Hartford: H. and F.J. Huntington, 1831. A scarce early - perhaps the earliest - instructional book for women on why calisthentics are essential both for maintaining good health and the improvement of their minds. The book is written as a series of letters from a mother, identified as "M" who begins with letters about the importance of of physical education for children. She then proceeds to offer instructions and exercises for women to do themselves and to train their daughters. There are sixty-two charming illustrations that show women how they should perform their calisthentics. Ex-library with library stamp for a New Hampshire doctor's office debossed on title page. Below the stamp "Bring it back"" is written in blue pencil. Bound in brown cloth with no titling to cover or spine. Boards are worn with sun fading to cloth along edges. The front joint is slightly cracked. A few minor stained spots on front and rear covers. Rounded corners. Cracked hinges. Front and rear endpapers are toned, foxed. Offsetting to title page and free front endpaper as well as to the rear free endpapers. Text pages are lightly aged. Small closed tears to fore-edge margins of pages 49-54 not affecting text.Occasional pencil underlining. A nice copy in quite good condition of this delightful manual. Measures 4.25 x 6.75 inches. 87 pages. MED/050823.
Refine search resultsSkip to search results
n.p. n.p., ca. 1530. An exquisite small leaf taken from a French Book of Hours from the early 16th century. Books of Hours were personal prayer books and were not only works of art, but cultural documents of their time. They were made of the finest materials, by the best artisans, for the small portion of the population that could both appreciate and afford them. The book's Latin text is printed in black, with horizontal gold ink ornaments at the end of each sentence. The text has a gold ink border with an ornamental bow at its bottom. The border and ornaments are highlighted with a thin line in red ink. There are fourteen initials in gold and black. There are thirteen two-initials and one of three lines. This leaf is for pages 161-162 of the book. It measures 2.5 x 4.25 inches. In fine condition with the outline of the intials from one page visible on the other page. MANUS/031723. Fine.
Washington DC: Abstract Orange Press, 2016. Hardcover. Number 16 of 20 copies signed and numbered by the book artist. Lauren Emeritz is a book artist, letterpress printer and graphic artist who founded and runs the Abstract Orange Press. She creates prints and books by hand using a Vandercook press and wood type, including type she designs and carves herself. Lauren holds a BFA in Graphic Design from the University of Delaware. She is the President and Creative Director of Abstract Orange, a graphic design firm in Washington, DC, and a letterpress associate at Pyramid Atlantic Art Center in Hyattsville, Maryland. This beautifully designed book is in the special collections at the Library of Congress. It is one of a series of books that Lauren has done using her handmade type to explore letters, numbers, and shapes. In this accordion style book she has printed her hand carved letters of the alphabet in a bold orange. There is one letter to a page. They have been carved our of linoblock, pine, basswood, and plywood. Printed on Lettra 220 paper and bound in orange Mulberry paper with debossed titles in gilded orange on front cover and spine. In fine condition. Measures 5.25 x 7 inches. ARTISTSB/082018. Fine.
Washington DC: Abstract Orange, 2021. Number 9 of 10 copies of this inventive work by Lauren Emeritz in honor of Emily Dickinson. The artist's statement: "This book was based on the poetry of Emily Dickinson and released on her birthday, December 10th. The book started as visual interpretation of the words 'Hope is the thing with feathers that perches in the soul' with a thing of feathers perched in a box." The simple construction mimics that of a case-bound book, with a spine and fore-edge but it is actually a box. The box is made of basswood and the spine is white birch wood veneer. A gentle wire clasp holds the book shut, but not locked shut. "Inside the box is "the thing with feathers. "The 'thing' is not a bird with a beak and feet, but a grouping of brightly colored orange feathers. They do not represent a specific bird, but rather a fictional idea of a thing with feathers. The feathers are made from cut paper that is scored to looks like feathers and held together by a simple wire. The cover is a bright, glowing yellow with the title in orange letterpress printed type, and a wooden “inlay” with the author's name. This represents that the while the poem is by her and she was the inspiration for the piece, the piece is not just about her, but the idea of hope [artist's statement]." In fine condition. Measures 5.25 x 7.25 x 1 inches. ARTISTSB/041223. Fine.
