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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San Diego: Bay Park Press, 2006. Hardcover. Number 10 of 10 copies. This is a charming and beautifully produced book by Carolyn LaFrance, a San Diego architect who is affiliated with the gallery at the Bay Park Press. Maxine is Carolyn’s beloved feline friend and companion, and the book describes a day in Maxine’s life through text and illustrations. Maxine begins her story: “Sun’s up, I get to go out. Yes, yes, I know, ‘Be careful,’ the howling creatures may still be about. What, you think I don’t know that? What I need to know is, who has been in my yard? Mr. Smushy-face? Walter? Or that grey and white bruiser? ...” Each page includes a hand-colored intaglio print of Maxine at various moments in her day (11 prints altogether). The text is Bernhard Modern type on lovely Fabriano Rosapina Bianco paper. Oblong folio bound in grey linen with black spine. Paw prints decorate the front cover and endpapers. Housed in a black portfolio with a grey cloth square label illustrated with paw prints affixed to front and cream ribbon closure. In fine condition. Unpaginated. PRI/072012. Fine.
San Diego: Bay Park Press, 2003. Paperback. Number 31 of 150 copies. Founded by Sibyl Rubottom and Jim Machacek in 2000, the press produces artists' books, offers classes, and holds book arts' exhibitions. Their books address a wide range of subjects from the universe to gardening to opera to Yiddish and more. Most are letterpress printed, many have moveable pieces, and all are illustrated. This book’s poem is a moving tribute to the author’s friend, Nancy Morgenstern, who died in the World Trade Center attacks on September 11, 2001. The book artists, Sibyl Rubottom and Jim Machacek, say in the colophon that they were privileged to design and print Portraits in memory of all 9/11 victims. Bound in grey Rives BFK paper covered boards with the title blind stamped on the front cover. The free endpapers are Classic Crest tarragon and handmade washi papers. Printed in Times Roman on Chartham English vellum. A portrait of Nancy Morgenstern is printed on title page and there are small line illustrations on some pages. In grey and white envelope with title in orange on front. In fine condition. Unpaginated, 5.5 x 12 inches. PRI/072712. Fine.
San Diego: Bay Park Press, 2006. Hardcover. Founded by Sibyl Rubottom and Jim Machacek in 2000, the Bay Park Press produces artists’ books, offers classes, and holds book arts exhibitions. Their books address a wide range of subjects from the universe to gardening to opera to Yiddish and more. Most are letterpress printed, many have moveable pieces, and all are illustrated. Number 3 of 10 copies. In her colophon, Sibyl Rubottom gives her love and thanks “to the father I never knew who named me Sibyl hoping I would be shrewd in business. That did not occur, but I did end up making books.” This beautiful book is about five ancient Sibyls, including how they were depicted in Western art. These Sibyls are the Cumean, Delphic, Erythraean, Persian, and the Libyan. They offered prophecies, often through the use of leaves, as being from the thoughts of the gods. There is a brief description of each, accompanied by an intaglio leaf print and a reproduction of each Sibyl from the work of Michelangelo (four plates) or Velasquez (one plate). Each Sibyl is presented within a fold-out page with the description on the facing page and the plate and illustration inside the fold. Bound in red cloth with green spine, with title and author on front cover. The book was printed on Dutch etching paper in Bodoni, Bernard Modern, Albertus, and Patatino types. There are eight intaglio prints, each signed by the book artist. Housed in a brown paper covered case lined with the same red cloth as the book covers. This splendid production captures the mystery and beauty of the Sibyls legends. In fine condition. Unpaginated. ARTISTSBOOKS/080112. Fine.
New Haven: Yale University Press,  - 1991. Hardcover. This monumental bibliography is the essential guide to 19th century American literature. This is the complete set of 10 volumes. The first seven volumes were compiled by Blanck, a noted authority on American literature. Volumes 8 and 9 were edited and completed by Michael Winship, who also compiled the 10th volume, a selective Index of titles, publishers, and dates. The individual volumes are of mixed editions but all were published as part of a matched set with black cloth bindings with title on red cloth spine label. All of the volumes are in very good or better condition. This set may require an extra shipping fee. BOB/111616. Very Good.
