Search Results: Titles starting with E from Bromer Booksellers

Amos Paul Kennedy, Jr., 2018. Kennedy, Jr., Amos Paul. Letterpress poster, from Amos Paul Kennedy, Jr.'s series honoring Rosa Parks. Signed by the artist. Each installment in this series highlights Parks's determination, humanity, and honesty, upholding her persistent activism and uplifting her famous, yet sanitized, moment of refusal to bow to segregation. The masterful technique of layering colorful wood type used by Kennedy, the 2021 APHA Individual Laureate, brings a visual echo to Parks's words, crafting a literal resonance to match Parks's historical one. The multidimensional terrain of text is designed so that the viewer cannot look at the same image twice; one day they may look at it in a new way or notice a new word, so that the poster and its proverb become active vessels for study and reflection. Minor edgewear, else fine. (17 by 12 in.).

Los Angeles: Zamorano Club, 1964. Small quarto. (xvi), 62pp. One of 150 copies. Eight plates, most recreating title pages. A perusal of the spread and impact of American drinking habits, from rum to wine. Bound in buckram with pictorial paper over boards. Fine.

NY: Pierpont Morgan Library, 1975. Quarto. xxx, 263pp. Illustrated throughout with photographic replicas of title pages, covers, woodcuts, and engravings, in both black & white and color. Inscribed as a special copy to Gerald Gottlieb, the main author of the text. A wonderfully comprehensive and well-organized reference. Bound in blue paper wrappers, corners mildly bumped as expected, else near fine. Housed in deluxe dropback box.

Tilton, NH: Hillside Press, 1973. 50pp. From an edition of 250 copies, this is the first, with a special inscription from the printer, Frank Irwin, to veteran book dealer Sam Murray on the limitation page. The Preface discusses the ancient source of these fables, the Panchatantra, its translations into Arabic, and its influence in the West. Contains six fables and six vignettes. Very fine in decorated cloth. (2 3/4 by 2; 60x50mm).

(Istanbul): Ebristan, 2008. Barutçugil, Hikmet. Original marbled paper art by Turkey's premier paper marbler, Hikmet Barutçugil, with dusky swirls of pale peach, green, blue, and mauve. Signed and dated by the artist. Emerging from the center of the marbling is a small, detailed drawing in brown ink of the entrance archway to Istanbul University and Beyazit Tower. The tower is located on the university's campus and was originally built in 1824 as a fire watch-tower. Birds fly overhead and disappear amidst the soft clouds of a marbled sky. Paper marbling, or Ebru, is one of the oldest arts in Turkey. In addition to being employed in book binding and decoration, it was often used as a background for calligraphy and is considered high art. Ever since its fifteenth-century beginnings, artists in Turkey (and around the world) have experimented with marbling in order to create increasingly complex designs, which are works of art in their own right. Measuring 28 by 20 inches. One corner slightly bumped,… Read More

(London): Golden Cockerel Press, 1943. Hughes-Stanton, Blair. Quarto. 23pp. One of 247 copies. Illustrated with sixteen wood engravings by Blair Hughes-Stanton. This was the one hundredth book of the Press, and the press work is judged to be "almost perfect" in Chanticleer. Printed in Eric Gill's gorgeous Golden Cockerel type with beautifully printed engravings by Hughes-Stanton, this is a stunning book. In publisher's vellum-backed orange cloth which shows some edgewear and rubbing to corners. Overall a nearly fine copy of a rare wartime Golden Cockerel production. T.e.g.

NY: Adama Books, 1983. Gorey, Edward. (61)pp. First reprint of Gorey's first miniature book. Signed by Gorey. The text is an alphabet of short humorous couplets patterned after early moral primers for children, as in "Find tasks to do While in a Queue." Each couplet is accompanied by an illustration, which was full-page in the miniature first edition but here remains, in fact, miniature. Very fine in glazed paper-covered boards.

(n.d.). Gaskin, Arthur. A woodcut print on India paper of a kneeling figure overlooking a view of hills. Spot of foxing, else fine. (Image measures 5 7/8 by 5 13/16 in.; 150x148 mm).