Washington DC: Abstract Orange, 2023. Number 14 of 20 copies in a variable edition. Signed by the book artist. This latest work by Lauren Emeritz expresses a powerful message from the Earth to the humans who inhabit it. The foreboding message warns humans that their carelessness and disregard for the impact of their actions that have created extreme urgency around climate change, and its profound destruction may ultimately render them extinct. "Your inability to protect your habitat (me) will make you a blip that destroys itself" [from the text]. The artist used cyanotypes to create images and letterpress printed the text on blue BFK Rives paper with end sheets of handmade paper from the Morgan Conservatory. "Cyanotype is a 170 year old photographic printing process that produces prints in a distinctive blue. The word cyan comes from the Greek, meaning dark blue substance" [description from the Phillips Collection]. She created the beautiful cyanotype images using natural elements, plastic, and UV light. The text is printed in large bold bright orange type. With the title in orange on the front cover and an orange spine label with black title. The beautiful paper with torn edges and exposed black book board covers create an elegant but raw feeling. The book structure is a drum leaf binding that opens flat and allows the images to fill the full page spreads. In fine condition. Measures 6.75 x 11 inches. Unpaginated [20 pages] ARTB/050323.
Washington DC: Abstract Orange, 2020. Paperback. Number 4 of 10 copies. Just before the Pandemic lock-down started in March 2020, Lauren Emeritz participated a letterpress workshop with Amos Paul Kennedy. Inspired to print, but not able to use the press in the studio due to the Pandemic, Emeritz began printing in a makeshift print studio in her home. Using wood type, a Vandercook 99, and hand-inking, she printed on chipboard, an inexpensive and accessible substrate. The prints include words and phrases from during that time early in the pandemic (March to May 2020). This collection of 36 prints is housed in an orange folding case with velcro closure and title on the spine and front panels. Size: 8.5 x 5.5 inches. ARTB/081723. Fine.
Norwich: J. Crouse, 1777. Hardcover. First Edition in English. Greek playwright Aeschylus (525/524 - 456/455 BCE) is considered to be the father of tragedy. Only seven of plays have survived and this volume collects all of them: Prometheus Chain'd, The Supplicants, The Seven Chiefs Against Thebes, Agamemnon, The Choephorae, The Furies, and The Persians. Bound in full tan leather boards with maroon and gilt title label to spine. Raised bands and gilt devices to spines. Marbled endpapers and speckled edges. Cracks to leather along both hinges; although, binding remains tight. Wear to corners and edges of boards, bumps to bottom edges of both boards, rubbing and minor discoloration to boards. Bookplate of Henry Drury Esq. to front free endpaper. Bumping to top corners of pages, creasing to several page corners, light dampstaining to bottom edges of a few pages, and occasional smudge marks and spots of soiling. Clean and bright overall. Includes half title page, title, 28 page preface, names of subscribers, 519 pages. CLA/020323. Very Good.
Morelia, Michoacan, Mexico: ALTERnativa Ediciones, 2019. Hardcover. One of 5 copies. According to the artist, this book "presents my reflection and the relationship between the women of my family. On the one hand we are paper boats in the sea of liquid time and on the other side it is a narrative map of some kind of genealogical tree." An elephant folio accordion bound in red cloth boards with gilt title to front board. The interior includes a detailed copperplate etching of portraits of the artist and the women in her family on paper boats sailing across the sea. The verso is a silkscreen showing a descriptive family tree including the artist, her three daughters, her mother, twin sister, aunts, grandmother, etc. This collage-style illustration includes places, descriptive words, dates, photographs, and shows her family's immigration from Russia to Mexico. Text in Spanish with some English. Printed on Guarro Super Alfa 100% cotton paper. Housed in a matching red cloth covered clamshell box. Bumping to bottom corner of the box. Size: about 24 x 10 inches. Ioulia Akhmadeeva (1971 - ) was born in Russia but has resided in Mexico for nearly 30 years. She is professor of Fine Arts at the Michoacan State University San Nicolás Hidalgo in Morelia, Michoacan, Mexico. She has participated in many international exhibitions and won awards and grants for her work. Copies of this book are in the Special Collections of Stanford University. Five minute video about this book (in Spanish): https://youtu.be/pBPJvmBvp84. Fine.
