London: Colburn and Co., 1852. Hardcover. A scarce copy of this engaging compilation from the expedition under the command of Captain Austin that sailed from the Thames on May 4, 1850 in search of Sir John Franklin and his missing men. Franklin’s ill-fated 1845 voyage was in search of the elusive Northwest Passage, and ultimately he and his crew did not survive. Captain Austin’s expedition comprising four ships became locked in ice in the Arctic waters for eleven months, finally arriving back in England in October. This work is not a narrative of that expedition nor an actual journal. It is a fascinating and sometimes humorous collection of articles written by the officers and men for an onboard monthly newsletter called the “Aurora Borealis.” The articles are described in the preface as possessing a “delicacy of imagination and a power of perception.” The newspaper was one of many expedition resources used during the trip to provide both employment and amusement. There was a reading room and classes, a theater, periods of exercise and games, and more. Bound in contemporary three-quarter brown leather with brown and cream marbled paper boards. Leather is chipped and scraped, and bottom of spine is darkened and abraded. The rear hinge is cracked, but has been reinforced. Marbled endpapers with small chip to front and scrape and partially cracked rear hinge. Title page and verso are chipped and have book stamp of Headlee’s Book Exchange. A few early pages are present, but loose. Nice color frontispiece, black & white title page vignette, and a few text engravings. Interior pages are clean with light aging to margins. Despite flaws still a desirable copy. POLAR/050321. Very Good.
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Paris: Abbé de la Chau and Abbé Le Blond, 1780 and 1784. Hardcover. These two sumptuous French volumes describe the Duc of Orléans's magnificent collection of pierre gravées - "engraved stones or gems" - that was acquired over the years. This was the collection of Louis Philippe (1725-1785) that was inherited by his son Louis Philippe II (1747-1798), The son had the collection for two years but it was sold to Catherine, Empress of Russia in 1787. The volumes include descriptions of every stone included along with beautiful and intricate engravings of each. Most of the subjects are the Greek and Roman divinities. There are also a number of vignettes and cul de lampes throughout the text. There is also an engraving of the Duc designed by the artist Charles-Nicolas Cochin. The two folio volumes are bound in brown speckled calf skin, with gilt rulings to edges of covers, and gilt titling and ornaments to spine compartments. Leather is scuffed and mottled, and gilt has faded in places, with a skillfully rebacked spine in both volumes. Marbled paper endpapers. All edges gilt. Interior pages are in very good to near fine condition. Volume I, published in 1780, is 303 pages; Volume II, published in 1784, is 215 pages. Small folios measuring 8 x 12.5 inches. ART/122820. Very Good.
1918. Hardcover. Rare military service record of Brigadier General Frank Parker (1872-1947). Presentation inscription from Parker "To C. Van U. in memory of the Great Days together - F.P. - Bridge Head, Easter, 1919". Includes service record, facsimiles of orders and telegraphs, as well as a list of decorations of Brig. Gen. Frank Parker from 1918 - 1919 during which he was awarded the War Cross of France with Palm, Commander of the Legion of Honor of France with second Palm of War Cross, Commander of the Order of the Crown of Belgium, D.S.M., and Third Palm on War Cross. Parker served in a tour of Lorraine, the second Battle of the Marne, the Battle of St. Mihiel Salient, the Battle between the Meuse and the Argonne Forest, and more. Bound in full red leather with gilt title and dates to spine. Gilt rules and swastikas to both boards. Rubbing and wear to boards, edges, spine ends, and corners. Evidence of a removed sticker to front board (about 1 x 2 inches) with surface sheen of leather removed in this small area. Adhesive remnants to front pastedown where a bookplate was removed. Browning to interior, mostly along margins. Unpaginated with blank sheets bound in at rear to fill out an otherwise thin binding. [Approximately 150 pages, of which about 100 have text printed on one side (so, about 50 pages of text).] WWI/011221. Very Good.