London: Smith, Elder,and Co, 1880. Hardcover. First Edition. AN IMPORTANT PRESENTATION COPY, inscribed “Mrs Proctor, with RB’s affectionate regards June 27 ‘80.” Anne Proctor’s husband, the barrister and poet Bryan W. Proctor (who wrote under the pseudonym Barry Cornwall), was the dedicatee of Browning’s poem “Columbe’s Birthday” (1844). The Proctors were among the Brownings’ closest friends. Proctor and John Forster anonymously edited the first selection from Browning’s works in the 1860s. Near fine in original brown cloth with gilt title to spine. Light rubbing to edges and corners. There is browning from a paper clip to the top edge of the first few pages, else the interior is very clean. 147 pages plus 2 pages of advertisements. POE/020309. Near Fine.
Easthampton, MA: Cheloniidae Press, 2016. 3 of 100 copies. Signed and numbered by the artist. This is one of the Cheloniidae Press's first new works in twenty years. It is a letterpress printed broadside featuring an image of a whale and the quote "If there were no books ... there would be no Moby Dick!" Printed by Master Printer Art Larson from a relief etching by Alan James Robinson on archival Cranes Lettra paper. Size: 11 x 14 inches. PRI/062016. Fine.
Easthampton, MA: Cheloniidae Press, 2018. Limited to 100 copies. Signed and numbered by the artist. This is a letterpress printed broadside featuring an image of Ophelia from Shakespeare's Hamlet and the quote "If there were no books ... there would be no Ophelia" Printed by Master Printer Art Larson from a relief etching by Alan James Robinson on archival Cranes Lettra paper. Size: 11 x 14 inches. PRI/041317. Fine.
Easthampton, MA: Cheloniidae Press, 2016. 3 of 100 copies. Signed and numbered by the artist. This is one of the Cheloniidae Press's first new works in twenty years. It is a letterpress printed broadside featuring an image of a unicorn and the quote "If there were no books ... there would be no Unicorns!" Printed by Master Printer Art Larson from a relief etching by Alan James Robinson on on archival Cranes Lettra paper. Size: 11 x 14 inches. PRI/062016. Fine.
Easthampton MA: Cheloniidae Press, 2014. Hardcover. Number 15 of 150 copies. Signed and numbered by the book artist Alan James Robinson. This wildflower alphabet book is the first book issued by Alan’s highly regarded Cheloniidae Press in several years, and the first produced using the Giclee printing process, which he calls a “new direction” in our ever changing world. It is intended to be the first in a series of Natural History Abecedary Editions. There is also a Fine Art edition of Wildflowers with twenty-eight original watercolors. The illustrations for this Giclee edition are printed from the artwork created for the Fine Art watercolor edition. The illustrations in this edition show the lovely renditions of a flower, often accompanied by a butterfly or other insect, for each letter of the alphabet. Each page is headed by a calligraphic letter in red, designed originally by Master Calligrapher Suzanne Moore for the press’s A Fowl Alphabet in 1986. This accordion style book is bound in pale yellow cloth with the title in gilt to the front cover. It is housed in a green cloth slipcase with the title in gilt to the spine. In fine condition. 8.5 x 5 inches. Unpaginated. PRI/071817. Fine.
Easthampton, MA: Cheloniidae Press, 2018. 1 of 100 copies. Signed and numbered by the artist. This is one of the Cheloniidae Press's first new works in twenty years. It is a letterpress printed broadside featuring an image of wolves and the quote "If there were no books ... there would be no Call of the Wild" This broadside references Jack London's novel "The Call of the Wild." Printed by Master Printer Art Larson from a relief etching by Alan James Robinson on archival Cranes Lettra paper. Size: 11 x 14 inches. PRI/062016. Fine.
