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Grandeza de Luis Cabrera

Grandeza de Luis Cabrera

by Ramirez y Ramirez, Enrique

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Los Angeles: Dawson's Book Shop, 1964. 47, (3), 11, (6)pp. One of 300 copies. Full-page portrait of Cabrera. Text in Spanish. Bound in full red morocco over boards, gilt-tooled and -stamped to upper cover and spine, blind-stamped at lower cover. Minor sunning to spine, else fine. (1 7/8 by 1 1/2 in.; 47x37mm).
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A Pocket History of the Presidents and Information about the United States
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A Pocket History of the Presidents and Information about the United States

by Rand, Thomas (ed.)

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NY: Randolph and Co, 1895. 77pp. First edition. Portraits of the presidents (up to Grover Cleveland's second term) face brief biographical descriptions. Afterward is a primer of United States civics, with information about the the Treasury, the military, and the Electoral College. Bound in white cloth over boards, with American flag and titling in red and blue to upper cover. General exterior soiling, hinge at front matter starting to split, else near fine. (2 5/8 by 2 5/16; 67x60mm).
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Armageddon

Armageddon

by Ransom, John Crowe

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Charleston: Poetry Society of South Carolina, 1923. Octavo. First edition. Signed by Ransom on front wrapper. First appearance of this poem, which was awarded the Poetry Society of South Carolina's Southern Prize for 1923. This publication also prints the poems which received honorable mention: "A Fragment" by William Alexander Percy, and "Avalon" by Donald Davidson. Very light rubbing along spine, scattered light foxing to edges, else a near fine copy of this scarce publication, in printed wrappers.
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Adventures in the Burning Bush
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Adventures in the Burning Bush

by Rathman, David

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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… Read More
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Discovering the Lost Maya Cities

Discovering the Lost Maya Cities

by Rau, Jack

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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.
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Yan, Tyan, Tethera: Counting Sheep

by (Rawnsley, Canon H. D.)

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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).
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Roses

Roses

by Rawnsley, Ellis

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Cincinnati: Mosaic Press, 1983. Dilley, Romilda. (32)pp. Signed by the author and by the printer, Miriam Irwin. With a title-page vignette, full-page illustration, and tailpiece designed by Romilda Dilley. Bound by Hugo Grummich in pink cloth with gilt motif and titling. Minute rubs to corners, else fine. T.e.g. (1 by 13/16; 25x21mm).
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Roses

Roses

by Rawnsley, Ellis

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Cincinnati: Mosaic Press, 1983. Dilley, Romilda. (32)pp. Signed by the author and by the printer, Miriam Irwin. With a title-page vignette, full-page illustration, and tailpiece designed by Romilda Dilley. Bound by Hugo Grummich in decorative paper-covered boards designed by Louise Bange, with title stamped in red on spine. This binding state not recorded by Bradbury. T.e.g. Fine. (1 by 13/16; 25x21mm).
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Flirtations
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Flirtations

by Bingham Rebecca

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(Hyattsville, MD): Rebecca Press, 1984. 64pp. From an edition of 200, this is one of forty copies specially bound. A little manual divided into four chapters: Handkerchief, Parasol, Fan, and Glove, giving the significance of each gesture. Very fine in cream-gray morocco with gilt tooling and stamping, and with a porcelain cameo set into the front cover. T.e.g. In a box covered in mauve silk damask, with an oval window over the cameo. (2 1/2 by 3; 64x75mm).
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Ye Beatyfycatyon of ye Novyce
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Ye Beatyfycatyon of ye Novyce

by Reed, Charles Bert

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Chicago: Will Ransom, 1923. Philbrick, Allen E.. Small octavo. (12)ff. One of 270 copies. Three illustrations of courtly scenes: a man reading a declaration, a group of people around a feast, a knight on a horse with a lady behind him. Seven-line illuminated initial printed in blue, red two-line initials throughout, red border over title on first page of text. Rubbing along spine and to corners, else a beautiful, near fine copy in half blue leather. T.e.g.
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Paul Revere's Ride: A Deposition. The Personal Account of His Famous Ride

Paul Revere's Ride: A Deposition. The Personal Account of His Famous Ride

by Revere, Paul

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Worcester, MA: Achille J. St. Onge, 1963. 36pp. First edition, first issue, with the extra sheet after the frontispiece laid in. One of 1,000 copies. With a black and white frontispiece portrait of Paul Revere, which is a reproduction of the painting by John Singleton Copley at the Museum of Fine Arts in Boston. Introduction by Esther Forbes. Trace rubbing at ends of spine, else fine in full brown calf with gilt lettering to the front cover as well as an illustration of Revere on his horse, tooled in blind. A.e.g. (Bromer and Edison, pp. 156-158; Bradbury, p. 253; Massmann 21). (2 5/8 by 1 7/8; 67x47mm).
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Paul Revere's Ride: A Deposition. The Personal Account of His Famous Ride