[Ipswich, England]: 1905-06. A unique and charming autograph book of a young college woman, filled with handwritten drawings, quotes from various writers and good wishes from friends and acquaintances at the college. The initials N.T.C. are on many of the pages. It is unclear whether these are the initials of the album's owner or a reference to the school they all attend. References to Ipswich and and Burton on Trent place the book as English. The most delightful feature of the autograph book are the 32 illustrations interspersed throughout. There are 12 watercolors, 13 pen and ink drawings, and 6 pencil sketches. They include men and women, flowers, animals, and scenery. The quality of the illustrations varies from basic and naive through competent to a few that are quite accomplished. Bound in brown leather with the word Album in gilt to front cover. Bumping and chipping, with the backstrip still attached but in fairly poor shape. All edges gilt. A few pages have become loose but the book is otherwise a lovely example. Measures 5 x 8 inches. [44 pages]. HANDWRITTEN/081120. / Very Good.
Easthampton, MA: Abecedary Press, 1990. Hardcover. Number 8 of 10 deluxe copies signed by the artist. This Abecedary Press Production's book was written by Mark P. Carol, as a contemplation inspired by a trip to the Galapagos Islands to view Haley’s Comet. It is a humorous look at contemporary social and sexual values through the guise of rocks (occasionally referred to as the “pet rock turns 30-something.”) Alan James Robinson illustrated the book with two handsome wood engravings and seven line drawings depicting the Galapagos Islands, the Galapagos Tortoise and of course, the Banging Rocks. Alan is a renowned book artist who has been producing fine limited edition books since the 1980s. His work can be found in many institutions nationally and abroad. This engaging deluxe production's book is bound in quarter leather green Moroccan goat with a millimeter leather fore-edge and Japanese Chiri (bark) paper. The book and its set of two actual banging rocks of green Beryl crystals from Connemara, Ireland are “housed” in an elaborate hand crafted cherry dove-tailed jointed wooden box with expansion joints. This geo-stable enclosure was crafted by Allan Wheeler and protects the Banging Rocks, which are of a semi-precious nature. Printed in Centaur & Arrighi types set by Dan Carr at Golgonooza Type Foundry on T.H. Saunders Hotpress Watercolor paper. Printed by master printer H.P. McGrath. Bound in paper over boards by Kim O’Donnell. In fine condition. Book measures 5 x 8 inches. The box is 5.5.x.8.5 x 3 inches. Unpaginated [32 pages]. ARTISTB/071020. Fine.
Washington DC: Abstract Orange, 2019. Number 12 of 36 copies signed and numbered by the book artist. The book was published on May 31, 2019 in celebration of Walt Whitman's 200th birthday. The book artist writes: "The book explores ideas central to Walt Whitman’s Leaves of Grass including transcendentalism, or the inherent goodness of nature, and realism, depicting familiar things as they are. It captures both the complexity and simplicity of nature by juxtaposing dimensional paper grass texture and a quote about nature and wonder. The book is not a reprinting of all of Whitman’s words, but an art object that encapsulates the feeling of Whitman." Her evocative work is done as a box that opens like a traditional book. The inside front cover and back cover are covered with cream paper that includes quotes from Whitman along with his image. Inside of the box/book are several spiky rows of grass leaves crafted from green paper. The box is covered with green paper with the title, author and press name in a lighter shade of green. In fine condition. Measures 5.25 x 7.25 inches. ARTISTB/063022. Fine.
London: Kegan Paul, Trench, Trubner & Co., Ltd, 1925. Hardcover. Includes 36 color plates and 48 in text illustrations. "In these days it is unnecessary to say how bold a German publisher must be, to give so many coloured plates, at a time when with us all economic ideas are upside down. I hope this boldness will be rewarded. When we were excavating Ashur the wish became stronger, with every new find of this coloured Assyrian art, one day to convey the discoveries to posterity complete and as unaltered as possible. Photography alone did not suffice for this; as far as possible every piece was copied in water-colours immediately after being found, and later we took the trouble to take colour photographs with Lumiere plates" (page 77). A folio bound in olive green buckram boards with gilt and leather title label to spine. Bumping to corners, wear to spine ends, wear to edges, minor soiling to boards, and rubbing to spine. Chipping to leather spine label. Bookplate to front pastedown. Evidence of removed library sticker to foot spine and evidence of removed library marking to rear free endpaper. Clean, bright interior aside from occasional light finger smudges to margins and minor browning to margins of plates. Tissue guards are present; however, some have creases and tears. 78 pages of text plus plates to rear. ART/021921. Very Good.