Morelia City, Mexico: 2020. Unique Book Art Object. A physical representation of the passage of time experienced during the quarantine, expressed beautifully and painstakingly with elaborate beadwork and poetic embroidery. A five-foot square of white linen embroidered with thread (with collaboration of Diane Jaime) and glass beads by artist in the images of natures element. The author’s personal poems, haikus-like, are in English and Spanish. They were composed and embroidered in the Mexican countryside in a house nestled in a copse of pine trees during the Covid-19 quarantine. The verses repeat many times and read like a meditation. The English language portion of the verses is below: • The threads of the rain in tangible writings • Time in rocks • Your name written in time • Intimacy of tangible writings embraces me • Frozen time in moments of happiness • The All in Pine Branch • It's a moment to collect stones of silence • The wind takes my time • Time of recollect the stones • The wind takes my time • Sea of hugs in difficult times • An animal walks among the branches, silence... This exquisite textile piece is meant to be hung and displayed. It has a narrow fabric slot along the top edge for a dowel to be inserted (for hanging). Folded and housed in a clamshell box covered in green Japan jacquard silk with brass title label to front board. Size: about 58 x 58 inches. Box size: 15.5 x 15.5 inches. ARTB/041723. Fine.
Morelia, Mexico: Ioulia Akhmadeeva and Alternativa Ediciones, 2019. Hardcover. Number 8 of 17 copies, of which three are special copies with sand and shells from each visited place. Signed by the artist. Includes poetic moments and painterly landscapes from Crimea in the Ukraine, Baja in California, Oaxaca and Guerrero in Mexico. Pages of poetry about the sea are printed on translucent paper that has been cut in various shapes to mirror designs within facing paintings. Many pages have elaborate cut-outs of clouds and starfish to create windows. Stab bound in blue yotsume toji silk over white patterned paper covered boards with black title to the front cover. This book was printed using letterpress, silkscreen, and laser printing. Clean and bright. Unpaginated. [48 pages.] Created by Russian born book artist Ioulia Akhmadeeva, who has resided and worked in Mexico since 1994. She is a full professor of the book arts at the university in Morelia, Michoacá. Fine.
Los Angeles: Kenneth Karmiole, Bookseller, Inc., 1985. Hardcover. One of 150 copies. A handsome leaf book that documents the life and achievements of 15th century printer Johann Zainer and his press. The original leaf contained in the book was printed at Zainer's press sometime between 1478-81. It is from Hugo Ripelin's Compendium Theologiae Veritatis. There are also three reproductions of pages from other books from Zainer's press. Bound in blue cloth with cream title label on spine. The text was printed on Mohawk Superfine paper in Aldine Bembo types by Patrick Reagh, Printers. In fine condition. Measures 8.75 x 11 inches. 22 pages. PRI/120722. Fine.
Minneapolis: Angel Bomb Press, 2022. Deluxe Edition. One of 50 copies, signed by the artist. This story was originally published in "Astounding Science-Fiction" in August 1938 under the pseudonym Don A. Stuart. It was later adapted into multiple film versions, the most recent being "The Thing" in 2011. This horrific tale of alien encounters and Antarctic exploration is presented here in a fine letterpress edition with nineteen striking, color illustrations by Todd Thyberg. It is in a special binding of quarter tan goatskin over blue Japanese cloth covered boards. It is housed in blue cloth covered tryptich folding case with an interior folder holding a suite of five letterpress illustrations, each signed and dated by the artist. The case is made to look like a government file with maps lining the interior and an official resin medallion stating "Secondary Polar Expedition: Antarctica" to the front panel. The interior maps have been hand-altered with pencil notes of expedition locations. The book, maps, and illustrations were letterpress printed with Ehrhardt Monotype and Haboro Contrast types on Classic Crest Bare White eggshell paper. Polymer plates by the Boxcar Press. Binding by the Campbell Logan Bindery featuring a hand cast, hand painted resin medallion by the artist on the front of the case. 60 pages. PRI/072423. Fine.
Philadelphia: Alice Austin, 2022. Number 5 of 15 copies, of which 10 copies are deluxe and 5 copies are standard. Signed and numbered by the artist. This deluxe edition is bound in tan goat parchment by Pergamena with yellow caterpillar stitched details. The standard edition was bound in handmade paper wrappers. A delightful collection of linoleum prints of birds and nests, ending with a poem remarking on habitat loss and the joys of birdwatching: "Due to habitat loss, there are 25 percent fewer birds since 1970. still, birds are nesting calling to each other. and a glimpse, through binoculars, wondrous, fleeting." Prints and handset type are printed on Rives BFK heavyweight paper. Housed in an archival grey corrugated clamshell box with paper label to spine. Alice Austin is a printmaker, book artist and painter living and working in Philadelphia. She has been on the faculty at the University of the Arts, teaching book structures, and has also taught workshops at the Center for Book Arts in New York, Ballinglen Foundation in Ireland, The Scuola Internazionale di Grafica in Venice, and other institutions. She earned a BFA from the Philadelphia College of Art and has been an active member of the Guild of Book Workers since 1998. She worked as a rare book and paper conservator for over 20 years at the Library Company of Philadelphia. Alice has also been awarded several artist residencies in Europe, and her work is widely held in private, public and special collections worldwide. Book Size: 8.25 x 7.75 x .75 inches. Box size: 8.5 x 8 x 1 inches. Fine.
