Resultados de búsqueda: Títulos que empiezan por T de Priscilla Juvelis

London: Macmillan, 1910. First edition, first printing, first English issue, inscribed by the author on the front blank, "L. Belugou / from his friend / Edith Wharton (with a flourish) Oct 26th 1910." 8vo; 438pp; + 8pp. ads, publisher's blue cloth blind and gilt stamped; ex-libris of Leon Belugou on front pastedown, endpapers a bit browned, spine a bit cocked, corners and spine ends bumped and rubbed. Leon Belugou (1865-1934) French scholar and journalist was, perhaps, her closest French friend. Garrison A18.1.a.2.

Canton, NY: Caliban Press, 2001. One of two copies in original designer binding by Donald Glaister, from an edition of 125 copies all on various handmade papers by Velma Bolyard, La Papeterie St. Armand, and Barcham Green, with Arches, Frankfurt and Mexican amate paper. The text is set in 14pt. Dante by M & W Bixler; rain cut by Greg Lago. The book was designed, printed and bound by Mark McMurray, using the text from the 1623 First Folio (with a few liberties). Page size: 8 x 12 inches. Bound by Donald Glaister: full grey morocco with deep blue morocco onlay cutout to reveal underlay of aluminum with onlays of mesh, copper, mylar, painted in silver, gold, red, and black, the cutouts, while seemingly abstract, spell out the title of the book, TEMPEST, on the front panel and the same on the back panel - but in reverse mirror writing, spine smooth with two sets of tooled red and gold-gilt vertical lines and one set of horizontal lines spelling out the word THE, cork endpapers, blue and grey silk… Leer más

Iceland: Oddi, 1994. One of 500 copies, each signed and numbered by the artist, all on Simpson Starwhite Vicksburg paper, illustrated with 36 offset prints of colored pencil drawings of sweets, pastries, breads & crackers from 16 countries. Page size: 8 inches x 12 inches, 42 pages. Bound: tan cloth over boards, author and title stamped on spine. An introduction and brief comments on each subject is included. The book was designed by Peter and Leslie Miller of the Grenfell Press of New York. The text was typeset by Linda Josefowicz in Centaur and produced by Michael Josefowicz of Red Ink Productions. The drawings are beautifully reproduced: the tarte au peche, the kashina mochi, the cannoli siciliani, and the humble Oreo all look good enough to eat.

[Bremen, ME: Red Angel Press], 2004. Unique binding by Gabrielle Fox, from an edition of 100 copies, the poetry on Saunders Waterford paper and the title page and illustrations on Sekishu, signed by the artist / printer, Ron Keller. Page size: 12-1/2 inches x 7-1/2 inches, oblong octavo. Binding: full blue Valencia goatskin, with slightly raised bridge image on both front and back boards achieved by a layer of watercolor under leather, various shades of grey goatskin onlays, the outline of the bridge highlighted with gold gilt and red gilt dots and squares and the onlays around bridge supports, endpapers of grey Japanese paper with onlay of green Tengujo in same shape as bridge, laminated to Twinrocker handmade paper, grey snakeskin headbands, signed on back turn-in at lower center with Fox logo finishing tool , housed in custom-made sailcloth over boards clamshell box, which also houses the original binding and portfolio of original binding designs and ephemera associated with the binding. The… Leer más

[Bremen, ME: Red Angel Press], 2004. Limited Edition, signed by the artist and designer, Ron Keller, one of 100 copies, the poetry on Saunders Waterford paper and the title page and illustrations on Sekishu. Page size: 12-1/2 inches x 7-1/2 inches, oblong octavo. Bound: beige linen cloth with painted silver lines resembling cables of Brooklyn Bridge. Text hand set and printed letterpress in American Garamond 648 for the poetry, Garamont Italic for the text and Caslon 471 for the title. The text is printed in black and the title page and colophon in a gray green. Keller has chosen to reprint three poems that strongly use the imagery of the Brooklyn Bridge. The book is presented in a horizontal format reflective of the span of the bridge. The first two poems, "Cutty Sark" and "Atlantis" are illustrated with three relief print images of the bridge's interesting stone arches and steel suspension cables. These images are each printed in six colors in a style reminiscent of early 20th century poster… Leer más