Minneapolis: Angel Bomb Press, 2020. Limited to 125 copies signed and numbered by the book artist, Todd Thyberg. He writes in the colophon that the book took over two years to write, create, and print. He states: "This experiential read was conceived as an ode to H.P. Lovecraft, whose books I had discovered and read profusely as a teenager growing up in a small town in rural North Dakota....I knew I wanted to be a writer, to breathe life into stories that transported the reader to realms unknown. H.P. Lovecraft gifted the world with a style of cosmic horror and weird fiction that was previously unknown. In homage, Todd created a mythical and mystical expedition to the steppes of Siberia to find the temple and artifacts of a mysterious people that supposedly once inhabited this barren and forbidding land. He says, "In the winter of ‘18, I rented a cabin in the woods of Wisconsin and sequestered myself for a week, sketching, researching and writing down plot points. I took an historic event that fascinates me and turned it on its head, spinning it into the world of old gods and monsters that thrilled me as a kid. I wanted to celebrate and honor the creepy cosmic horror that made Lovecraft’s work so unique. One of the men on the expedition is required to document their findings. Odd diagrams and even odder structures are found and recorded for the archives at Miskatonic University. What is it that they find? What happens to the expedition when they find it?" It’s all hidden within. But be forewarned! Many who have seen the contents of The Miskatonic Papers have died horrible deaths or gone completely insane! The valiant quest for knowledge may lead you down a path that branches into dark corners of the night, filled with arcane shadows. Never travel there alone and be cautious where you step. If you hear a wet, rustling noise behind you, you had best run screaming. After exploring Todd's remarkable and complex production, the reader will indeed understand Todd's warning! The work comes in a foil-stamped grey clothbound clamshell box with three sealed folders inside.Todd urges the reader to break the seals and pore through the contents of the folders. One includes a broadside for the expedition, drawings, two letters, a rubbing, telegrams from the field, and an amazing handwritten expedition journal. All of them letterpress printed, aged, and weathered. The Expedition Broadside appears stained with ale and smudges from the hands of inquisitive sailors. It states that Professor Tyler Freeborn seeks able-bodied men to risk life and limb for the advancement of science. Do you have a thirst for adventure? Perhaps you should apply. Each piece of the book was made to look as if it was created 100 years ago. Stains, creases, and even burned edges will provide the reader with a rich experience when delving through the ephemera and piecing the story together. Printed on a selection of stocks as well as vintage business cards and journal pages, with too many typefaces to name and lots of handwriting as well. Letterpress printed at the Angel Bomb studio. In fine condition. ARTSB/071320. Fine.
Richmond, VA: Monalisa Bagby, 2020. One of four copies signed and numbered by the book artist. Lisa Bagby describes this intricate and mysterious book as "a magical tale of how beauty enters the world and the intertwine of fate and potential." She explores her theme by following the journey of an unnamed good woman who realizes that as she responds to circumstances over which she has no control that she is realizing her potential in ways she could not have imagined. The artist incorporates striking visual and structural designs throughout this book to trace the course of the good woman's journey. They include screen printed patterns of foliage and shapes, the use of colors and various papers to delineate the text, pop-ups and reverse pop-ups, and images from a Lichtenstein print, and a Chagall painting. The backs of the pages of this concertina book are also screen printed using the colors black, orange, and gray. All of the images on the back relate to the story unfolding on the front side. They include the constellation Ursa Major to refer to the mention of a black bear, while an image of a polar bear refers to stories told to the good woman about the North people. Postage stamps of birds pasted in pertain to their cacophony. Printed in Roboto on Rives paper, with insertions of various other fonts. It is bound in grey cloth with maroon floral designs on the front cover, with a black string tie with a maroon and cream button attached. In fine condition. Measures 8.25 x 8.25 x 1 inches. ARTISTSB/101620.
