Search Results: Fine Printing from Bromer Booksellers

Providence, RI: Ziggurat Press, 1989. (Bell, Andrew). Quarto. (32)pp. One of forty-five copies. Illustrated with seven copper engravings, originally executed by Andrew Bell, which accompanied the essay, here likewise reprinted, published in the 1797 edition of the Encyclopaedia Britannica. The former have been printed on handmade Moriki paper, the latter on Rives and Ingres. The result is a publication suitably honorific to its source material, one aesthetically fit to the task and engineered with a mathematical eye apt for both book and building construction. Bound in decorative papers over boards with three exposed brown leather bands, and embossed copper "illustration" inset to upper cover. Trace edgewear, else near fine.

Northampton: Ariosto Press, 1965. Young, Elaine. Octavo. (25)pp. One of 100 copies, signed by the artist. A student of Leonard Baskin, Young riffs on his dynamic and mythical style to create her own fanciful beasts, emblems of particular ornamental characters (the "Bulla" as a Papal Bull "known for its dogma," the "Homo litterarum" as an airy academic, the "Avis invulgaris" as an aristrocrat who "is habitually performing acts of charity and voting against antipoverty legislations"). Young's preface describes the contents as "hallucinogenic material...the result of a diverse program of cognitive meanderings." The first book of the press. Young's name pops up as a contributor on other Baskin-circle projects, including the Apiary Press' Certain Elizabethan and Jacobean Playwrights. Bound in full tan paper over boards with paper label at upper cover. Mild rubbing to exterior, else near fine. Bookplate of Harold Hugo, then president of the Meriden Gravure Company.

New York, New York: The Thistle Press, 1955. Eichenberg, Fritz. Two folio-sized portfolios. (8); (8)ff. A total of sixteen prints each measuring 12 1/2 by 17 inches. Known to book collectors as a master wood engraver, Eichenberg also executed a series of drawings that appeared in Dorothy Day's "The Catholic Worker" newspaper, a lay publication concerned with the intersection of religion and social justice. Although Eichenberg was a devout Quaker, these drawings, with their combination of traditional Christian imagery and social awareness, had broad appeal, and were printed in a number of publications associated with various denominations. Among the prints included are "The Adoration of the Shepards," "The Annunciation," "The Lord's Supper," "The Visitation," "The Labor Cross," "Saint Luke," and "Rest on the Flight." The sixteen photoengravings for these prints were made from Eichenberg's original drawings, and are reproduced in their intended dimensions, without the resizing that was necessary for… Read More

Bosham, UK: Circle Press, 2013. King, Ronald. Square small quarto. 7 unbound triptych sheets. One of thirty copies, signed by Richard Price and Ronald King. Price's verses appear alongside King's illustrations, which have been deeply embossed into the papers, mostly in blind but with choice additions of color. Each triptych articulates the case for animals presently threatened by or having already succumbed to the catastrophes of climate change: the armadillo, the emperor butterfly, the chimpanzee, the dodo, the elephant, the fox, and the goose. That the alphabetical bestiary format remains unfinished implies the continuing urgency of the matter. Sheets housed loose in embossed paper wrappers, held in chemise and slipcase. Fine.

(Munich): Bremer Presse, 1924. Simons, Anna. Two small folio volumes. 486; 372pp. One of 615 copies printed in Greek with titles by Anna Simons. These beautiful volumes are printed on Zanders handmade paper in a 16-point Greek type designed for the Press. Colin Franklin describes the Bremer "Homerou poiesis" as "magnificent examples of controlled printing." Touch of sunning to upper boards, else a fine, bright set in original blue boards with paper lettering piece on spine. (Franklin, p. 163; Lehnacker 15 &16).