Easthampton, MA: Cheloniidae Press, 2018. 1 of 100 copies. Signed and numbered by the artist. This is one of the Cheloniidae Press's first new works in twenty years. It is a letterpress printed broadside featuring an image of the Jabberwock and the quote "If there were no books ... there would be no Jabberwock!" This broadside references Lewis Carroll's sequel to "Alice in Wonderland" - "Through the Looking-Glass" Printed by Master Printer Art Larson from a relief etching by Alan James Robinson on on archival Cranes Lettra paper. Size: 11 x 14 inches. PRI/062016. Fine.
Easthampton, MA: Cheloniidae Press, 2018. 1 of 100 copies. Signed and numbered by the artist. This is one of the Cheloniidae Press's first new works in twenty years. It is a letterpress printed broadside featuring an image of a Tom and Huck and the quote "If there were no books ... there would be no Tom and Huck!" This broadside references Mark Twain's novel "Adventures of Huckleberry Finn." Printed by Master Printer Art Larson from a relief etching by Alan James Robinson on on archival Cranes Lettra paper. TAKING PRE-ORDERS NOW. THIS WILL BE AVAILABLE THE FALL OF 2018. Size: 11 x 14 inches. PRI/062016. Fine.
Easthampton, MA: Cheloniidae Press, 2018. 1 of 100 copies. Signed and numbered by the artist. This is one of the Cheloniidae Press's first new works in twenty years. It is a letterpress printed broadside featuring an image of the ancient mariner on his ship and the quote "If there were no books ... there would be no Ancient mariner!" This broadside references Coleridge's famous poem "The Rime of the Ancient Mariner." Printed by Master Printer Art Larson from a relief etching by Alan James Robinson on on archival Cranes Lettra paper. Size: 11 x 14 inches. PRI/062016. Fine.
Easthampton, MA: Cheloniidae Press, 2017. Limited to 100 copies. Signed and numbered by the artist. This is one of the Cheloniidae Press's first new works in twenty years. This is a letterpress printed broadside featuring an image of the hound from Sir Arthur Conan Doyle's 'The Hound of the Baskervilles' and the quote "If there were no books ... there would be no Hound of the Baskervilles" Printed by Master Printer Art Larson from a relief etching by Alan James Robinson on archival Cranes Lettra paper. Size: 11 x 14 inches. PRI/041317. Fine.
Martinez, CA: Lucy Childs, 2020. Cloth. A unique embroidered artists’ book with a murder mystery theme. Lucy’s exquisite embroidered books are inspired by her “exploration of the history, craft, and culture of early American and British sewing samplers, made mostly by young girls to learn the practical craft of sewing but also to learn letters and spelling. Many old and antique samplers included text or images in memory of family members who had died.” Lucy’s beautiful and painstakingly created books are a fitting tribute to and continuation of the craft she honors. Her previous unique books can be found in several artists’ book collections. Although this book is not precisely a memorial to Louisa, it does document her mysterious death. The book is held in a grey wool folded covering with a poignant scene of a cross in the ground under a willow tree on its top. The interior folds of the grey covering are of a knife dripping blood on one side and a peaceful lake on the other. The grey wool covering opens to the folds of the interior panels. They are covered in pale blue cloths with an elaborate letter "L" on one side and a cross on the other. The interior panels are meticulous and intricate embroidered tableaux of what may have happened to Louisa. The first panel asks "Whatever Happened to Louisa." The words are framed with flowers and decorative stitching. The second panel has a garden scene with what appears to be two knives flying through the air. The third panel has two cross shapes: the first is a tatted insert and the second includes an embroidered floor plan of a home interior with ominous foot prints leading upstairs to a bedroom. The fourth inner panel is embroidered with a lake scene that has a mysterious object near one shore. Is it a boat or is it a coffin? The words “And flights of angels sing thee to thy rest” are stitched along the lake’s other bank. The hand embroidery throughout uses cotton, silk, rayon, and polyester threads of various colors. Lucy's gorgeous artist's book is housed in a grey cloth box with a stitched blue label of a boat and a cross. The folded book measures 3.5 x 4.5 inches. it unfolds to 3.5 x 18.25 inches. The grey wool covering is 4 x 5 inches folded and 4.5 x 19 inches unfolded.The box is 4.75 x 6 x 2 inches. In fine condition. ARTISTSBOOK/042320. Fine.
