Resultados de búsqueda: Fine Bindings from Bromer Booksellers

Marcham (England): Alembic Press, 1998. Claes, Brother Edgard. 71pp. One of 140 copies. A collection showcasing the six elegant and versatile typographic border units, or arabesques, designed by Robert Granjon in Antwerp in 1565. These units can be combined in seemingly infinite ways to create intricate page decorations, as illustrated here with many examples. Printed in purple and brown. This copy specially bound by Brother Edgard Claes of the Holy Cross Fathers in Diest, Belgium. Claes' kinetic binding, the smallest he has ever created, encompasses the book in shades of blue, orange, gray, and black and is a striking feat of engineering, comprising milled plates with movable gears and shafts that create a kaleidoscopic effect when turned. The result is a testament to Claes' expertise with machined materials, and the gadgetry reflects the larger mechanisms, both philosophical and literal, of millennia of miniature book production. Housed in matching box with suede sleeve. Very fine. (2 15/16 by 2… Leer más

London: Oxford University Press, 1925. Miss C.B. Currie" (Caroline Billin Curry). Octavo. (ix), 1456, (iv), (130)pp. Later printing. With a large fore-edge painting by Miss C. B. Currie, which, according to the signed statement on the front endleaf, depicts "(a) view of the entrance to the avenue from Clare Hall Piece, Cambridge." It is identified as number 138 of her fore-edge paintings. Between 1910 and 1931, Currie executed 164 numbered fore-edge paintings for the bookseller, Henry Sotheran—and is the only practitioner of this particular art form to have set out to create a signed, numbered series of paintings. This was perhaps the result of her partnership with Sotheran's and the binder, Robert Rivière, for whom Currie also created miniature paintings on ivory that formed the main feature of the famous "Cosway" bindings. As with other Currie fore-edge books, this example is bound in a handsome dark green straight-grained morocco by Rivière, gilt and blind roll-tooled border and central panel… Leer más

Newtown: Gregynog Press, 1931. Hughes-Stanton, Blair. Octavo. (10), 25, (3)pp. From an edition of 250 copies, this is one of twenty-five printed on Japanese vellum and bound after a design by Blair Hughes-Stanton himself. It marks Hughes-Stanton's first contribution to the Press' run of special bindings, and the advent of a shift in the style of those bindings toward modernity, embracing restraint while highlighting line and form. Hughes-Stanton likewise supplied as wood engravings the frontispiece, title vignette, and illustrations of all six costumed characters. This is the first book of the Press arranged by William McCance, though set and printed by Idris Jones. Its artistic and critical success helped turn the Press' fortunes and added to its growing reputation as a pinnacle of not only Welsh bookmaking, but of Western printing as a whole. Hughes-Stanton's binding is of full dun-colored levant morocco, with covers bearing vertical panels of blind lines, bordered by gilt frames. Upper cover shows… Leer más

Berlin: Einhorn-Presse, 1927. Lechter, Melchior. Tall quarto. (24)pp. From an edition of 600 copies, this is one of only five printed on vellum and with text calligraphed by Melchior Lechter. In addition to writing the text, Lechter also designed the book, including initial letters of gold backed with green leather and onlaid to the pages, and the decorated borders, which are printed in gold and bear printed almond-shaped medallions at their lower sections. These medallions, reminiscent of the iconographic mandorla, each show a distinct mystical design, incorporating symbols and imagery from a variety of Eastern and Western faith traditions, along with other esoteric elements. The book is not shy about the Theosophical overtures of its tale or of its author; it begins and concludes with Hindu lettering in gold, as well as, on the final page, a six-pointed star with four rays suffused with Buddhist symbology, its basic floral outline mirrored in the gold borders. The story itself is an allegorical… Leer más

(London): Doves Press, 1908. Johnston, Edward. Two large octavo volumes. 192; 200pp. One of 250 copies. Printed in red and black by T. J. Cobden-Sanderson and Emery Walker. This collection of Browning's poems explores the many aspects of love between men and women. The colophon is beautifully inscribed in red: "Flourished by Edward Johnston. May 1908/November 1908." The table of contents shows calligraphic flourishes in blue, green, and red by the master calligrapher, while larger flourishes decorate headings throughout the book. These conform to the copy described in Tidcombe's bibliography. The set shows the Doves Press at its most ornate, the severe typography softened to the subject by Johnston's lovely decorations. This title is also notable for being the last book from the Doves Press bearing Emery Walker's name on the colophon. In beautiful Doves-style bindings of gilt-decorated dark blue morocco by Sangorski & Sutcliffe. The bindings feature a central gilt arabesque with small red and green… Leer más

