today. She founded her Lone Oak Press in 1989 and has published many beautiful works that often focus on nature - animals, flowers, trees, and water. Abigail has also provided lovely illustrations for other private and commercial presses. Her fine press books have been in numerous exhibitions in the U.S., U.K., and Ireland. They can be found in many public and private collections.Number 12 of 14 deluxe copies. A total of 60 copies were printed. Numbered and signed by the book artist. “In the Lone Oak Press book Mimpish Squinnies we focused on fourteen plants that British plant explorer Reginald Farrer (1880 - 1920) disliked with a passion. In this new book, we join Farrer on a journey to the Alps in his quest to see in situ one of his most beloved plants, Eritrichium nanum, also known as King of the Alps” (prospectus). In addition to the book, this deluxe edition includes an essay by book artist Abigail Rorer discussing the trials and tribulations of trying to grow Eritrichium nanum, a botanical illustration in watercolor of the King of the Alps, a pseudo herbarium specimen of Eritrichium nanum, and an extra suite of prints from the book with an experimental print using various engravings from the book and related material. All housed within a large black cloth clamshell box with black leather spine titled in silver. A splendid work by this noted wood engraver. In fine condition. Fine.
Petersham, MA: The Lone Oak Press, 2005. Hardcover. Number 9 of 70 signed and numbered copies. There were also 14 deluxe copies with an extra set of prints and an original block. This beautiful production from master printmaker, Abigail Rorer, is a tribute to Henry David Thoreau and his celebration of the wonders of nature. In Ms. Rorer's description of her book, she says that "woodland pools, spring-holes, and ditches are all terms used by Thoreau to describe vernal pools; ephemeral springtime wetlands that often dry up in the summer and are vital breeding habitats for many species ranging from wood frogs, spadefoot toads, spotted salamanders....In New England these pools are an important part of the landscape and the rites of spring. The book comprises selected entries from Thoreau's Journal for the months of March, April, and May  to give a sense of the awakening spring and teeming life...at this time of year. Thoreau puts so beautifully into words what one woud see, hear, and feel when out in nature at this time of the year." The enlightening introduction is written by renowned Thoreau scholar, Bradley P. Dean. Accompanying the text are twenty-eight marvelous wood-engravings, some with hand-coloring, by Ms. Rorer. They are based on the landscape and pools that Thoreau explored. The book was designed and printed by Michael Russem of Kat Ran Press on Zerkall Book in Baskerville type. Barbara Blumenthal bound the book in quarter brown morocco leather with marbled paper by Iris Nevins for the covers. Housed in a grey-green cloth clamshell box with the same marbled paper on the edges and spine. The result of the collaboration of these book artists is this stunning edition. 92 pages. PRI/081417. Fine.
Monmouthshire: The Old Stile Press, 2006. Hardcover. Number 59 of 150 copies numbered and signed by Davis and Adams. The story of Bluebeard has a long history, from Perrault's Fairy Tales through Maeterlinck, and is deeply embedded in the dark storytelling of the early twentieth century. Béla Balázs, heavily influenced by the French Symbolists, wrote a play which inspired his fellow countryman Béla Bartók to create a truly Hungarian opera. The music and the libretto in their turn have drawn from Susan Adams a sequence of stunning images. Each page evokes the unfolding terror that the walls of Duke Bluebeard's castle have witnessed. The chilling story is of the young bride, Judith, brought to her new home by the Duke. She longs to fling open windows, to let sunlight flood into her castle but gradually she has to face the truth of what may have happened here -- the truth of the destroyed lives of three previous wives. The libretto is the English version made by John Lloyd Davies for performances of the opera in the UK. Printed in Eric Gill's Joanna type on BFK Rives paper. The 18 images by Adams use two printmaking techniques, printing directly from woodblocks in black (with two in white) and digitally generated photopolymer line blocks, printed in red. The small folio book is bound in black and red paper and covered with red paper with printed with woodcuts on both covers. The slipcase has grey sides with a black border, again printed with images by Susan Adams. A particularly striking production from this excellent private press. In fine condition. Unpaginated [56 pages]. PRI/061416. Fine.
