Resultados de búsqueda: Fine Printing from Bromer Booksellers

London: Gogmagog Press, 1967. Cox, Morris. Small octavo. (28)pp., frenchfold. From an edition of 100 copies, this is one of 40 bound in Hana-asa paper, reserved for members of The Society of Private Printers. Signed by Cox and printed on Japanese handmade paper. Fourteen spare three-line poems, illustrated with three offset prints in black and blue. Slight lean, else near fine in brown paper boards covered with delicate patterned Japanese Hana-asa paper. (Chambers 18).

Chicago: Sherwin Beach Press, 1993. Tappin, Mike. Oblong octavo. 21pp. One of 200 copies. Four photographs by Mike Tappin depict people living on insubstantial government funds, the "safety net." The text by Steve Bogira, originally published in 1983 in the Chicago Reader, details the lives of those hovering at the poverty line, those who "are too good at surviving," and the government systems that dictate where and how funds are dispersed. In particular, the essay exposes how government programs and economic structures inordinately and inherently discriminate against people of color, and especially the Black community. It wrestles with a government's responsibility to its own citizens, and what it owes to those it marginalizes. Bound with leather cords in gray paper wrappers. Fine.

Poestenkill, NY: Kaldewey Press, 1998. Kaldewey, Gunnar. Quarto. 28pp., frenchfold. One of forty copies, signed by the author/artist/printer, Gunnar Kaldewey. This book is inspired by the notion of "nature as art," and was created after Kaldewey spent three months living in a traditional Japanese wooden house in Kyoto, studying the art of the Japanese garden as the seasons changed from winter to summer. The first text page poetically states: "Books are like gardens that one can carry/around; gardens are like books that one can/experience, promenade through or get lost..." Kaldewey has captured the finest details of nature in his prints of lime and silver, with borders in black. Text printed in orange on transparent, smaller octavo-sized sheets, which appear intermittently throughout the illustrations. Bound in green Kozo paper-over-boards, with two little stones from the Japanese game of Go mounted to the cover and surrounded by gold foil and a clear plastic frame. Housed in a paper chemise and… Leer más

Alford, MA, 1962. Fink, Sheldon. Small quarto. 28ff. One of forty copies. Etched title page and twenty-six fine etchings by Fink, ranging thematically from portraits to botany to insects. Many of Fink's etchings have a decidedly Baskinesque aesthetic, but Fink's circle centered primarily in New York, where he was friendly with Jack Levine and Raphael Soyer. For this collection, Fink commissioned Royall Moore to create paper with a high linen count, and this was the subject of a Popular Mechanics article in 1965. Moore, who was described in the article as an "inventive Yankee," was a carpenter by trade, and made all the equipment himself. The binding for this edition was executed by Arno Werner, who bound it in full orange-toned deerskin with a hubbed spine and decorations printed in black on the upper cover and spine. Werner also presumably made the marbled endpapers, which also decorate the deerskin-backed folding case. Book is fine and bright; light rubbing to edges of box.

Poestenskill, NY: Kaldewey Press, 1983. Kaldewey, Gunnar. Tall quarto. 29ff. From an edition of forty-two copies, this is one of seven printed on pink paper. This marks the very first book printed in Poestenkill, an event commemorated with a loose transparency of the tower of Poestenkill, the site of the press, before the title page. It is also one of the few Kaldewey books that do not use Helvetica, and the only book from the press employing more than one typeface. Each page represents an experimental printing using a different letter of the alphabet. Bound by Christian Zwang in full soft pink calf, with stamped gilt letters playfully arranged across both covers. Few unobtrusive light scratches to the delicate leather, else fine, housed in publisher's black silk covered box. (von Lucius, pp. 62-63).

San Francisco, CA: Juniper Von Phitzer Press, 1986. (106)pp. One of 175 copies. Signed by Von Phitzer at the colophon. A typographic abecedarian, pairing each letter with stock woodcuts printed in many colors. Bound in full blue leather, gilt-titling to spine. Fine. A.e.g. (2 3/8 by 2 7/8; 60x73mm).

(London): Gogmagog Press, 1968. Cox, Morris. Octavo. (43)pp., frenchfold. One of twenty-six copies printed and signed by Morris Cox. Contains thirty-four "nature prints," actually made with plastic and gesso, with results resembling the vein patterns of leaves, which Chambers refers to as "a notable modern exploration of nature-printing." The title is printed within a double-page offset print in black and yellow. Extremely fine in black and white striped glazed cotton over boards, with printed spine label. (Chambers 20).