Milan: Dalla Stamperia Reale, 1810. Hardcover. Giuseppe Bossi (1777 – 1815) was an Italian painter, arts administrator and writer on art. He ranks among the foremost figures of Neoclassical culture in Lombardy, along with Ugo Foscolo, Giuseppe Parini, Andrea Appiani or Manzoni. Bossi devoted a large part of his life to the study of the works of Leonardo, whose drawing manner he imitated accurately enough for his productions to have passed as Leonardos and his last work was a series of drawings in monochrome representing incidents in the life of that great master. He left unfinished a large cartoon in black chalk of the Dead Christ in the bosom of Mary, with John and the Magdalene. In 1810 he published this monumental work titled Del Cenacolo di Leonardo da Vinci, which had the merit of greatly interesting Goethe, who shared Bossi's urgent dream of saving Leonardo's fresco [Wikipedia]. This work comprises four books dealing with different aspects of Da Vinci's life and art. Large folio bound in full brown leather with gilt ornament to front cover, raised spine bands and gilt titling to black leather spine label. Leather is scraped, rubbed, soiled and bumped, and spine has been rebacked. Evidence of library call number at bottom of spine and glue remnants on rear pastedown where signout card removed. A.e.g. Text pages are generally clean and bright with some age toning to margins and occasional light foxing. With engraved frontis of Da Vinci's only self portrait and five additional plates, with the sixth one unfortunately missing. In Italian. 263 pages. ART/040521. Very Good -.
London: Constable and Co Ltd, 1933. Hardcover. Author's Presentation Copy. First Edition. Inscription reads: "To the Revd H.M. MacLeod of Killearn, in remembrance of his sympathy and support during the dark hours of August 1st to 4th 1947. with the affectionate regards of Gordon Bottomley. Easter: 1948. Gordon Bottomley (1874-1948) was a notable figure known for his verse drama. He was greatly influenced by the Victorian romantics. In a beautiful dark red morocco binding by binder, E. Garrett with his stamped signature to the rear turn-in. Garrett was associated at the turn of the century with the Municipal School of Art. Hand stamped gilt title and author to spine and front board with raised bands to spine. Gilt rules, gilt chalice, gilt flowers, and embossed leaves to boards. Printed endpapers and full edges gilt. The binding is lovely despite the tooling being awkward in places. The interior is clean overall with occasional spots of foxing, which are most prevalent on first and last few pages. Black and white photographic frontispiece. 85 pages. DRA/011221. Very Good.
Toronto: 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.
Toronto: Cheshire Cat Press, 2018. Hardcover. Number 20 of 42 copies signed by the printer, illustrator, and the author of the introduction. The illustrator writes: "This edition in your hand is one of three interations of The Hunting of the Snark published by Cheshire Cat Press, all of them very different in concept while sharing the same aesthetic, inflecting the narrative in different ways without in the least altering Lewis Carroll's original text." The Cheshire 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. For this edition of Snark, Malcolm created new illustrations inspired by contemporary carte-de-visit photographs that were so popular in Victorian England. He has one for each character in the poem, adapting images from actual photographs. He chose images that to him bring to life the imagined crew men on the hunt for the snark. They are ideal depictions for this fantastical nonsense poem by Carroll, written when he was forty-four years old. Bound in dark blue cloth with title in gilt to spine and on cover label. With "The Snark Map" inserted in a sleeve on the front pastedown. Handprinted in New Caledonia type on Velin Rives paper. Housed in a slipcase in the same blue cloth with gilt title on cover. In fine condition. 6.5 x 10 inches. 71 pages. PRI/111519. Fine.