Vancouver, B.C.: Heavenly Monkey, 2019. Jackson, Martin. Tall quarto. 18, (10)pp., + two tipped-in leaves. From an edition of 55 copies, this is one of twenty comprising the "Written" issue, featuring original calligraphy by Martin Jackson on the printed pages. Signed by Jackson on the colophon page. The text is Alfred W. Pollard's essay, which first appeared in 1921 as the introduction to the catalogue of William Andrews Clark's Kelmscott and Doves collections, printed by John Henry Nash. Pollard offers a summary of the typographical and aesthetic aims of both presses, the common denominator of each being Emery Walker; this edition presents the opportunity to examine a specific example from both presses—each of which Pollard references in his essay. The leaves included here are from the Kelmscott edition of The Golden Legend and from The English Bible, considered by many to be the masterpiece of the Doves Press. With a "Note from the Printer" which examines several of Pollard's statements about… Read More

(Ogdensburg, NY): Caliban Press, 1989. Ely, Timothy. Octavo. (iii), 15pp. One of 125 copies, signed by both the author and the artist. With three full-page and two tailpieces in full color by Ely, who lucidly emphasizes the psychedelic and geometric motifs of Berrigan's short story. Designed, printed, and bound by Caliban proprietor Mark McMurray in printed paste-paper boards backed by orange cloth. Fine.

San Francisco: Grabhorn Press, 1941. Angelo, Valenti. Folio. (10)ff. From an edition of 75 copies printed for David Magee at the Grabhorn Press, this is copy number nineteen of 27 deluxe copies signed by Magee, with a stunning vellum leaf from a sixteenth-century Italian Gradual bound in. The leaf, which has been trimmed, shows an intricate initial nearly six inches high, decorated in blue, pink, green, and gilt illumination with a rose design. The text of the book contains fourteen large initials, including a four-inch opening letter, all hand-written and illuminated by Valenti Angelo. Generally externally rubbed about two-tone cloth covers over boards, else very good. (BCC 43; Chalmers 90, Magee 363).

Flörsheim: Peter Malutzki, 2014. Malutzki, Peter. Octavo. (40)pp. One of twenty copies, numbered and signed by the artist. Malutzki reprints spam emails from Hong Kong, machine-translated into German and then "back-translated" into a "not less funny" English. Added are collages, all original to the copy, made up of letter envelopes and Chinese Yuan notes. Certainly humorous at the outset, the book also bears insidious traces of the porosity between the internet, governmental control, capital exchange, and the slipperiness of "authenticity." Bound in patterned paper over boards, with paper label. Remote rubs to corners, else fine.

Boston, 1991. Davidson, Laura. Unique book art object, signed and dated by the artist, made from wood, acrylic, paper, ink, and metal keys. Constructed as a temple, the statuesque object has two swinging doors on which Davidson has inked a Hindu tale; this and other designs are presented over excised maps and travelogues, creating a multimedia collage. The pillared templed stands upon a platform ornamented with six keys, each labeled "a" through "d" (there are multiple for "b") to mirror the coordinate grid of the map. The whole is a companion piece to Davidson's first editioned book, To Open, completed in the same year. Fine. Housed in custom box. (12 by 10 1/4 by 3 5/8 in.; 340 x 264 x 94 mm).

Verona: Officina Bodoni, 1969. Octavo. 151pp. One of 125 copies. Illustrated with a medal of young Bembo as a title device; a fold-out reproduction of "Il Noniano"; an engraving from "Bembo's Works," Venice 1729; and a facsimile leaf of Aii of Bembo's "De Aetna," printed by Aldus in 1496. The Latin version is followed by an English translation by Betty Radice and a Postscript by Giovanni Mardersteig. The Latin is set in Griffo type, and the English and Postscript are in Monotype Bembo, both based on the roman alphabet developed by Francesco Griffo for Aldus. Bound in quarter-morocco with red paper over boards, gilt-stamped with the press's device. Some toning to spine, else fine in matching slipcase. Prospectus laid in.

Tuscon, AZ: Amos Paul Kennedy, Jr., 2017. Kennedy, Jr., Amos Paul. Five-color letterpress poster on chipboard, exhibiting Kennedy's characteristic layering and use of eclectic and upcycled wood type. Douglass's quote originated in a speech he delivered on August 4, 1857, in Canandaigua, NY, at an address on West Indian Emancipation. A stamp at the lower left corner cites the University of Arizona's letterpress studio. Trace, inconsequential bumps to lower corners, else fine. (19 by 12 1/2 in).