(Wakefield, W. Yorkshire): Fleece Press, 1991. Claes, Brother Edgard. (28)ff. One of 290 copies. Illustrated with etchings by Anthony Christmas. Written by master binder Angela James, this attractive little book summarizes the history of binding, with a glossary. This copy has been bound by Brother Edgard Claes of the Holy Cross Fathers in Diest, Belgium, and certainly demonstrates his avant-garde response to the traditional approaches to the medium defined within. Backed in black morocco, the covers sport swirling layers of delicately and exactly cut boards, oriented and designed in a futuristic, even space-age mode. Layers affixed with screws, and inset are ornamental pieces made from tiger's eye, onyx, and agate. Housed in matching box with suede sleeve. Very fine. (2 by 2 15/16; 54x75mm). After training in art, design, and layout, Claes studied binding with Renatus de Cock and August Kulche at the Rijksinstitut in Malines, where he was later appointed professor. His original intent was to do… Leer más

Paris: Louis Janet, 1830. 48mo. 48pp., + engraved title page and six plates of engravings. A collection of titularly genteel love poetry, mostly penned by "Bernard," whose brief biography appears as an introduction. The inserted plates show lovers in pastoral settings. Bound in a glass binding, with spine and edges in embossed gold. The upper cover boasts a cerulean blue background against which the titling "Hommage aux Dames" appears, along with an airborne cherub carrying aloft an urn overflowing with cloth, beads, and an umbrella. The rear cover is likewise painted blue, at the center of which is a motif of a rural building set in a field. Gilt remarkably intact with only minor spots of rubbing, some paint loss to lower corner of upper panel, faint interior toning. Near fine overall, housed in the original pale pink slipcase.

Matanzas, Cuba: Ediciones Vigía, 2013. Balboa, Diana. Octavo. 59pp. One of 200 copies. Nancy Balboa's illustrations celebrate Cuba's agriculture, and draw a parallel between its grassroots rural life and its heritage of grassroots revolution. Martí, considered by many the "patron saint" of Cuba, was at the forefront of such organic, popular activism throughout the late 19th century as he called for Cuba's independence from Spain. Rodríguez's historical essay reflects on Martí's Manifiesto de Montecristi and his Revolutionary Party, and their lasting impact on Cuba. The essay by Pedro Pablo Rodríguez first appears in Spanish, then in English, with illustrated recycled paper as dividers. Book designed by Elizabeth Valero. Ediciones Vigía is a longstanding literary and artistic mainstay of Cuban book arts, known for using throwaway or inexpensive materials to create beautiful works. It thus reflects the resourcefulness and hope of Cuban citizens broadly, who have adopted those characteristics to… Leer más

(Rockport, ME): Gehenna Press, 1998. Baskin, Leonard. Folio. (65)pp. From an edition of fifty, this is one of ten deluxe copies, accompanied by a page of Hecht's manuscript, three watercolor drawings by Baskin, one of the original woodcut blocks, and a suite of woodcuts printed in black with several hand-colored by Baskin. Signed by both Hecht and Baskin at the colophon; Baskin has also signed each of the prints in the book. Hecht's poems, rich with earthy imagery to communicate the individual and common depths of grief and joy, are each faced with a colorful woodcut of a flower. Baskin's signature dark shading and rough edges capture both the gritty beauty of the plants themselves and their untidy but profound reflection of humanity. Bound by Claudia Cohen in full peach morocco, with rules in both blind and gilt, an artful gilt laurel design and yellow leather onlays to covers, matching gilt spine decoration onlaid. Drawings and extra suite housed in cloth-covered chemise. Held, along with the book… Leer más

London: Saunders and Otley, 1836. Fazakerley of Liverpool. Three octavo vols. 304; 304; 304pp. Engraved titles with vignettes, as well as nearly 150 engravings throughout the set. A testament to British literature and artistry, with the poetic pillars of Chaucer, Spenser, Donne, Shakespeare, Dryden, Burns, Wordsworth, Shelley, Coleridge, and myriad other writers comprising the anthology. Along with these are brief biographical sketches, facsimile autographs, and portraits rendered after paintings and designs by notable British artists like Turner, Bonington, Landseer, and Maclise. Gorgeously bound by Fazakerley of Liverpool in maroon morocco with giltwork, intricate rose onlays, moiré silk doublures, and gauffered edges highlighting three fore-edge vignettes of bucolic villages, seacoast towns, and storm-blown ships. Hint of wear to extremities, else fine, housed in a morocco-backed cloth folding case.

London: Eyre & Spottiswoode, 1915. 702pp. An unabridged Book of Common Prayer. Gorgeously bound in maroon morocco with a hallmarked Birmingham silver plaque affixed to the front cover, featuring five cherubs. Very fine. A.e.g. (Bromer/Edison, p. 81). (2 1/8 by 1 7/8; 53x47 mm).

Mill Valley, CA: Sunflower Press, 1985. Brown, Hannah. (39)pp. One of 85 copies, signed by Carol Cunningham, who printed the book. A brief history of the Inca civilization illustrated throughout with hand-colored illustrations and striking gold-stamped imagery on black paper. This copy bound by Hannah Brown in sheet brass covered with black leather, covers boasting Brown's inimitable signature needlework, here displayed in an evocative geometric design in gold thread, reminiscent of Incan metalwork. In a stub binding with purple and black tabs, and hinges exposing purple papers. Spine title gilt-stamped and embroidered in purple. Paste-paper flyleaves of black and gold. Housed in a tulipwood box with seat for book sporting black leather and gilt and black thread details. Underside of lid features a black leather panel with purple leather onlays and gilt-embroidered alpaca. Extremely fine. (Measures 2 5/8 by 3 5/8; 67x90mm).