(London: Francis Kyle Gallery, 1979. (Gorey, Edward). Exhibition poster, signed by Edward Gorey. An advertisement for Gorey's first foray into the British art gallery scene, taking place at Francis Kyle Gallery in London from February 20 to March 23, 1979. Adorning the poster are two of Gorey's signature bearded men in fur coats, and a small dog. At the center is an image from Gorey's The Other Statue, showing a man in white and a woman in black with statuesque hair dancing among drapes. The lowermost block of text announces that the exhibition will coincide with the publication of The Broken Spoke and The Fantod Works. Minor creasing and faint soiling to edges, else near fine. (19 7/8 by 15 7/8 in.; 505x403 mm).

Corte Madera, CA: Pomegranate Art Books, 1983. Gorey, Edward. Octavo. (56)pp. Signed by the Edward Gorey. Illustrated throughout in color and black and white. Near fine in spiral-bound pictorial wrappers.

(Leeds, MA): Gehenna Press, 1989. Bartolini, Anna Maria. Quarto. (13)pp, (25)ff. One of thirty-eight copies. A collection of etchings of cats by the Italian artist Anna Maria Bartolini, some of which are printed on pink mulberry paper and tipped in. All are signed by the artist in graphite. Some of the cats are anthropomorphized, and others abstracted into bold lines. Bartolini's cats are expressive, with individual personalities and characteristics: one, with long eyelashes, gazes wide-eyed at a winged insect, while another narrows its eyes hungrily at a fish dangling from a hook. The etchings were printed in Florence, Italy. In the Introduction, the Florentine poet and novelist Mario Graziano Parri explores the roles and symbolism of cats throughout history. He writes of Bartolini, "The Author of the engravings which are the reason for this book does not love cats. She is attracted rather by their mystery." Although not called for, this copy has been inscribed on the colophon by Leonard Baskin to a… Read More

(Istanbul): Ebristan Yayinlari, 2003. Barutçugil, Hikmet. Original marbled paper by the premier marbling artist in Turkey, Hikmet Barutçugil. Signed and dated by the artist. Ebru, or marbling, is one of the oldest arts in Turkey. In addition to being used in book binding and design, it was often used as a background for calligraphy. In this way, marbling was elevated to a high art. Ever since its fifteenth-century beginnings, artists in Turkey (and around the world) have experimented with marbling in order to create increasingly complex designs, which are works of art in their own right. Barutcugil has developed his own technique for creating flowers within his marbled patterns, inspired by his wife, Füsun Hanim. In this lovely example, four tulips in lavender and violet bloom against a marbled background in shades of green, pink, blue, and violet. The marbling transitions from delicate washes of green to bolder, defined lines which evoke mountains and sky. Barutcgil's limitless creativity and… Read More

(Istanbul: Ebristan, 2003. Barutçugil, Hikmet. Original marbled paper by the premier marbling artist in Turkey, Hikmet Barutçugil. Signed by the artist. Barutçugil has developed his own technique for creating flowers within his marbled patterns, inspired by his wife, Füsun Hanim. In this delicate example, two carnations grow from the same root, branching off and blossoming in red and yellow. The flower is set against a speckled marbled background of pale blue, violet, and green. Barutcugil's unusual speckling technique gives the effect of pointillistic clouds. Ebru, or marbling, is one of the oldest arts in Turkey. In addition to being used in book binding and design, it was often used as a background for calligraphy and is considered high art. Ever since its fifteenth-century beginnings, artists in Turkey (and around the world) have experimented with marbling in order to create increasingly complex designs, which are works of art in their own right. The paper, measuring 14 1/2 by 10 3/8 inches,… Read More

Edo: Tsutaya Jusaburo, 1823. Utamaro, Kitagawa. (19), (15)pp. Likely third edition. Masterfully illustrated with fifteen prints by Kitagawa Utamaro, softly colored and finely detailed, showing insects and reptiles tucked among lush plants. Each spread is accompanied by a pair of flowing 31-syllable kyoka poems, humorously relating the sentiments of love to insects. In the preface, the compiler, Yadoya no Meshimori, relates the "origin" of the poems: he and his companions had gone down to the River Sumida one night to listen to the insects, and had engaged in a poetry-writing competition. However, Asano and Clark posit, "It is more likely that the whole project was proposed and carried out from start to finish by the publisher Tsutaya Jusaburo, himself taking the central role." A publisher's note in the back solicits kyoka submissions for three future volumes on the themes of birds, fish, and animals. (Momochidori Kyoka is on birds, and Shiohi no Tsuto is on seashells rather than fish; the volume on… Read More