Philadelphia: Alice Austin, 2018. Special edition with unique hand-made wooden box. Number 7 of 15 copies. This piece was produced in 3 different versions: the deluxe edition (1-6) is now sold out; the special edition (7-11) is issued in unique wooden boxes with specimens; and the regular edition (12-15) is the book only. In this elaborate work comprised of a hand-printed book, a collection of specimens, and hand-made box, Austin memorializes her walks along the shores of the ocean through poetry and lino-cuts. Her verse describes creatures encountered and beaches traversed. The supporting lino-cut illustrations depict an array of shells, horseshoe crab, and more. Physical specimens of most of the items illustrated are included in the accompanying box. The accordion book is bound in Twin Rocker hand-made grey paper wrappers with black title and blue lino-cut scallop shells to the front panel. It is letterpress printed in Cheltenham Italic type on Somerset paper. Housed in a custom made unique cherry wood box with legs, with a vintage type drawer incorporated. The box was hand-made by Wilfredo Rodriquez of Philadelphia. It contains multiple compartments within, which hold treasures from the ocean including: a dog whelk, slipper snail, beach glass, periwinkle (Maine); moon snail, scallop, horseshoe crab tail (New Jersey); fishing float fragment, limpet (Ireland); an origami boat and a booklet listing the contents - both created by the artist. Alice Austin is a printmaker, book artist and painter living and working in Philadelphia. She has been on the faculty at the University of the Arts, teaching book structures, and has also taught workshops at the Center for Book Arts in New York, Ballinglen Foundation in Ireland, The Scuola Internazionale di Grafica in Venice, and other institutions. She earned a BFA from the Philadelphia College of Art and has been an active member of the Guild of Book Workers since 1998. She worked as a rare book and paper conservator for over 20 years at the Library Company of Philadelphia. Alice has also been awarded several artist residencies in Europe, and her work is widely held in private, public and special collections worldwide.Book Size: 8.5 x 9.5 x 1 inches. Box size: 12.5 x 12.75 x 3.5 inches. Fine.
Richmond, VA: Monalisa Bagby, 2022. Hardcover. Number 2 of 4 copies signed and inscribed by the book artist, Monalisa Bagby. The half-mythical king Gilgamesh features in several Sumerian poems but is best known from The Epic of Gilgamesh. Historical evidence for Gilgamesh's existence is found in inscriptions crediting him with the building of the great walls of Uruk (modern-day Warka, Iraq). The quest for the meaning of life, explored by writers and philosophers from antiquity up to the present day, is first fully explored in the Gilgamesh epic as the hero-king leaves the comfort of his city following the death of his best friend, Enkidu, to find the mystical figure Utnapishtim and eternal life. Gilgamesh's fear of death is actually a fear of meaninglessness, and although he fails to win immortality, the quest itself gives his life meaning. The epic has served as the model for any similar tale that has been written since. Bagby was inspired by The Epic of Gilgamesh, the oldest piece of epic world literature, but in this inventive and creative version she tells the ancient story with modern twists. She writes at the end of her book that after visiting the epic tale she rewrote and adapted the story to fit her voice. Despite the modern references she made every effort to remain true to its spirit. She describes some her modern references: "for instance, the gods drink coffee, the Bull-of-Heaven is referenced as a vehicle and the celebration of Enkidu and Gilgamesh is described as a State Fair. The artwork also provides modern allusions. In the first pages Gilgamesh appears as a hulking predatory bird peering down at his people. Its purple color represents his royal stature. Later in the story, the goddess Ishtar is shown wearing tights with her hair braided. Gilgamesh’s grief and internal turmoil-his unraveling-is represented by a male figure with a floating head of confusion. It is not a full bodied existence anymore. Even one of his sandals is missing. Each signature of the book includes quotes and parts of or complete poems to support the story. The famed Flood Story is handwritten in brown ink. Screen-printed at the bottom of the page are remembrances from individuals of their experience of the news of the 9/11 attack on the World Trade Center. Their stories are run together to create a stream-of-conscious of collective memories. The stories are printed in small typeface and in brown ink to suggest earth/ground/soil. To represent the impermanence of life the artwork is drawn in pencil. At the end of the story, the last paragraph is hand written in a field of blue representing peace and calm for Gilgamesh. The entire book is screen printed. Watercolor, collage, gold leaf, hand written sections and pencil drawings help carry the story. She chose a simple, muted design of the book cover is a reference to the earnestness of Gilgamesh's journey for meaning and contrasts the colorful rendering of the story. Bound in a Coptic binding in dark blue cloth with title in red on the cover. Printed in various fonts on Rives paper. In fine condition. Measures 8 x 8 inches. 23 pages plus colophon and final notes. ARTBK/011123. Fine.