New York: Vincent FitzGerald & Company, 1993. One of only 50 copies, all on Rives BFK and Dieu Donne' handmade paper, each signed and numbered by the artist. Page size: 9 inches x 9 inches. Bound by Zahra Partovi: wood maple covers by Dennis FitzGerald, Coptic-style binding, opening to full circle, housed in custom box by BookLab, Inc., fine. The etchings were editioned by Marjorie Van Dyke and Vincent FitzGerald at The Printmaking Workshop. The letterpress in linotype Palatino is by Dan Keleher at Wild Carrot Letterpress. The calligraphy is by Jerry Kelly. T. Kurahara, well-known artist, is Professor of Painting at Pratt. This is a very beautiful book, with a strong color presence that comes as a shock upon opening the austere maple binding! The artists says, "Red is always life, bright yellow presence. Blue is water: oceans, sky and air. Silver illuminates; brown fashipns matter and greens pass beyond spring. Greys give us balance; the darks are mysteries, the tones variable; intensities reveal breath.

[New York: Vincent FitzGerald & Co, 2009. Portfolio of ten chromogenic prints on metallic paper, one of 20 copies only, each print numbered and initialed in pencil on the reverse by the photographer, Judith Turner, who has also signed her name on the colophon in pencil. Page size: 4-15/16 x 4-15/16 inches, 10 individual prints. Bound: loose as issued and housed in clear plastic box with front cover sliding out by Just Plastic. Titlepage / colophon page letterpress printed by Kelly-Winterton in black on gray paper. Judith Turner, noted New York photographer, took these haunting images over a period of six months. They were photographed under water, chronicling the life and death of a plant. Noted for her images of architecture, published in trade books since 1979, and by the private press, Vincent FitzGerald & Co., since 1990, she brings a solidity of shape and concreteness to the transitory water lily. The use of Kodak's silver paper for these images presents an illusive shimmer to the plant in… Leer más

Paris: L'Estampe Moderne, 1944. One of 15 copies on Auvergne du Moulin Richard de Bas with an original drawing by the artist, from a total edition of 375. Small folio. Handsomely bound in 3/4 bright red morocco and paste-paper boards, spine paneled, gilt decorated, title gilt, top edge gilt, oiginal covers bound in, fine. Illustrated with 23 etchings hors-texte (two in color) by Robert Sterkers, printed in brown ink to illustrate the text about the old churches of Paris.

[Mt. Horeb, WI]: The Perishable Press, 1986. First Edition, one of 275 copies, broadside folded in thirds, all on Tergiverse Shadwell gray-green paper, all signed in pencil by the author, Michael Ondaatje, on the verso of the last fold. Five copies reserved for Woodland Pattern. Printed in black, blue and brown as triple-fold broadside with title on first fold, "All along the Mazinaw" on second fold, and "Birch Bark" on third fold. Page size: 22 inches x 9-1/4 inches folded to 5-1/2 inches x 9-1/4 inches. Printed letterpress in Vintage Sabon by Walter Hamady, fine.

New York, 1946. Typed Letter Signed in pencil, one page 8-3/8 x 10-3/4", to Mr. Wilson, on Helen Keller's personal letterhead of 15 West 16th Street, New York, dated February 21, 1946. Traces of quarter folds, a bit of yellowing along folds, traces of two paper clip marks on back, else fine. An eloquent letter announcing the formation of the "Helen Keller Committee on the Deaf-blind" formed by the American Foundation for the Blind and asking for his support. Miss Keller writes, "Try to imagine, if you can, the anguish and horror you would experience bowed down by the twofold weight of blindness and deafness, with no hope of emerging from an utter isolation....Even work, man's Divine heritage -- work that can bind up broken hearts -- would be lost to you." Miss Keller's devotion to the suffering of others is evident, making this a wonderful example of her compassion.