New York: Béatrice Coron, 2015. Number 3 of four copies. "Let's keep dancing if that's all there is! This is a lively and engaging book that Andrea Arroyo and Béatrice Coron did in collaboration. It features Arroyo's color illustrations of dancers and Coron's paper-cuts of dancers and the brief. It was created using Arches paper. The book is housed in a red cloth folder with the silhouette of a dancer affix to the cover. The book slides into an interior sleeve within. In fine condition. It measures 6 x 30 inches when extended. Andrea Arroyo is an award-winning artist working in a range of media including public art, painting, drawing, illustration and site-specific installation. Her work is exhibited widely and is in private, corporate and public collections around the world. Her artwork has been published extensively including in or on the cover of The New Yorker, The New York Times, The International Herald Tribune and The Nation and has been the subject of over two hundred features in the international media. French born Béatrice Coron is a renowned artist whose work includes book arts, fine art, and public art. Her work can be found in major museum collections, libraries, as well as private collections. Her books are fascinating creations made through cutting images in paper or Tyvek. Christina Favretto, Head of Special Collections at the University of Miami describes her work in Coron's "artfragments" portfolio: "There is a palpable joy in the work of Béatrice Coron, the kind of joy we felt as children in unwrapping a particularly enticing holiday gift. But...for Béatrice the gift is a sheet of Tyvek...or paper, and the stories to be unearthed and unleashed within and through the medium." Coron describes her book work: "For the last 20 years, I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. These visual chronicles record archetypal stories that transcend time and space. I have been fascinated by the relation of people to their space and the sense of belonging. Using papercutting where everything is cut from a single piece of Tyvek, the profusion of individual stories makes a coherent whole world." [From her website] ARTISTSB/082520. Fine.
San Diego: Anne Covell, 2017. Paperback. Number 9 of 20 standard copies. There were also five deluxe and two artist copies of this beautifully conceived and executed work. Anne Covell is a book artist and hand papermaker living in San Diego, CA. She has studied Asian and Western papermaking techniques with Timothy Barrett, and has taught for numerous professional organizations including the Morgan Art of Papermaking Conservatory, Penland School of Crafts, and the University of Georgia study abroad program in Cortona, Italy, among others. Her work has been exhibited internationally and can be seen in a growing list of private collections, special collections libraries, and museums worldwide. In her colophon Anne writes: "I first became interested in the Japanese beetle in 2012 during a particularly hot and dry summer in Iowa City. Perhaps it was a result of the season or of my having moved to a new home ripe with some of the beetle's most preferred foods, but I became overwhelmed by its pervasive, relentless assault on my garden. As the summer wore on, I began finding leaf remains gathering at the bases of trees...as if it were fall. Their presence was out of place; out of season. But when I began to look more closely, what struck me was the beauty of form that the beetle had inadvertently left behind. Starved of oxygen and drained of color, these leaf skeletons would soon crumble and return to the earth. But, for a moment they existed between realms and reflected a loss that spoke to the complexity of the natural world." The book contains 12 folios of 100% Japanese Gampi hand-dyed with persimmon tannin and treated with konnyaku to mimic the sound and texture of withering foliage. The illustrations of leaves, berries, and twigs were letterpress printed from drawings by Anne. Housed in a stiff brown paper envelope, with paper handmade, hand dyed, and hand burnished with persimmon tannin by the artist. Measures 4.5 x 10 inches. Fine condition. ARTISTSB/010421. Fine.