Rockville, MD: Erik Delfino, 2015. Number 5 of 10 copies signed by the book artist. A stunning production by book artist and photographer Erik Delfino. In his accompanying pamphlet about the 1964 fair, Delfino writes that his parents took him to the fair when he was four years old. His memories are still vivid and treasured, and he hopes that the photographs of the still remaining structures that he took for this book at the fiftieth anniversary celebration have captured the spirit of the fair. The photographs and text are digitally printed on loose sheets of 19 x 13 inch Epson Exhibition Fiber paper. The twenty-five striking and evocative color photographs are of the structures still remaining at the fair site. They are bold and often abstract and geometric. The photos are interspersed with text offering his brief impressions from viewing the site. The photos are followed by a leaf with pictures of Delfino and his parents on the day they visited the fair. There is a table of contents on the colophon page. The leaves are housed in a taupe cardboard folder that is housed in a blue cloth case, which is encased in a 19.5 x 14 inch stainless steel box with an impression of the iconic stainless steel unisphere. Includes a copy of Cotter and Young’s The 1964-1965 New York World’s Fair. Unpaginated. ARTISTSBOOK/112916.
London: Martin Secker, 1929. Hardcover. First Edition. DEDICATION COPY, inscribed “W. Sorley Brown from his friend Alfred Douglas.” The printed dedication page reads “To William Sorley Brown,” whose ownership stamp is present on the front pastedown. An ardent admirer and long-time friend of Douglas, Brown published a brief work titled The Genius of Lord Alfred Douglas in 1913 with the intention of highlighting Douglas’s poetical prowess at a time when most people knew him only for his scandalous affair with Oscar Wilde. Editor and owner of The Border Standard, Brown was known primarily for being a journalist. He is mentioned on page 268 and 292-3 of this book. Near fine condition in the original blue cloth with gilt title to spine and front board. This book has been expertly recased using the original cloth. Light rubbing to spine ends, hinges, and corners. Browning to a few pages where a bookmark was once laid in and light rubbing to pastedowns; otherwise, the interior is clean. Includes frontispiece photograph of Douglas. 340 pages plus index. LIT/020309. Near Fine.
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.
Upper Denby, Huddersfield: Fleece Press, 2004. Hardcover. Deluxe Edition. Number 45 of 54 deluxe copies that include two tipped-in color prints and a signed loose print of “Cafe Dansant No. 2.” Laid in is a signed typed letter from printer Simon Laurence on his letterhead dated October 12th, 2003. This the fourth book in the John Buckland Wright series printed by the Fleece Press. It contains the “free” or autonomous prints not published in the previous volumes including book illustrations, commercial work and designs for cards, announcements and publishers’ marks. It addition it features a descriptive account of all the rejected and unfinished blocks in the studio. A description and printed examples of Wright’s experiments with color which culminated in two engravings “The Blue Dress” (1952) and “The Red Room” (1952) are also included; Wright died before completely finishing the latter. Before the printing of this book, neither of these engravings had been editioned. Fine in quarter vellum with patterned paper boards and gilt title to spine. Pristine interior with many tipped-in illustrations, some of which are in color. Printed in Modern No. 7 type set at Whittington Press by Peter Sanderson on Magnani Avorio Biblos paper and bound by Smith Settle. The tipped-in reproductions were printed in Sheffield by J.W. Northend Fine Print. The print and book are housed in a fine orange cloth clamshell box with paper title label to spine. 71 pages. PRI/122409. Fine.