Brooklyn, NY: Anne Beck, 2000. Hardcover. Anne Beck is an interdisciplinary artist working collaboratively & independently in a wide variety of media from paper, print & book making to painting & textiles to social practice. Through her work, Anne explores the roles of amateur naturalist and lay surveyor of the current landscape – collecting specimens & recording data, cataloguing that which seems useful, and investigating further that which seems impermeable. This is all in the context of envisioning a sustainable path forward for herself and the planet, which is often a playful exercise in the face of absurd & complex circumstance. Anne lives & works in Northern California. She also a core member of The Printmakers Left, an international collective working together for over 20 years now on artist books, printed matter & installations. She is also half of the collaborative team behind The Rhinoceros Project exploring the communal & revolutionary power of sewing circles & hand papermaking. This provocative work is a unique manuscript. It begins with whimsical pictures and apocalyptic visions of a high-tech synthetic mechanized culture and evolves into a loose social history and critique. The pages were originally painted in a studio in Williamsburg, Brooklyn as individual paintings but then coalesced into this evocative book. The images are varied in design and image, and sometimes mysterious as there is no text. They were hand painted and drawn with casein, acrylic, gouache, watercolor, ink, graphite, and collaged intaglio on heavy watercolor paper. The endpapers are hand-made cotton rag paper. It is handsewn and casebound in found gray suede printed with a black outlined map of the American West. In fine condition. Measures 12.375 x 8,75 inches closed. 56 pages. ARTSB/040623. Fine.
Newcastle, England: J.G. Foster, 1860. Hardcover. Scarce. Thomas Bell (1785-1860) was a prominent land valuer and surveyor who also served as a commissioner and arbitrator for lands in districts of northern England. He is best remembered, however, as an extraordinary book collector, "bringing together one of the largest and most valuable collections of books, papers, and engravings ever formed in the North of England particularly in matters of local interest"(from obituary reprinted in catalogue). The auction sale lasted fifteen days. On the front free endpaper, there is an interesting later handwritten transcript of notes originally written by John Gray Bell, son of Thomas, about his father's library. He described a good-sized library that was shelved round with filled bookcases buried by other bookcases, also filled and then buried as well. The door of the room would only open slightly ajar and one had to sidle in one at a time along a narrow round pathway. A woman wearing a crinoline could not enter at all. The catalog was published in paper wrappers. This copy has been rebound with covers in blue cloth with a black and gilt spine label. Original wrappers bound in. Some bumping and fading. Browning to wrapper cover and browning to to untrimmed edges and to some page margins, not affecting text. Very good condition. 276 pages. BOB/042415. Very Good.