La Mesa, CA: Anne Covell, 2017. Hardcover. One of 60 copies. "On January 20th, 2017, Donald J. Trump was sworn in as the 45th president of the United States. That same day, the official White House website (whitehouse.gov) began the digital transition to archive and replace Obama’s policies with those of the new administration. Immediately, people began to notice that key issues such as health care, education, and immigration were nowhere to be found. Keyword searches for terms such as “climate change,” “LGBT,” and “civil rights” all returned 404 errors. Even more conspicuously, the Spanish-language version and the disabled-accessible version of the site were no longer available. Internet Archive, a non-profit digital library that has been archiving webpages since 1996, captured 167 snapshots of whitehouse.gov that day. This book records the last snapshots taken of Obama’s policies before they came down, the 404 errors that followed, as well as the Internet Archive timestamps for when the information was last available and when it disappeared" (Anne Covell). The first layer of this accordion book reveals text from webpages from whitehouse.gov covering topics like "equal pay", "criminal justice", "climate change", "disabilities", etc. from the Obama era. Each of these pages has a tab at the top edge, which the reader can pull down to reveal the content (or lack thereof) of the same page from the day of Trump's inauguration on January 20, 2017. The contrast is startling. Government webpages once filled with useful, empowering information, were eradicated in a single day. Covell fills these blank spaces with the haunting outlines of book-like shapes to represent a lost library and consequently imparting a feeling of emptiness and loss of hope. The Record presents a powerful visualization of the turmoil that the Trump administration has imposed since its first day in office. Bound in black and white paper wrappers with title to front cover. Letterpress printed accordion on Masa paper with sumi wash and hand brayering. Housed in grey cardstock case with red twine legal closure to rear. Anne Covell's work can be found in collections across the world including Columbia University, San Francisco MOMA, RIT, the National Library of Chile, and Yale. She makes paper as well as books and teaches book arts workshops. Her work often address interactions between humans and nature. According to her artists' statement: "I am interested in the human capacity to physically shape environment, to make claim to earth that must inherently be shared, and the subtle, observable ways nature adapts and responds. Through this lens, I attempt create beauty from perceivably ugly acts as an entry for exploring complex human response to transience and decay." Size: 6.5 x 4.25 x .25 inches (closed); 13 x 42.5 x .25 inches (open). Fine.
San Diego: Anne Covell, 2019. Number 12 of 18 copies signed and numbered by the artist. Anne Covell is a book artist and hand papermaker living in San Diego, CA. She has studied Asian and Western papermaking techniques with Timothy Barrett, and has taught for numerous professional organizations including the Morgan Art of Papermaking Conservatory, Penland School of Crafts, and the University of Georgia study abroad program in Cortona, Italy, among others. Her work has been exhibited internationally and can be seen in a growing list of private collections, special collections libraries, and museums worldwide. Anne writes: "History of a Felling was first conceived during the winter of 2014 while at the Penland School of Crafts on a winter residency in letterpress. The images were made on-site from polymer plates created from film ink hand-painted on Yupo paper. The project was filed away while the concept evolved into a body of work that would become Covell’s graduate thesis, “Towards a Just Landscape,” in 2015. In the intervening years, the US/Mexico border would draw global attention for the deeply contentious debate over the compulsion to secure the southern border though the construction of a border wall. It seemed a particularly poignant time, by comparison, to revisit the history of the US/Canada border felling, and so the project came out of storage. In many ways the southern and northern US border conflicts remain as isolated as their geographical latitudes; however, their ethical and environmental costs deserve equal scrutiny. Over 150 years later, the deforestation continues. Nature inevitably begins to rebound - trees, shrubs, and grasses grow - and every six years the swath is cleared through exhaustive manual labor." Anne has created a lovely tunnel book that opens to reveal a multi-layered forest of delicate trees printed in light brown on a cream background of Sakamoto paper. The images were printed from photopolymer plates made from original drawings by the artist. Housed in a brown cloth portfolio with a discussion and description of this book. In fine condition. 5.75 x 4.75 x .5 inches (closed) 5.75 x 4.75 x 18 inches (open). ARTISTSB/012121.
Mt. Tremper, NY: Maureen Cummins, 2019. One of 20 copies signed and numbered by the book artist. A striking work by well known book artist Maureen Cummins. She produced this work as part of Swarthmore College's Friends, Peace, and Sanctuary Project, with major support by the Pew Center for Arts and Heritage. Additional support was provided by the Lang Center for Social Rsponsibility, the William J. Cooper Foundation, and the Andrew W. Mellon Foundation. The project brought five artists into conversation with Syrian and Iraqi individuals resettled in Philadelphia. Cummins interviewed four participating families in 2018. The text of this book was compiled based on interviews that she conducted with three of the resettled Middle Eastern refugees and their families. The power of this work is that most of the texts of the interviews were heavily redacted to protect the families and their relatives still in the Middle East. Anonymous was typed by the artist using a vintage Smith-Corona typewriter, then later redacted by hand with water based black ink. The loose sheets are held in a commercially produced clip board with metal covers with the title in black on the front cover. Measures 9 x 13.25 inches. In fine condition. Unpaginated [9 pages] ARTISTSB/012120. Fine.