Foolscap Press, 2016. Hardcover. Number 16 of 100 copies. The Snails is a short story by Patricia Highsmith (author of The Talented Mr. Ripley) about giant snails with huge teeth that inhabit a remote island. When an out-of-shape professor decides to visit the island in hopes of capturing one of the snails in order to secure fame for himself, his plans go awry. A seemingly peculiar topic for a story, it was perfect for Highsmith who kept snails as pets and was known to take them to parties on leaves of lettuce in her handbag. The book is housed in a brick red cloth box with a cast-paper sculpture of a snail shell to the top cover. The book is bound in tan cloth with an illustration of a snail pasted down to the front cover. Within the folds of the accordion structure binding are smaller gatherings of pages, which include the text. Illustrations of snails roaming the island and encountering the professor are printed on the larger pages. An interesting structure, as is frequent with books issued by the Foolscap Press. Letterpress printed from polymer plates. In fine condition. Unpaginated. [44 pages] PRI/022217. Fine.
Paris: Goupil and Cie; Manzi, Joyant and Cie, 1907. Hardcover. Number 107 of 300 copies. A beautiful and sumptuous work in French on the life and art of the great Renaissance painter Sandro Botticelli. In his preface, the author describes his careful research and authentication process on the artist’s work, saying it was necessary because Botticelli had so many disciples who imitated his style. There are 70 plates, of which nine are in color, plus a color frontispiece of a Botticelli self-portrait. For each work there is a plate of the full painting, followed by one or more plates with details from it. The color plates are all details of Botticelli’s exquisite portraiture. Plates 1-66 follow the text pages; plates 67-70 are bound in with the text. Bound in three quarter red leather with marbled paper covered boards and raised bands and gilt title to spine. Original paper covers bound in. Some staining to edges of some of the text pages, not affecting the plates. Each plate has a tissue guard printed with the title and location of the painting. Ownership signature in red ink on half title. In very good condition. Elephant folio. 83 pages plus plates. ART/091012. Very Good.
2014. A beautiful calligraphic manuscript of William Morris’s poem “Love Fulfilled.” Maryanne Grebenstein is a professional calligrapher who studied under many other notable calligraphers. She teaches calligraphy and manuscript gilding at the Massachusetts College of Art (Boston), the North Bennet Street School (Boston), and the Abbey Studio in Hingham, MA. This lovely lyric was published in Morris’s last book of poetry, Poems by the Way, in 1892. A contemporary critic described this late work as still marked by a pervading intensity of human feeling found in his early poetry. The title and decorated capitals are 23 Karat gold leaf. Thirty-five lines with the calligrapher’s signature in pencil below the border. The text is in Moon Palace sumi ink and the color is in Winsor & Newton gouache on Crane’s 100% cotton stock paper. Archivally matted. Measures 17 x 22 inches including mat. Fine.
New York: E.P. Dutton, 1929. Hardcover. First American edition (English sheets). Author’s second book. Considered to be a Modernist, Proletarian novel, this is a social satire about the lives of Birmingham factory workers during the 1920s. Bound in green cloth lettered in black on the spine. Wear to the head and tail of spine and corners. Ownership stamp on the front endpaper and back pastedown. Browning to margins, else clean interior. 269 pages. LIT/111116. Very Good.
Glenview, IL: Karen Hanmer, 2011. Hardcover. Chicago binder, book, and installation artist Karen Hanmer’s intimate, playful works fragment and layer text and image to intertwine memory, cultural history, and the history of science. Her work weds the ancient art of book binding with the high tech use of the computer to aid her process. The intimate scale and the gestures of exploration required to travel through each piece evoke the experience of looking through an album, a diary, or the belongings of a loved one. However, her works often take the forms of games or puzzles, and many include witty text. Number 2 of 3 copies. A sculptural book featuring text from Jane Austen’s archetypal romance, Pride and Prejudice, with heart shaped cut outs to reveal illustrations clipped from the covers of modern day romance novels. This book can be displayed in a star format using two included cloth clips or as an accordion. According to the book artist: The “background pattern references Regency era roller-printed textiles. This piece was created from a minimum quantity of recycled and already-purchased materials and with limited use of electricity for Sustainable Book and Paper Arts, a 2011 exhibition curated by Shawn Sheehy and Melissa Jay Craig.” Inkjet printed with found images. It is housed in an archival grey folding case with artist’s contact information stamped to front panel. Size: 6.75 x 4.25 x 3 inches, closed; 6.75 x 8.5 x 8.5 inches, open. Fine. Fine.