Minneapolis, MN: Vermilion Editions, 1987. Rathman, David. Small quarto. (10)ff. One of thirty-five copies, signed by the artist at the colophon. Throughout, Rathman's linocuts, gothic and mythic in their intensity, evoke the nervous, even violent edge of the text. The present tale is inspired by and adapted from Amos Tutuola's The Palm-Wine Drinkard, the first African novel to be published in English outside of Africa. Tutuola based his original text on Yoruba folktales, and his style, epitomized by the novel, has become a considerable landmark in discussions regarding colonial (and decolonized) literature and language. Although Rathman's adaptation has smoothed over some of Tutuola's idiosyncracies, his linocuts conjure similar feelings of mysticism and urgency which are indelible to folklore. Printed with aid from Gerald Lange of the Bieler Press and Norman Fritzberg of the Hansestadt Letterfoundry, and funded in part by the Minnesota Center for the Book Arts. Sheet held loose in four-flap… Leer más

La Plata, Argentina, 2015. Blu Blau, Cecilia. 16mo. (v), (30)pp. One of seven copies. Apo's poetry, which meditates on loss, impermanence, and despair, appears on the versos, facing on the rectos Cecilia Blu Blau's woodcuts. Blu Blau is a tattoo artist and illustrator, and her images shine with the bold lines and black inks that are the hallmarks of traditional tattoos. The colophon states that the woodcuts were hand-pressed using a wooden spoon, and that the text was composed by hand with Trodat Typo (rubber stamp) printing. Bound in full red cloth over boards with title woodcut stamped to upper cover. Scant exterior soiling, hinges starting, else a remarkable example of private printing in modern Argentina. No copies recorded in OCLC.

Santa Cruz: Peter & Donna Thomas, 2012. Thomas, Donna. Small quarto. (12)ff. One of fifty copies. Illustrated througout with arboreal linoleum cuts by Donna Thomas, two of which are full-page bookends to the volume's text. Others serve as backdrop to Everson's poem, as well as the colophon, so the text appears as seen through the many branches of a forest. Included is "A Companion to The Alder," with an essay by Allan Campo and an artists' statement by Peter and Donna Thomas. Bound in alder, specifically from Kingfisher Flat, where Everson felled the tree described in his poem. Very fine, housed in a lapped animal-skin slipcover.

Marcham, Oxfordshire: Alembic Press, 1994. Bolton, Tristan and Claire Bolton. (45)pp. One of 100 copies. Illustrated with charming line drawings following the story of a plush alligator who endears himself to a young girl. Entirely printed in green. Bound in quarter green cloth with glazed green paste-paper boards; googly eyes affixed to the upper cover and paper teeth bordering both boards replicate the alligator in cute and smiling detail. Fine. (1 3/4 by 2 7/8; 44x71mm).

NY: Targ Editions, 1982. Callahan, Timothy. Small quarto. First edition of the English translation. One of 250 copies, signed by Yourcenar at the colophon. Frontispiece photograph by Timothy Callahan. Translated by Edith R. Farrell. Yourcenar (an anagram of her given last name, Crayencour) was a notable Belgian-French poet and translator in her own right, and was the first female member elected to the Académie Française. Bound in quarter blue cloth with gray paper over boards, in publisher's glassine. Fine overall.

Iowa City, IA: Seamark Press, 1971. Quarto. (42)pp. One of an unspecified number of copies, though cataloging of other copies state an edition of fifty. Translated and printed by Howard Zimmon in red, ochre, and black. An exacting work of printing, especially so with Neruda's Spanish and Zimmon's English appearing on facing pages, arriving at an important time on two fronts: Neruda received the Nobel Prize for Literature in 1971, and in 1970 the edition's dedicatee, Mary Vecchio, was photographed in the immediate aftermath of the Kent State Shootings kneeling over the body of Jeffrey Miller. Bound in green paper over boards with paper spine label. Nudges to corners, label faintly toned, else fine. From the library of Kim Merker.

Jena: Eugen Diderichs, 1922. Wolf, Gustav. Folio. (15)ff., loose, as issued. From an edition of 250 copies, fifty were hand-colored; this appears to be a regular edition copy (number 111 and with the regular edition's black-printed portfolio) that has been hand-colored out of series. Each of the seven lithographs is signed in pencil by Wolf. Bibliographic records of the entire edition seem to indicate that there are two issues of the lithographs: one with "WOLF" and "Am Ersten Tag," etc., carved as part of the lithograph, and one with no lettering, but with typographic additions of "Bl. 1" and "Der erste Tag," etc., and Wolf's autograph added. This copy is of the latter issuance. The complexity of the edition is likely due, at least in part, to the intervening years between the portfolio's completion and publication, confused as they were by the First World War. Wolf's seven lithographs chart the seven days of creation, and his use of the lithographic medium lends his images remarkable contrast… Leer más