Paul Revere's Ride: A Deposition. The Personal Account of His Famous Ride

by Revere, Paul

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A$90.14
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Worcester, MA: St. Onge, Achille J., 1966. 36pp. Second edition. One of 1,000 copies. With a black and white frontispiece portrait of Paul Revere, which is a reproduction of the painting by John Singleton Copley at the Museum of Fine Arts in Boston. Introduction by Esther Forbes. Fine in full brown calf with gilt lettering to the front cover as well as an illustration of Revere on his horse, tooled in blind. A.e.g. (Bromer and Edison, pp. 156-158; Bradbury, p. 253; Massmann 21a). (2 5/8 by 1 7/8; 67x47mm).
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Silence is an Orchard
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Silence is an Orchard

by Rian, Kirsten

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(Portland, OR: Vela Noche, 2010. Henkin, Lauren. Folio. (17)ff. One of thirty copies, this one being out of series. Fourteen of Lauren Henkin's photographs make up the majority of the book, with Kirsten Rian's poem, "Fieldnotes," appearing on the penultimate page. The poem, from which the book's title derives, meditates with equal parts fondness and sadness on the quietude of memory, and the tension that lies between recording a moment and letting it pass away. Henkin's photographs capture this same feeling, depicting different views of a single field located in Acadia, Maine. Her images target the field's present state, but even so, let the present slip; they are black and white, leaving color up to the inaccuracies of the viewer's imagination. The field of memory—and of photographic record—is already past, a different place by the time the images have reached publication. Printed on Japanese kozo paper, the book is a collaboration between five Northwest women artists: Rian, Henkin, Sarah… Read More
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Musik: Atem der Statuen, by Rainer Maria Rilke
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Musik: Atem der Statuen, by Rainer Maria Rilke

by Rilke, Rainer Maria

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Postenkill, NY: Kaldewey Press, 2018. Kaldewey, Gunnar. Quarto. (12)pp., accordion-fold. One of only fourteen copies. Kaldewey's interpretation of Rilke's poem invokes the transformative power of music by showcasing the German text, which is deeply imprinted in yellow ink. The lines are paired with bright watercolors that amplify the atmospheric and affective quality of both the poem's style and its subject. Bound in pink suede boards by Thomas Zwang. Housed in tan chemise and slipcase. As new. Publisher's English translation laid in.
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Gesammelte Gedichte
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Gesammelte Gedichte

by Rilke, Rainer Maria

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A$15,191.33
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Leipzig: Insel-Verlag, 1933. Gill, Eric. Small quarto. Four volumes. 273; 285; 223; 267pp. One of 200 numbered copies printed on handmade Maillol-Kessler paper. The title was designed by Eric Gill, and the initials were done by Aristide Maillol. Initials and title lines printed in red. Volumes 1 through 3 were printed at the Cranach Press under the supervision of Harry Graf Kessler. In 1933, Kessler immigrated to Paris, so Volume 4 was printed at Offizin Poeschel & Trepte, Leipzig using the Cranach Press type. In the original publisher's bindings by Gerhard Prade of vellum-backed tan paper over boards, with giltwork to spine. Bindings are stamp-signed on lower turn-ins. Some edgewear, else a near fine set of a celebrated publication, all housed in slipcases.
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Duensing Titling
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Duensing Titling

by Rimmer, Jim

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Vancouver: Heavenly Monkey, 2003. 6ff., + 30pp. accordionfold strip. One of fifty copies signed and numbered by the author. Initial signature includes a brief introductory essay by Jim Rimmer of the Pie Tree Press and Typefoundry about the new typeface showcased here. The type is called Duensing Titling, named after American typographer and private press printer Paul Hayden Duensing, and it was designed, cut in metal, and cast by Rimmer. The typeface is presented on the accordion strip of Reg Lissel's handmade paper; the strip can be pulled out from the book, extending more than five feet to display the entire face. The book is cased in paper-covered boards, with a printed vellum label to spine. Near Fine. (2 1/4 by 3; 74x60mm).
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Profile of Rockwell Kent in Twenty-Two Letters
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Profile of Rockwell Kent in Twenty-Two Letters

by Ripley, A. C. (ed.)

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(N.p.: Brownlee Miscellany, 1947. Inscribed by Kent: "Affectionately inscribed to Dorothy / by Rockwell - / Christmas, 1947." The intimacy of the inscription suggests that "Dorothy" is Kent's sister, Dorothy Kent. A. C. Ripley has here reprinted over a decade of correspondence sent to him by Kent. Their exchanges begin over Ripley's purchase of some of Kent's work, but swells to a friendship that clearly meant much to both men, one that buoyed them both through the devastating years of the Second World War. Within are Kent's own beliefs on the War as it progressed; his criticisms of Nazi Germany are vehement and his feelings about the roles of the American and English governments in the conflict are dissatisfied at best. Ripley would become the author of Spectacle, a compendium of profiles and anecdotes of various contemporary entertainment stars, of which this is something of a prototype. 16mo. (40)pp. Bound in orange wrappers. Some toning to edges, wear to head and tail of spine, else near fine.… Read More
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Little History of a Big City: Los Angeles

Little History of a Big City: Los Angeles

by Robinson, W. W.

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Los Angeles: Plantin Press, 1963. Robinson, Irene. 32pp. Finely printed by Saul and Lillian Marks for Dawson's Book Shop, with color illustrations by Irene Robinson. Sunning to spine and paper label, else near fine in cloth-backed boards decorated by Bela Blau. (Bradbury p. 61). (2 by 1 9/16; 50x40mm).
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Norman Rockwell's Hometown
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Norman Rockwell's Hometown

by Rockwell, Thomas

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NY: Windmill Books, 1970. Rockwell, Norman. Quarto. (23)ff. Comforting tales of middle America, illustrated by one of the nation's most beloved artists. Near fine in full green cloth and dust wrapper.
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El Partido de José Martí/ Martí's Cuban Revolutionary Party
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El Partido de José Martí/ Martí's Cuban Revolutionary Party

by Rodríguez, Pedro Pablo

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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… Read More
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