Monmouth shire UK: The Old Stile Press, 1998. Hardcover. Number 160 of 200 copies. Signed by the artist and essayist. From the Press: "When The Affectionate Shepheard was first published, in London in 1594, its author was 20 years of age and immediately became a celebrity -- although he ceased to write six years later. In the centuries since, however, both poem and poet have largely disappeared from sight. Printings have been few and this one is thought to be the very first to be accompanied by images. The poem followed the rich tradition of pastoral poetry and was influenced especially by the second Eclogue of Vergil, taking unrequited love as its theme and, as its subject, the love of a shepherd, Daphnis, for the young man, Corydon. An essay, putting the work fascinatingly in its historical and literary context, has been specially written by Dr. Peter Wakelin for inclusion in this edition. If the poem is an unusual and worthwhile rediscovery, so is the printmaking technique employed by Clive Hicks-Jenkins. Involving glass and a layer of pigment, it is more akin to line engraving on, say, metal than to any form of drawing. This publication is also remarkable for being the first of our books to be printed entirely on paper handmade by Frances McDowall at The Old Stile Press." Printed in Bulmer types on McDowall's handmade paper.Illustrations on each page produced from autographic relief images using a variant form of cliché verre. Bound in vegetable parchment hand toned by the printer, illustrated on both covers with outline designs printed in grey, black spine titling. Special endpapers handmade by Frances McDowall. Foxing to some pages. Housed in a folding slipcase covered in burnt orange cloth, lined with blue Ingres paper. Octavo in near fine condition. 58 pages. PRI/061416. Near Fine.
Monmouthshire, England: The Old Stile Press, 2008. Hard Cover. Number 70 of 195 copies in Main Edition. Illustrated by Michael Onken and signed by him. This book came when the McDowells, proprietors of the press, discovered this text among the papers of George Mackay Brown. He wrote it in 1984 and it had a single public reading but was never published. The play draws on the tales of the Selkie folk. The American artist, Michael Onken, has found Orkney to be his "spiritual" home, and also was drawn to the Selkie legends. This book is a result of the play's discovery. Bound in cream cloth front cover with illustration in brown. Backing and rear board are blue linen. Housed in fine grey slipcase with paper illustration of Mackay Brown affixed to front. Designed and printed by Nicolas McDowell in Albertina type on grey Velin Arches paper. The artist's wood engravings, woodcuts,and linocut images were printed in black and white from the original blocks. Binding by The Fine Book Bindery using paper printed at The Old Stile Press. In fine condition. Unpaginated [56 pages]. PRI/061316. Fine.
Monmouthshire, UK: The Old Stile Press, 2010. Hardcover. 1 of 60 copies. Illustrated with textual descriptions by Natalie d’Arbeloff. The artist created these gestural pen and ink figure drawings over fifty years ago while she was a student in New York City studying under Jack Tworkov, a prominent abstract expressionist. D’Arbeloff is now a printmaker, cartoonist, and book artist with work in collections around the world. Bound in blue paper covered boards with gilt title to spine and black illustration to front cover. Printed on Velin Arches Blanc in Aries type. The images were printed at original size with photopolymer plates. The text is printed in grey with titles in blue and illustrations in black. In fine condition. Unpaginated. PRI/081111. Fine.
Oldham, England: The Old Stile Press, 1989. Hardcover. Number 149 of 220 copies. Signed by the illustrator. The Gymnopaediae was an ancient Greek festival at which nude young boys would dance, sing, and display their athletic abilities to honor Apollo. Filled with linocut illustrations of nude male athletes in various poses. Bound in quarter black cloth with blue paper covered boards. Black title to spine and terracotta illustration of a Greek sculpture of a nude boy to the front cover. Printed on Saunders HP mould-made paper in Joanna and PerpetuaLight Titling type. Housed in a beige cloth covered slipcase printed in terracotta with a series of figures. In fine condition. [80 pages]. PRI/071112. Fine in Fine Slipcase.
Oldham, England: The Old Stile Press, 1989. Hardcover. 145 of 220 copies. Signed by the illustrator. The Gymnopaediae was an ancient Greek festival at which nude young boys would dance, sing, and display their athletic abilites to honor Apollo. Includes a brief textual introduction and the remainder of the book is filled with linocut illustrations of nude male atheletes in various poses. Bound in quarter black cloth with blue paper covered boards. Black title to spine and terracotta illustration of a Greek sculpture of a nude boy to the front cover. Printed on Saunders HP mould-made paper in Joanna and Perpetua Light Titling type. Housed in a beige cloth covered slipcase printed in terracotta with a series of figures. [80 pages]. PRI/071112. Fine in Fine Slipcase.
