Chalons-S-Marne: Imprimerie Lithographique Barbat, 1844. 8 1/4 x 11. 319 pages. Collation: (12), 11-107, (3), 113-148, (4), 149-315, (2) pages. A few preliminary pages appear shuffled in order--despite being in the original binding. Entirely lithographed in colors, silver, and gold on glazed white paper. These Gospels for Sundays and holidays... More
Northampton: Gehenna Press, 1997. 9 1/2 x 12 1/2. 26 leaves, including 24 mult-colored montotype portraits of imaginary artisans. Tray case. Fine. This copy not bound, to better have the opportunity to individually display the portraits. Included is a special full leather inlaid and gilt replica of the binding cover... More
Frankfurt, ca. 1930s/50s. Small folios, printed wraps, pages vary from about 10 to 50 pages or small samples of use. All very good to fine. Faces include: Amalthea Cursive, Legende, Manuscript Gotish, Bernard Schonschrift, Folio, Tages-Antiqua, Ehmke Åntiqua, Steiner-Prag Batarde, Legende (2 different), Bodoni, Futura, and Venus. More
(Easthampton): Cheloniidae Press, 1984. 7 x 9 1/2. Etched portrait of Browne signed by Robinson, (56) pages including 15 wood engravings printed from the blocks. Full limp vellum. A cloth portfolio contains an extra suite of engravings & etching; 29 working proofs; 3 states of the etched portrait; a pencil... More
A full sheet 17 1/2 x 14 of block-printed pastepaper, bearing the same image twice, with a space for cutting them apart. The design consists of a blue checkered background with a large central floral wreath flanked by 4 smaller oval floral wreathes. The central wreathe surrounds a city (Venice?)... More
Paris, ca. 1770. 10 x 15 1/2. 17 pages of text followed by 25 engraved plates. Recent cloth. A few inconsequential spots, margins a bit toned, very good. The exotic alphabet section from the great Encyclopédie, ou Dictionnaire Raisonné des Sciences, des Arts et des Métiers. The 25 fine plates... More
(South Norwalk, 1967). 15 x 21 1/2. 36 leaves, with the architectural woodcuts printed on French-fold leaves. Printed in black, red, green, blue, purple, silver, & gold. Green cloth spine, boards covered in architectural woodcut printed in green on green marbled paper by the artist, marbled endpapers, cover title printed... More
Lurey, Devon, 1982. 6 1/2 x 9. Title, (52) pages with 26 line-cut illustrations from drawings by Baskin, errata page, hand colored wood engraved press mark (owl & pomegranate). Cream vellumized boards titled in gilt. Fine copy, in marbled slipcase. A special, association copy, "Printer's copy" signed and inscribed by... More
(Waltham St. Lawrence): Golden Cockerel Press, 1926. 6 x 9 3/8. 20 pages plus 5 copper engravings by Eric Gill. Contemporary green morocco, blind-ruled border with berry clusters at the four corners and a large blindstamped "J" on upper cover. Spine partially faded to brown, lower board edges rubbed, leather... More
Strassburg: Wolfgang Köpfel, 1534. 5 x 7 1/4 (186 x 128 mm). Two parts in one volume: (viii), 89, (16) pages. Printer's device at end of each part. Seventeenth or eighteenth century mottled sheep. A very good copy, with generous margins. Fourth and preferred edition of this medal book. In... More
(Portland, OR, 2013). A paper hat woven and sculpted from letterpress printed strips of pale green paper. The hat measures 19 inches in diameter and is 7 inches high. Slang and derogatory words that exploit women comprise the handset text. Fine condition. Ms Jacobs spent three years collecting the exhaustive... More
(Wales) The Red Hen Press (1988). 10 x 13. (16) text pages,10 mezzotints & a mezzotint combined with relief etchings. Specially bound by Jan Ascoli (signed in the colophon) in quarter black morocco and handmade paper boards--a textured paper dyed in blue & red; pink endpapers. In a folding case... More