London: R. Parker, 1705. First edition of this important history of Virginia, the first to be written by a native of North America. In his bibliography U.S.IANA. Howes writes: "After John Smith, the first account of this colony, the first one penned by a native and the best contemporary record of its aboriginal tribes and of the life of its early settlers" [Howes B410]. From Encyclopedia Virginia: "Robert Beverley was a member of the House of Burgesses (1699–1706) and clerk of that body, and served as chief clerk of the governor’s Council. He is best known, however, as author of The History and Present State of Virginia, In Four Parts (1705), the first published history of a British colony by a native of North America. In 1703 he sailed to England to appeal a suit he lost before the General Court, and there he penned this history, a collection of personal history, official accounts, and material borrowed from others. Beverley self-consciously identified himself as a Virginian and used the books to settle political scores. No prior author identified himself so clearly as a Virginian. 'I am an Indian, and don’t pretend to be exact in my language,” Beverley wrote in the preface. 'But I hope the Plainness of my Dress, will give him [the reader] the kinder Impressions of my Honesty, which is what I pretend to.' When it first appeared in London, the book was three hundred pages of text, accompanied by fourteen engravings, and divided into four sections titled as Books: “The History of the First Settlement of Virginia,” “The Natural Productions and Conveniencies of the Country,” “The Native Indians,” and “The Present State of the Country.” It is an unmatched source for the Virginia of its time—an amalgam of personal observations and stories heard, material borrowed from published and unpublished accounts, and official reports. He also included significant portions from the unpublished writings of several other Virginians. The early section of the history relied heavily on Captain John Smith‘s writings, but the later sections on politics, Native Americans, and the flora, fauna, and agricultural products of the colony used several sources. " Bound in contemporary brown leather with gilt rulings to covers and gilt titling to spine. Covers are rubbed and bumped with light wear around edges. Slight loss to head of spine. Front cover is partly detached but still holding and the text block is tight save for the free endpapers, which are browned and partially torn, Rear hinge is cracked and there is offsetting to both pastedowns. Interior pages are clean and bright. With fourteen plates, a frontispiece, and a fold-out list providing statistics from 1703 for the counties of the Virginia colony. Engravings were done by the French engraver Simon Gribelin. A very good copy of this valuable early account of the colony of Virginia. Measures 7.25 x 4.34 inches. Book One: 104 pages; Book Two: 40 pages; Book Three: 64 pages Table of Contents: 19 pages with errata list on the verso of the last page; Book Four: 83 pages. AMERSTATEHIST/082423.
Munich: Bremer Presse, 1926-1929. Hardcover. 365 copies. This is a magnificent production from the famed Bremer Presse of Germany - probably their masterpiece. They published books from 1911 to 1939, interrupted only by World War I. It was founded by Willy Wiegand, and like England's Doves Press, rejected ornament except for splendid initials draw by Anna Simons and relied upon carefully chosen types and painstaking presswork to produce its limited edition hand printed books. The colophon states that this edition was printed to commemorate the 400 year anniversary of the publication of Martin Luther's German bible. The text was based on the editions published in 1545 and 1546. The Bible (German: Lutherbibel) was the first German language Bible translation from Latin sources. The New Testament was first published in September 1522, and the complete Bible, containing the Old and New Testaments with Apocrypha, in 1534. Luther continued to make improvements to the text until 1545. The five volumes are: Die Bucher Mose; Teil des Alten Testaments; Teil des Alten Testaments; Die Propheten; Das Neue Testament. Each volume has a different copy number. They are bound uniformly in blue paper boards with linen spines with the title written in calligraphy. The volumes are housed in gray paper board slipcases. In near fine condition in very good slipcases. Measures 10 x 14 inches. Unpaginated [each volume about 250-300 pages] PRI/011623. Near Fine.
Ogdensburg, NY: Caliban Press and Floating World Press, 2010 and 2022. Softcover. One of 40 copies. This poem by Whitman was inspired by the landscape of Colorado, which he visited in 1879. He described his train journey: "I am on the great Plains of Colorado....We ride and ride all day & it is nothing but plains - but I enjoy it all very much indeed....I have seen mountains just before sunset...I shall never forget it." He stayed in Denver for about four days, making side trips to various sites including the Platt River Canyon, after which he composed "Spirit." He was awestruck by the red Colorado sandstone that let him to compare his own poetry to the poetry of the landscape around him. The poem first appeared in the 1881 (7th) edition of Leaves of Grass [From the prospectus]. Printed in 2010 from 18-point Bodoni bold foundry type on machine made sage gray papers folded accordion style. Landscape images are made with torn paper strips in cream, red, blue, and black to form images of the topography of mountain ranges, with the poem's text printed below. Papers from La Papeterie St-Armand, Montreal. Bound in 2022 in orange paper covers with marbled paper ornament affixed to the cover. Housed in a gray slipcase with multi-color dots and title label to cover. In fine condition. Measures 5.5 x 6.25 inches, unfolds to 48 inches. Unpaginated [About 6 pages] ARTB/022223. Fine.