Cambridge, MA: Runcible Books, 1977. Parry, Marian. 48mo. Ten cards. One of forty copies, signed by Parry on the colophon card. Eight of the cards feature fanciful drawings of signature Bostonians, reproduced by Xerox and hand-colored by the artist. All held in a Cockerell-covered portfolio. Fine.

Northampton, MA: Pennyroyal Press, 1980. Moser, Barry. Octavo. (14)ff. One of twenty-six lettered copies, printed by Harold McGrath at Pennyroyal Press and signed by Moser. Text is ornamented with the reproduced brush calligraphy of Betse Curtis, who was with the Press from about 1977 to 1981 as an apprentice, helping to produce some of Pennyroyal's most memorable titles. Each wood engraving is signed by the artist, the engravings being printed on handmade Japanese paper. The intention of this book, according to Moser, is to "celebrate life and the vicissitudes of its pleasures." Corners bumped else fine in blue cloth.

Santa Cruz: Suzanne Thomas, 1998. Thomas, Suzanne. (11)pp. One of 75 copies, handmade by Suzanne Thomas, the daughter of book artists Peter and Donna Thomas. Line drawings accompany Thomas' musings about the pros and cons of the end of the eighth-grade schoolday. Fashioned in the style of a composition book, complete with ruled paper and mottled black-and-white paper over covers, backed in black leather. Some rubbing to corners, else near fine. (2 5/16 by 1 9/16; 59x40mm).

Philadelphia: Conrad Zentler, 1811. (vi), 106pp. Engraved frontispiece, plus nine further engravings, each depicting biblical scenes, such as the ascension of Elijah and the birth of Christ. A famous Thumb Bible; according to Bradbury, the first foreign religious miniature book printed in America. Originally bound in red leather, this copy has been rebound in mid nineteenth-century black leather and lacks two free endpapers, as is common in such rebindings. Scattered light foxing throughout, some edgewear, else near fine. Housed in custom octavo clamshell box. (Welch 859, Adomeit A18, Bradbury, p. 55). (2 3/16 x 1 5/8; 56x41mm).

(Vancouver): Heavenly Monkey, 2008. Minegishi, Shinsuke. 20ff.,+ 4 tipped-in paper samples. Second edition. One of 50 copies. Printed to mark the tenth anniversary of its original publication, El Autobus Azul was the first book printed by Rollin Milroy, and this new edition adds a Foreword by him. Four samples of papers collected by Milroy on a trip to Costa Rica are tipped in, representing pieces left over after the production of the very limited first edition. Milroy also added a linocut frontispiece he had created for the first edition but never used, along with a wood-engraved press device he commissioned from Shinsuke Minegishi when he was publishing under the imprint "A Lone Press." A fine copy bound in paper-covered boards with a paper spine label. (2 7/8 by 2 1/4; 72x58mm).

(Istanbul: Ebristan, 2008. Barutçugil, Hikmet. Marbled paper measuring 23 3/4 by 32 inches, with elegant marbled calligraphy in Arabic. The script translates to say "One who conducts business in a Halal fashion is the beloved servant of Allah." This superb example of Ebru, the ancient Turkish art of paper marbling, has a bold simplicity. Ebru was traditionally used as a background for calligraphy and is considered high art. This paper was marbled twice using a stencil technique and resists. The result is that the calligraphy and the background have different colors and patterns: the background of this piece is decorated with bubbles of pink, peach, and white, while the contrasting calligraphy is swirled with black and gray. The calligrapher who created the design was A. Hulusi Efendi (1869-1940), who belonged to a long line of Turkish marbling artists and calligraphers. Signed Hikmet Heida, which means "wisdom of god." Top right corner is slightly bumped, else a very fine example of Ebru art.