Colombes, France: Collectif Génération, 1990. Rousseau, Florent. Square octavo. (15)ff. One of 60 copies, signed by the author, Marcelin Pleynet, and the illustrator, Bertrand Dorny. With imaginative engraved and blind-stamped illustrations throughout, to accompany Pleynet's modernist text. Many of the pages fold out to give the reader the feeling of discovery and thorough study. Bound in 2015 by Florent Rousseau, one of the few European binders with consistent mastery of unique materials. The volume is bound with a metallic fabric spine and glittering covers of industrial plastic, resembling chrome, with dozens of die-cut squares through which are seen all manner of colors. Eight overlays, four on each cover, of the same plastic mimic Dorny's illustrations; two extend to the paste-downs, on which Rousseau has signed and dated the work. Finished with suede free endleaves and a yellow chemise and slipcase. Fine.

Oxford: Clarendon Press, 1972. While, Garth. Small quarto. (iv), 361pp. Morison's thorough treatise on the sociopolitical evolutions of script styles, specially bound by Garth While in full vellum. While's clever take on Morison's text sets the title and a short description over a fragmented manuscript design, all painted, with the fragments shaded in blue, fuschia, orange, yellow, and gilt. The design is repeated on the rear cover, except mirrored, as though the viewer were reading it from underneath. The gaps in the manuscript are filled in on the gold-flecked endpapers, where, conversely, the fragments are left blank. Endbands in blue, orange, and black thread. Spine title likewise hand-painted in black. Scant edgewear, else fine. Housed in clamshell box. A.e.g. Garth While learned bookbinding under H. A. De Coverley at Morley College, and under Shirley England at Bolt Court. He studied calligraphy with Dorothy Mahoney, a student of Edward Johnston, at the Stanhope Institute. While won a number… Leer más

Boston: Southworth Press, 1931. Octavo. xxx, 214pp. One of fifty copies printed on Kelmscott handmade paper. Signed by Braithwaite, Hugh Francis Blunt, who wrote the Foreword, and Ralph Adams Cram, who wrote the Introduction. A broad collection of poems, largely on religious subjects, some of which reimagine often-male realms of theology through the female gaze. Braithwaite was himself an acclaimed poet, writer, and anthologist of African descent, who developed a love of writing at a young age while working at a publishing company to support his family. Bound in red silk brocade with matching slipcase. Slipcase stained and rubbed, but volume itself is fine. Together with a copy of the standard edition of 2000 copies printed on Hamilton's Mellow Book paper. This edition bound in blue cloth with cream paper over boards and gilt stamping, with original dust wrapper. Some toning to wrapper and few chips, else very good.

NY: Pre-Columbian Press, 1960. Rau, Jack. Octavo. 31pp. One of 500 copies, signed by Rau. Drawings accompany each of the eight sites described, and a map prefaces the text. Bound in sienna boards printed with Mayan hieroglyphs. Spine slightly tilted, else near fine in near fine dust wrapper.

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.

London: Basilisk Press, 1979. Craig, Edward Gordon. Quarto. 180pp., + (10)ff. From an edition of 500 copies, this is one of twenty-five with ten original wood engravings bound-in subsequent to the text, five of which are signed by the book's illustrator, Edward Gordon Craig. For decades, Craig nurtured an interest in Daniel Defoe's story about the castaway Robinson Crusoe. Craig's copy of the book was well-read and heavily annotated, with the phrase "My beloved book" written by him on one of the pages, clearly revealing his feelings for the story. He created sketches and even cut numerous blocks for an illustrated edition of the book he hoped to one day publish. After the success of the Cranach Press Hamlet, for which Craig contributed the illustrations, he and the Press's founder, Count Harry Kessler, began to develop an edition of Robinson Crusoe, using the illustrations Craig had assembled over the years. They printed a proof of the first page of the book, set in the Hamlet type designed by Edward… Leer más

Decorah, IA: Solmentes Press, 2017. Esslemont, David. Oblong small quarto. (68)pp. From an edition of forty copies, this is one of five deluxe copies. Signed by artist at colophon. Thirty-six woodcut and linocut images together with separate blueprint for a pizza oven. Together, the illustrations create a visual narrative of how Esslemont grew a pizza, at every step, on his farm in rural Iowa. He grows wheat, garlic, tomatoes, and basil, designs and builds a clay oven, gives instructions on how to make the dough, sauce, and cheese, fire up the oven, assemble the pizza, and cook it. Bound in alum-tawed goatskin with a design painted in acrylic ink based on one of the pizzas, created with toothbrushes and stencils, with gold tooling. A very fine copy, housed in a felt-lined, drop-back box. Prospectus laid in.

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.