Ogdensburg, NY: Caliban Press, 2017. 69 of 104 copies signed and numbered by the highly regarded book artist and printer Mark McMurray. This is a beautifully produced new edition of A Christmas Carol that captures the power of this timeless story through the inventive use of text, images, paper, type, and binding. McMurray writes in the prospectus: "We know the story, we know the characters, but the language of the text offers new rewards with each reading. This edition of Dickens' classic returns to the dark, sleep-deprived angst of the original complete text." The prospectus states that the text in this edition comes from the 1843 edition with minor corrections. Printed on a variety of handmade and mould-made papers including Zerkal Ingres and papers from La Papeterie-St. Armand. The text is printed entirely from metal and wood types, including monotype Bell plus many from the 19th century. There are wonderful images of the ghosts that visit Scrooge on that fateful night, and many other ornaments and designs throughout. They are done in various media including pochoir, collage, wood engraving, and relief blocks. Bound in black ribbed flexible covers with a red morocco leather spine with title in gilt on spine and inside a cutout on the front cover. Housed in a stiff black paper slipcase with a subtle chain design. Prospectus and errata slip inserted. In fine condition. 7.5 x 10.5 inches. 107 pages. PRI/051023. Fine.
London: Printed for R. Dodsley in Pall-Mall and sold by M. Cooper, 1751. Hardcover. First edition of this mock-heroic satirical poem filled with literary jokes and social criticisms. The hero is Martinus Scriblerus, a persona created by Alexander Pope, John Arbuthnot, and Jonathan Swift used to publish satirical writings. In modern full leather binding by S. Russell Hawe of Lorton, VA from the late 1980s. This collection of six books includes a frontispiece illustration of a satyr (representing Comic Poetry) who has overthrown the Sphynx (representing False Science). Each of the six books also includes a frontis, making a total of seven full page engravings. Red and gilt title label to spine with raised bands and faded gilt decoration to compartments. Engraved title page. Minor foxing to interior, but clean overall. Seperate pagination: xvi, 31, 31, 31, 32, 32, 27, [8 page index]. POE/072423. Very Good.
Toronto: Cheshire Cat Press, (2023). Hardcover. Signed in pencil on title page by George Walker with a Cheshire Cat hand drawn illustration. "The Cheshire Cat Press has finally made this unique artwork, with Carroll's original text, available once again - this time with extra illustrations not present in the previous editions. Walker's engravings are playful, surreal and downright provocative as ever, offering a new and darkly energetic interpretation of this time-honored, masterpiece" (jacket). This new edition is a redesigned version of the Porcupine Press edition printed in the late 1980s. Bound in red cloth boards with gilt title to spine. Red ribbon bookmark bound in. Pristine. In yellow dust jacket with red title to spine and front panels. Includes about 100 woodcuts by George Walker. 140 pages. PRI/022723. Fine / Fine.
[London]: Chiswick Press, 1903. Hardcover. One of 200 copies. From the colophon: "The unknown 'Chanson de Geste' here transcribed belongs to the cycle of William Of Orange. There has been no attempt to edit the text, or even to correct not a few very obvious minor errors. The two reproductions are of the same size as the original manuscript." The Chanson de Guillaume, also called Chançun de Willame (English: "Song of William"), is a chanson de geste from the first half of the twelfth-century (c.1140, although the first half of the poem may date from as early as the eleventh century. Along with The Song of Roland and Gormont et Isembart, it is considered one of three chansons de geste whose composition incontestably dates from before 1150. The work is generally considered to have two distinct halves: the first tells of Guillaume of Orange, his nephew Vivien and the latter's young brother Gui and their various battles with Saracens at L'Archamp; in the second half of the poem Guillaume is aided by Rainouard, a giant. [Wikipedia] Bound in blue paper boards with cream linen spine with paper title label. Boards have fading along with light wear and bumping. The spine is faded with some light stains and wear along edges. Label is chipped and wrinkled. Offsetting to front and rear free endpapers. Some splitting to a few gutters not affecting the tightness of the text block. Most of the pages are unopened. A nice copy in very good condition. Octavo. Not continuously paginated. PRI/120822. Very Good.
London: Longmans, Green and Co., 1901. Hardcover. One of 300 copies. A fantasy romance with supernatural elements. Bound in orginal blue cloth backed light blue paper covered boards. White paper title label to slightly sunned spine. Binding is tight. Bumping to spine ends and bottom corner of front board. Light browning to boards and offsetting to endpapers - both due to the binding glue. Clean and bright overall. Unopened pages. Printed at the Chiswick Press using Morris' Golden type on Kelmscott paper. Spare spine label tipped in at front endpaper. 284 pages. LIT/010522. Very Good.