New York: American Art Association, 1900. Hardcover. SCARCE. American auction catalog for part of Augustin Daly's enormous collection. An auction in 1880 disposed of much of his collection but this auction still includes several thousand items. There were many autographs as well as manuscripts and books. Augustin Daly (1838 –1899) was one of the most influential men in American theatre during his lifetime. Drama critic, theatre manager, playwright, and adapter, he became the first recognized stage director in America. He was dramatic critic for several New York papers from 1859, and he adapted or wrote a number of plays, Under the Gaslight (1867) being his first success. In 1869 he became the manager of the Fifth Avenue Theatre on 24th St. and in 1873 the Fifth Avenue Theatre on 28th. In 1879 he rebuilt and opened Daly's Theatre at Broadway and 30th Street in New York, and, in 1893, Daly's Theatre in London. Daly formed a permanent company in New York and opened Daly's Theatre in New York in 1879 and a second one in London in 1893. At Daly’s Theatre he assembled a company of players headed by well-known actress Ada Rehan. Some of the best actors of the time owed their training and early successes to him, including John Drew Jr., Maurice Barrymore, Maude Adams, Mrs. Gilbert, Tyrone Power, and Isadora Duncan. Bound in three quarter brown morocco over marbled paper covered boards. Gilt title and raised bands to spine. Top edge gilt with marbled endpapers. Minor wear to edges of boards and corners. Rubbing to boards. Bookplate of Franklin Johnston to front endpaper. Frontispiece portrait of Daly. Pencil annotation on free endpaper says that this was the copy of Douglas Taylor. In very good condition. Measures 8 x 10.5 inches. 381 pages plus 23 page listing of prices realized. BOB/060220. Very Good.
Wheeling, WV: H. Hoblitzell, 1851. Hardcover. This interesting work was described in Howes as a "Valuable compilation based on reliable sources" Howes D223. In addition to relating the history, the author also provides biographical sketches of those he terms "distinguished actors in our border wars" such as Col. Ebenezer Zane, General Andrew Lewis, General Daniel Brodhead, Captain Samuel Brady and more. Bound in original publisher's green cloth binding with gilt vignette of a Native American scalping a man. Debossed cloth designs, gilt titling to spine. Binding is bumped, rubbed, with a few light stains. Interior pages generally clean with brown spots occasionally to pages. With frontispiece illustration, three plates and one fold-out. With former owner bookplate to front pastedown, random black number and letters to free endpaper, and ownership signature of John A Wharton, Liberty VA, 1852. A desirable copy of this history. Octavo. 416 pages. AMERH/032621. Very Good.
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.
Malvern East, Victoria Australia: Electio Editions, 2011. Softcover. Number 29 of 40 copies of which 31 were for sale. The is the second book in the Alan Loney's Electio Edition "alphabeta series". Alan Loney (1940 - ) is a well known writer, poet, editor, publisher and letterpress printer. His work has been published by University and private presses in New Zealand, Australia and North America.His own presses have printed and published many of New Zealand's most noted poets. He has also produced books himself, and in collaboration with artists and printmakers in New Zealand and overseas. His partner Miriam Morris enjoys a dual career as a visual artist and professional musician. For this book Morris contributes two original pen and acrylic drawings, each one unique in each copy. Marion May Campbell is better known as a contemporary Australian artist, but the book's prospectus describes her as also a poet of brilliance, sensitivity and skill. Bound in hand stitiched tan paper covers with title in yellow and author and artist names in red. Designed and printed by Lone with Dante and Libra types printed on damped BFK Rives paper. Housed in a bright yellow clamshell box and accompanied by the prospectus. In fine condition. Measures 5 x 9.25 inches. Unpaginated. PRI/022020. Fine.