Lincoln, MA: Penmaen Press Ltd, 1979. Hardcover. Limited Edition. Number 193 of 300 copies specially bound, numbered, and signed by the author and artist. There were also 700 regular copies printed. A "Chaplin-esque" short story with wood engravings by Jerome Kaplan. Set in Caledonia type on Mohawk Superfine paper. Bound in three quarter blue cloth with patterned paper covered boards and gilt title to spine. Pristine. 44 pages. PRI/052411. Fine.
Pennyroyal Press, 1985. Barry Moser. Hardcover. Number 194 of 200 copies signed and numbered by Barry Moser. The preface states that the bestiary was a well-established tradition in France by the time De Fournival wrote his Bestiare d'Amour in the middle of the 13th century. In his bestiary, however, he diverted the bestiary's hallowed animal symbolism to amorous purpose. An anonymous woman composed a response to his new symbolism, which was appended to a few of the surviving manuscripts. The two works remain as an articulation of the eternal debate between Man and Woman. This fascinating text is illustrated with dozens of Barry Moser's splendid small wood engravings of animals, birds, and insects. Bound in limp vellum with gilt title to spine and housed in a grey cloth slipcase. The rear panel of the slipcase has three watermarks but is otherwise in fine condition. In monotype Dante, designed by Moser and Chase Twichell, and printed by Harold McGrath. A beautiful book in fine condition. Unpaginated. PRI/032813. Fine in Very good Slipcase.
[Seattle]: Sea Pen Press, 1988. Hardcover. Number 97 of 100 copies. Signed by the author. Thomas Brush is an award winning Seattle poet who has written several books and for several distinguished journals. He tended bar for four years at a Seattle racetrack several years ago and found it an enchanted place that values possibilities and dreams. This influence is evident in the poems included in Even Money. This interesting production from the Sea Pen Press has a blue handmade light-and-shade watermarked paper covers that are sewn in a non-adhesive concertina fashion to the text. The orange and brown decorated endpapers were created by Neal Bonham of the press using colored paper pulps in a decorative technique that he developed. There are five linoleum cut illustrations by Suzanne Ferris that "capture the linear poetry of the thoroughbred world" (prospectus). The book also has images of racetrack betting tickets decorating the title page and colophon that were created by transferring Xerox images to linoleum. The text is printed in Monotype Janson and the title page is printed with Weiss Initial Series 2. The book is housed in a coarse tan linen covered clamshell box with blue borders and ticket images on the front cover. Both the book's binding and the case were designed and constructed by Judith L. Johnson. In fine condition. Book is 9 x 11.5 inches. Case measures 10.25 x 13 inches. Unpaginated [21 pages]. PRI/090717. Fine.
Chicago: Sherwin Beach Press, 1992. Howard Coale. Hardcover. Number 55 of 200 copies. Originally published in The New Yorker in 1980. George Trow was a writer and critic for The New Yorker for more than thirty years. This essay may be his most acclaimed and influential single work. It is about television and its effects on American culture, but more than that, an indictment of the emptiness of modern discourse. It has been described as a work in which Trow foretold his own descent into madness. This is a handsomely designed book with elegant printing and four interpretive illustrations. Bound in black cloth with grey design with a hat on the cover and paper spine label. Printed in Centaur and Arrighi types on Johannot paper. Designed by Robert McCamant, handset and printed by Jennifer Hughes, and bound by Trisha Hammer. Signed by McCamant. In fine condition. 110 pages. PRI/071615. Fine.
Chicago: Sherwin Beach Press, 1998. Heather McAdams. Hardcover. Number 57 of 200 copies. Numbered and signed by the illustrator and the bookmakers. This is a quite handsome contemporary edition of Mark Twain's travelogue with the text following a copy of the first edition in the collection of Northwestern University Library, and with cartoon illustrations by Heather McAdams. "The people of those foreign countries are very, very ignorant. They looked curiously at the costumes we had brought from the wilds of America. They observed that we talked loudly at table sometimes. They noticed that we looked out for expenses and got what we conveniently could out of a franc, and wondered where in the mischief we came from. In Paris they just simply opened their eyes and stared when we spoke to them in French! We never did succeed in making those idiots understand their own language."So wrote Mark Twain in 1867, in one of his most exuberant nonfiction works. The companion themes that fill it—the shallowness of the sites to be visited and the shallowness of the visitors—prove to be prophetic of tourism today, as is seen in Heather McAdams’ witty 1995 cartoons, completed for this edition.The non-adhesive binding with exposed spine sewing consists of 7 black double raised cords attached to hard covers wrapped in red cloth. Each volume has a cut-out to front cover with small black and white illustration along with author, title, and volume number. The two volumes are in turn housed in a black and white linen covered hard case wrapper with black leather straps over brass studs and a leather suitcase-type label, intended to suggest a portmanteau. Printed in Montype Bell on Johannot paper. Designed by Bob McCamant and printed by Martha Chiplis. The binding was designed and executed by Trisha Hammer. The book is numbered and signed by the artist and bookmakers. In fine condition. Each volume is 7 3/4 x 11 1/4 inches. Continuous pagination with 445 text pages and 20 pages of illustrations. This set may require an extra shipping fee. PRI/072015. Fine.