(Mattapoiset, MA: Busyhaus Publications, 1983. McCurdy, Michael. Small oblong octavo. 65pp. One of 200 copies bound in hardcover. Illustrated with photographs of the artists, tipped-in paper samples, and woodcuts by Michael McCurdy. Introduction by Don Guyot. Apart from the description of the work of the twelve artists, among whom are Faith Harrison, Peggy Skycraft, Pamela Smith, Kay Radcliffe, and Don Guyot himself, the book includes much material of a technical nature with a list of sources, glossary, and bibliography. Bound in leather-backed cloth-covered boards with title embossed to upper cover and printed in silver to spine. Slight skew to boards, minor rubbing to tail of spine. Near fine.

(Hammersmith): Kelmscott Press, 1894. Burne-Jones, Edward. Bifolium sheet printed on both sides.(4)pp. One of 250 copies. The initial full-page woodcut illustration by Edward Burne-Jones first appeared in John Ruskin's The Dream of John Ball, and depicts, with suitable romance and foreboding, Adam and Eve after their expulsion from Eden. Both clothed in hides, Adam digs into the ground while Eve begins her spinning; about her legs are a young Cain and Abel. The rest of the pamphlet evinces William Morris' handiwork, with ten-line and six-line initials, vinous borders, and his printer's mark. Morris produced the edition for the Ancoats Brotherhood, a Manchester socialist society aimed at bringing art and literature to the area and to improve conditions for the working classes. The work's chosen poems by Tennyson and prose by Ruskin reflect these egalitarian values, calling for prioritization of humanity over earthly gain, and espousing the inherent goodness and Godliness of all people. Faint spot to… Leer más

Hamburg: Otto Rohse Presse, 1977. Rohse, Otto. Two small quarto volumes. 59; 52, (3)pp. One of 195 sets. Both signed by Rohse, whose wood and copper engravings appear throughout the volumes. Volume I contains Gryphius' sonnets, while Volume II his epigrams and other poems; together with Rohse's illustrations and book design, they celebrate Gryphius' corpus in all its morbidity and profundity. First volume bound in quarter blue morocco with blue paste paper over boards, second bound in quarter red morocco with brown paste paper in the identical design to the first. Both with gilt titling and blind-stamped device on upper cover, and housed in slipcases. Faint rubbing to corners of both and some toning to both slipcases, else a fine set. T.e.g.

Boston: Heron Press, 1979. Davis, Steve. 16mo. (33)pp. One of 100 copies, signed at the colophon by the author. Frontispiece and four additional woodcuts executed by Davis in a range of colors, with images suitably esoteric to go along with Metz's somewhat mystagogic verses. Bound in quarter red morocco with black cloth over boards. Faint rubbing overall to covers, else near fine.

San Francisco: Arion Press, 1982. Dine, Jim. Folio. (64)pp. From an edition of 165, this is one of fifteen hors commerce copies, signed by Jim Dine and by Andrew Hoyem, the printer. This publication marks only the second artist's book from the Press, in addition to being its first collaboration with Dine, whose riveting expressionistic woodcuts depict objects and characters in Revelation, such as a skull, a cloud, the Beast, the serpent, and a two-page spread of angel's wings. The text is set in Garamond, with the voices of God and the angels distinguished by type size. To ensure that the pages would lie flat, Hoyem himself sewed the signatures concertina-style over a flexible core of plastic and nylon fiber. The binding is quarter-inch laminated oak boards with a lightning-bolt device by Dine, backed in white alum-tawed pigskin. One of the major artists' books of our times, drawing on a long tradition of illustrated Apocalypses, from Dürer to the present. Typical light toning to spine, else a fine… Leer más

Eugene, OR: Lone Goose Press, 1997. Eschner, Robin. Square small quarto. (22)pp., accordionfold. One of fifty copies, signed by both the author and by the artist, Robin Eschner. Deeply printed with Eschner's woodcuts, the whole unfolds into a nearly 22-foot-long panorama up to the task of Lopez's melancholy celebration of the American landscape, as seen from his Toyota 4-Runner. By turns, Lopez expounds upon the beauty of the terrain and its animals, in death or in life, or he elicits discomfort and nostaligia for a world passing away, noting moments of decriptude or human incursion. There is, then, a feeling of homecoming and hope ("the reassurance of a human enterprise"), even through Lopez's meditation on an environment already irreconcilably changed. Bound in quarter orange paper over boards, with topographic maps of Wyoming as covers. Housed as the interior of the rear board is a tire tread print from the 4-Runner. Fine. Housed in black cloth-covered dropback box.