The Red Hen Press, 1992. 17 x 21. A suite of 5 large mezzotints, with tissue guards. WITH an octavo booklet of 8 pages containing a miniature mezzotint and selected texts reminding the reader that, as Colette remarked, "There are no ordinary cats." In turquoise cloth tray case, vellum label... More
(Llanhamlach: Red Hen Press, 1983). 16 x 18. A suite of 6 etchings by Shirley Jones, inspired by passages of Anglo Saxon poetry. These are placed, with tissue guards, into a purple paper portfolio, then into a dramatic half chestnut morocco & black cloth tray case by Mary French from... More
Northampton: Double Elephant Press, 2002. 11 1/2 x 15. 42 leaves: fourteen poems printed letterpress and twenty-one etchings, mostly in color. Three of the images are large, foldout etchings; two of the images are repeated, making a total of 23 etchings. The binding suggests the former World Trade Towers on... More
2002. 23 x 16 1/2. Accomplished in yellows, gold, orange, green, and blue. Dated and signed. Fine condition. A study for an etching in Falling to Earth. When planning illustrations for his books, Michael often begins with a watercolor. More
Paris: F. Didot for Lami Denozan, (1828). 5 1/2 x 8 1/2. cxlvi, 48 pages + 11 leaves bearing the lithographs uncolored. Title page & 10 half-page lithographic vignettes by Richard Parkes Bonington (6) and Monnier (4). Bound by Charles de Samblanx in Romantic style in black straight grain morocco... More
Heavenly Monkey, 2017. 4 1/2 x 6. Title + 26 leaves+colophon, all printed (black) & calligraphed (red) on rectos only. Bound by Claudia Cohen in a non-adhesive limp vellum, gold-tooled at the edges, title calligraphed in red on the spine. The pastedowns are taken from old vellum manuscripts. Fine in... More
NY, September 1915-1936, & 1951. 4 x 9 1/4. Each broadside is a single month, headed by an illustration, with a brief "plug" for the press, an apt quotation, or a pithy comment. A single artist was usually responsible for an entire year. There are complete years for 1925 (Dwiggins)... More
Treasury Department. Washington, D. C., 1869. Oblong 13 x 9. 3 leaves, 100 pages, 31 plates. The text is arranged in two sections followed by an Index. Pages 1-36 concern bonds, and are followed by 22 hinged-in engraved specimens.Pages 37-66 concern coinage, and are followed by 9 embossed plates printed... More
Northampton, 1980. 6 1/2 x 10. 29 pages, 3 leaves. Each engraving is signed by Moser. Bound by Peter Verheyen in Dorfner/de Gonet "open joint" style, with text sewn onto leather tapes. Goat vellum sides reveal a design from the book; snakesin spine; graphite top edge, O'Malley Crackle" endpapers. Signed... More
Maestricht & Brussels: A. A. M. Stols, 1930. 7 1/2 x 10. 94 pages + 6 etchings in black by Alexandre Alexeieff. Printed wraps with glassine jacket. Light soil & wear. Very good. in custom slipcase. One of 200 regular copies, this not numbered.Translated from the Russian by G. Wilkomirsky... More
London, 1888. 9 x 11. 6-page intro & list of contributors + 367 leaves of specimens. Some of these are larger, foldout specimens. Two of the specimens are adhered to each other; one is loose. The specimens are printed on papers of every color and style, from thin tissue to... More
London, 1892. 9 x 11. (x) pages of Introduction & list of contributors + about 350 leaves of specimens (3 folding). Publisher's full vellum over boards, titled in gold on spine and upper cover. Covers have old soil, spine darker, upper joint split one-third but held on tightly. Some protruding... More
Tuscaloosa: Skeptical Press, 1993. Three volumes. 5 1/2 x 7. Boards, in cloth slipcase. Fine set with the prospectus. One of 15 sets. Text, printing, and binding by the book artist Coriander Reisbord. In "Riddle" five intaglio etchings are suspended in cut-out windows with printed hint below. "Ghost," printed from... More