Bennington, VT: The Bird Press, 2000. Since 1997, The Bird Press has been an artist-run publishing project that has focused on hand printed artists’ books. All projects utilize some inherent aspect of the book and often take the form of open-ended collaborations with writers. Each project is a response to the last, both in form and content, in order for the work to continually evolve. Poetry, broadly defined, is a major inspiration for most of the work. Editions between 15-40 utilize various print media including: flatbed offset lithography, stone lithography, etching, letterpress, wood blocks, and digital pigment printing. Book artist Thorsten Dennerline creates paintings, drawings, and prints in addition to artists’ books. He has exhibited work across the U.S. as well as in Chile and Denmark. His work is represented in numerous collections including Yale University Library, the Library of Congress, UCLA, Stanford University, and the Kunstindustri Musset (Denmark).Number 26 of 40 copies in the regular edition. There are also 10 special bindings and 5 unique artists proof bindings. Signed and numbered by the book artist. A collection of eight poems by Danish poet, typographer, art critic, and translator Peter Laugesen (1942 - ). He was awarded the Danish Critics Prize for Literature in 2003. These poems were written in Denmark in 1999 specifically for this collaborative project with artist Thorsten Dennerline. He describes his eight etchings in this book: “[They] are meant to be an accompaniment to the text that functions as a collaboration similar to the way musicians might play together.” Bound in quarter vellum over blue cloth boards, which are laced into a vellum covered spine with five strips of alum-tawed thongs. The endbands are buttonhole stitched with waxed yellow thread. The front cover is titled in black and the rear cover has a black star printed near the bottom edge. The text is in both Danish and English. The Danish text is printed on translucent Seikishu Japanese paper and the English translation is printed on a thicker stock. This allows the reader to view the poems in both languages mirroring each other through the transparent paper. Unpaginated. [50 pages.] Size: 9.75 x 10 inches. In fine condition. ARTB/032417. Fine.
Toronto: The Cheshire Cat Press, 2015. Number 16 of 66 copies signed and numbered by the publisher, Andy Malcolm, the writer of the introduction, Edward Wakeling, and the printer, George A. Walker. The press calls this fine production their Sesquicentennial Edition of Alice's Adventures in Wonderland. Edward Wakeling, who wrote the introduction, is an internationally known authority on Carroll. Wakeling writes in his introduction: Harry Furniss was born in Wexford, Ireland on March 26, 1854. He was a prolific artist and illustrator, best remembered for his humorous illustrations published in Punch, to which he contributed over 2,600 drawings from 1880 to 1894. Furniss was eleven years old when Alice’s Adventures in Wonderland was published. He regretted not being old enough to illustrate the Alice book for himself. He was delighted when Carroll singled him out to illustrate the Sylvie and Bruno books. Carroll recognized Furniss’s ability to draw both character likenesses and grotesques; an essential ingredient for his new book. Sylvie and Bruno was nothing like Alice’s Adventures. Furniss said that this was a bitter disappointment to him. Inwardly, he nursed the ambition to do his own illustrated version of Alice. When the copyright ran out in 1907, he drew twenty illustrations for the book. But few people have seen Alice as illustrated by Harry Furniss. The illustrations first appeared in three installments of The Children’s Encyclopaedia edited by Arthur Mee in 1908. This edition offers for the first time enlarged, high resolution copies of the original Furniss art. The portfolio of loose illustration leaves is made available for sale as a hand printed folio. The polymer plates of the illustrations were made from high resolution scans; sixteen of these images are from the original drawings from the archives of the Fales Library in New York City. Printed on Arches Velin Cream French 100% rag archival paper with Janson type. The portfolio is housed in a clam shell box made from the finest quality materials, with red cloth covers and a gilt illustration of the white rabbit on the top cover and gilt title on spine. In fine condition. Paper sheets measure 11 x 15 inches. PRI/111519. Fine.