Seattle: Aubergine Atelier, 2019. Fenton, Jodee. Oblong 24mo. 36(ff)., + 14 Japanese kozo-paper leaves painted on both sides in gouache, tempera, watercolor, and polyacrylic varnish. From an edition of thirty copies, this is one of ten bound in half leather with decorative paper over boards. Each copy in the edition contains unique paintings by Jodee Fenton. These, distributed throughout as full leaves, cutouts, and paste-downs, encourage a new perspective on Yeats' seminal poem. Originally composed as a reaction to the pain of the early twentieth century-the aftermath of the First World War, the onset of the Irish War of Independence, and the 1918-1919 flu pandemic-Yeats' verses use apocalyptic allegory to capture the fear, brutality, and destruction of the era. Here, Fenton presents the poem as a series of images, mirrored on both sides of each painted sheet, and verses, broken apart by line and by word. The arrangement thus asks the reader to pause and draws insistent parallels between Yeats'… Read More

(East Aurora): Roycroft Printing Shop, 1896. Octavo. 72, (ii)pp. One of twelve copies printed on Japan paper. Each page has a large decorated initial lettering the style of William Morris. Title-page and colophon printed in red and black. This was the first book of the Press and took Hubbard and his partner, Harry Taber, four months to complete. The colophon states that it was printed "with no power save that of human muscle," and expresses a "Thank God!" for its completion. A scarce book and rarely seen in such good condition. Corners rubbed, minor soiling, else a lovely copy in linen-backed antique boards. Inscribed on the colophon "with kindly greetings from Elbert Hubbard." Bookplate. (McKenna 8).

(British Columbia): Barbarian Press, 2021. English, Andy. Octavo. xvii, (5), 271, cclxxi, (vi)pp. From an edition of 105 copies, this is one of 62 comprising the deluxe state, and thus accompanied by a portfolio of strikes of the engravings, which are supplied by Andy English and appear throughout the volume. Molly Holden (1927-1981) was a British poet, whose prolific poetic career (the present publication only represents approximately a third of her oeuvre) was informed yet unhindered by her diagnosis of multiple sclerosis. Many of Holden's poems reflect upon her condition, meditating upon feelings of capitivity and liberation, mortality and joy, the demise of the personal body and the richness of relationship. A powerful force of disability advocacy within and enabled by the lyric form, here presented by the Barbarian Press in its usual precise and evocative typography and craftsmanship. Bound, both literally and metaphorically, the reader opens the book to unbind them, to free them as Holden… Read More

Boston: Laura Davidson, 1991. Davidson, Laura. Small octavo. (6)pp., frenchfold. One of forty-one copies, signed by the artist. This artist's book by Davidson, her first editioned book, uses hand-printed linocuts and collages to interpret a travelogue, showing keyholes, houses, and round swirls on top of maps. Printed in three colors, the five pages of illustrations are followed by a page of text, which recites a short Hindu tale, printed in black. Bound in wooden boards, which are shaped like a house and painted black, with a leather spine. On the front cover is mounted a metal key, the words "to open" printed in pencil above the key. Fine.

Kensington, CA and Washington, DC: Liminal Press + Bindery, 2019. McAleer-Keeler, Kerry. Octavo. 45pp. One of three A. P. copies, produced in addition to the limited edition of fifty. Signed by Laser, who contributed the text, and by Camden M. Richards, who designed and produced the project. Equal parts scholarly essay and experiment in graphic and material design, the book aims to situate the reader within the vocabulary of racial privilege, to guide them toward an understanding of their own position ("White Privilege: If You Can't See It, You've Got It"), and to urge a confrontation with it on terms both interpersonal and systemic. To these ends, it employs a creative array of typefaces, printing techniques, and scanned linocut illustrations by McAleer-Keeler. Bound in flexible covers, saddle-stitched and held with an elastic ribbon, to which is affixed a custom pencil, "perfect for making copious notes about how you will utilizze your privilege to create change." Fine.

Dublin, Ireland: Cuala Press, 1941. Octavo. (vi), 33, (2). One of 270 copies, this out of series. As is wonderfully usual for the press, a beautiful example of Irish printing of Irish poetry. Bound in quarter buckram with blue paper over boards, titled in black to upper cover and with paper label to spine. Slight soiling to covers, minimal warp to boards, else very good.

Woolley, Wakefield: Fleece Press, 1987. Lindsley, Kathleen. 13pp., panorama. One of 275 copies. An extract from By Fell and Dale by Canon H. D. Rawnsley that describes an ancient system of counting sheep, illustrated with seven attractive full-page wood engravings by Kathleen Lindsley. Bound accordion-style by Smith Settle in beige paper-covered boards, with a paper label. Very fine in a plain green slipcase. (2 3/4 by 2; 70x51mm).