Brussels: G. Van Oest, 1912. Hardcover. Folio. Bellini (c.1400-c.1470) was a key figure in the development of Renaissance painting in northern Italy. He also founded something of a dynasty, with his sons and son-in-law, Andrea Mantegna, all becoming famous painters in their own right. Most of Bellini’s paintings have disappeared, and his two surviving sketchbooks, one at the Louvre and one at the British Museum, are how he is best remembered. These two oversized folio volumes lavishly reproduce the masterful drawings from each sketch book along with a facing description of each. Volume I has 134 plates and Volume II has 100. Many are on double pages and fold out. Very good in the original half vellum with brown paper boards and gilt title to spine and front boards. As with most heavy books, the joints show some splitting but have been repaired and are holding tight. The vellum has some soiling and spotting, and there is minor scuffing to the paper boards. The interior is bound tightly and is very clean. ART/8122. Very Good.
Moscow: Emil Goozairow, (2020). Small unnumbered limited edition. Goozairow is a Russian artist who paints and draws, produces movies, and creates exceptional handmade books that are printed on rare types of paper and published in limited editions. His techniques create unique designs that often are made with natural materials alone or in combination with relief decorations made from metal or polymeric clay. He creates books that he describes as "pop up," “kinetic carousel," “liporello” or “3D origami.” He also writes fairy tales, stories and mystical scenes. A playful alphabet book with something embedded in both covers, causing it to rattle when read. Delightful illustrations with alliterative phrases (many comical) for each letter such as: Angel's Acorns for A, Creeping Cats, Delightful Desire for D, and Ugly Unicorn for U. The book has a special folding design that seems to unravel as you open each page. The book must be turned and flipped as you read in order to see all of the letters in order. Both boards are pyramid shaped relief designs in colored polymer clay. The book is held closed with braided brown cord straps that fasten with a metal clasp. In fine condition. Each side of this triangular shaped book measure about 2.25 inches. The depth of the book is about 3 inches. The book is painted white and blue. ARTB/021921. Fine.
Liverpool: Printed by G.F. Harris's Widow and Brothers, 1817. Hardcover. This is the first edition of an interesting and monumental work that was compiled and edited by Matthew Gregson (1749-1824), who was born at Liverpool in 1749. He was many years in business as an upholsterer, and when he retired in 1814 had amassed considerable property. Although he had little education he took a deep interest in literature and science, and especially devoted attention to the collection of documentary and pictorial illustrations of the history of Lancashire. These he used in compiling his Portfolio of Fragments relative to the History and Antiquities of the County Palatine and Duchy of Lancaster, which he brought out in 1817 in three folio parts. The second and enlarged edition is dated 1824, and the third, edited and indexed by John Harland (1806–1868), a fellow antiquary specializing in Lancashire, came out in 1867. This work led to Gregson's election as a fellow of the Society of Antiquaries [Wikipedia]. In his preface, Gregson states that he did not attempt to give his materials for this book the "arrangement which the rules of historical composition require; as he has collected, so he may be said to have published, having in view the value of each individual document rather than the composition of a chain of historical events." Thus the result is a massive collection of information about the Duchy of Lancaster of every kind from textual history, to coats of arms, crowns, coronets, crests, etc. forming a useful basis for the history of that period. Bound in marbled paper boards with three quarter leather. The boards are scraped and the corners are very rubbed. The leather is scratched and rubbed. Two of the spine labels have pieces missing. Except for occasional spotting, the interior pages are quite clean and bright. There are two fold-outs. The one at the front of the book is fine. The rear fold-out has some tears from unfolding but still of use. With bookplate of Stephen Leslie Norris and ownership signature of Jane Noble Pilkington dated Dec. 1828. Very good condition. Measures 8 x 13 inches. 302 pages plus appendix with cviii pages. ENGHIST/122820. Very Good.