Fine Press Books

Sonoma, California:: Eastside Editions,, 2004.. Edition of 20. 22 x 17"; 28 pages. Letterpress printed. Twelve multiple-plate color etchings with linocut borders. 11 text pages with decorative linocut border. Printed on handmade Abaca paper. Bound in cloth covered boards. Slipcased. Edition of 20: 10 portfolio sets; 10 book sets. Colophon: "Cyrano De Bergerac was the true life inspiration for the romantic figure of Edmond de Rostand's 19th century plan and one of the more curious thinkers in early modern Europe. He was a satirist, swordsmen, poet, and philosopher who indeed had a prodigious appendage. The book, excerpts of which are translated here under the title Journeys to the Moon and Sun, consist in equal parts of sci fi, philosophical speculation, metaphysical drama, theological humor, and freak show satire. The scales of the world are turned upside down and found to be wanting. "  David Berona, Image & Narrative, "Art Hazelwood: A Graphic Witness of… Read More

Easthampton, MA: Cheloniidae Press, 1982. Hardcover. Fine. Hardcover. UNIQUE COPY WITH A SET OF THE 26 ORIGINAL PENCIL DRAWINGS BY ALAN JAMES ROBINSON. There were 300 copies of this book published; 200 were regular copies, 50 were deluxe copies with quarter leather binding and 50 others bound in full leather. The deluxe editions were issued with a set of proofs of the wood engravings and a set of proofs of the line-cut initials, with a large calligraphic manuscript initial beneath each image. The wood engraving proofs are lettered and signed by Robinson, and the line-cut proofs are signed both by Robinson and the calligrapher, Elizabeth Curtis. This copy shows some variation from the copies described in the prospectus. The colophon has been signed and numbered VI of L and internally seems to be a straightforward copy of the deluxe full leather edition. The binding varies somewhat from that pictured in the prospectus but uses many of the same elements. Also, the chemise is thicker that the regular… Read More

Paris: Meynial, 1925. First Edition. George Barbier. A complete and excellent set of the five annual issues illustrated with a total of sixty beautiful pochoir plates, complete with decorated pochoir title pages. 'Falbalas and Franfreluches' (Frippery and Finery: Fashion Diaries) represents a literary and artistic collaboration of unusual elegance and sophistication. French illustrator, George Barbier (1882 - 1932) spared no effort in the making of this beautiful collection, using the finest pigments and up to thirty stencils per print to create images of the highest quality reflecting fashionable themes of the day. The plates portray romance amidst exotic lands and ages past, including a native American idyll on the Missouri, a languid mistress cocooned in a hammock in the tropical Antilles, high baroque debauchery, and, of course, a myriad of lovers depicted in Paris at the height of the chic 1920s. Each annual includes twelve pages of fine writing by Barbier's contemporaries in the Parisian scene… Read More

New York: The Lakeside Press, 1930. First Edition Thus. Near Fine/Very Good. First edition thus, limited to 1,000 copies. Three volumes in publisher's acetate jackets, in aluminum slipcase. Presentation copy signed by Rockwell Kent on the front free end paper of Volume I, "Inscribed with affectionate friendship to Putzie - Rockwell Kent, 1950." Volumes II and III bear Rockwell Kent-illustrated bookplates of Marie Luise Hinrichs. Near Fine. Narrow strips of sunning to spine cloth at ends, light rubbing to cloth at extremities and light abrasions to black topstains. Pages toned and with offsetting from illustrations. Acetate wrappers are wrinkled and shrunken with age, as is typical, and show a bit of chipping and edge wear, with some separation starting between the acetate and a paper flap on both volumes II and III; acetate on volume II with light staining. Aluminum slipcase is lightly worn, bumped at top and bottom edge. A stunning presentation copy, inscribed by Kent, and with bookplates designed… Read More

Loujon Press, 1964. Unknown. Very Good/No Jacket. 8vo - over 7¾" - 9¾" A superb collection of Loujon Press correspondence between Jon and Gypsy Lou (Louise) Webb, and Outsider contributor Marcus Jack Grapes. See extensive discussion of the Grapes / Webb relationship in Weddle: BOHEMIAN NEW ORLEANS: THE STORY OF THE OUTSIDER AND LOUJON PRESS. Spanning the years 1964 to 1970, this choice collection of 34 letters (many multi-page), 5 postcards, and 6 related items (some letters with additional material, inscribed ephemera, etc.), spans the greatest years of Loujon Press, and sees the press migrate from New Orleans to New Mexico, Tucson, and Nashville. Jack Grapes (b. 1940), was a Tulane undergraduate and aspiring poet. In addition to being an OUTSIDER author, poet, editor, and publisher, he was also one of the Webb's closest friends (one of only two people besides Charles Bukowski being allowed at the Webb's home during the production of CRUCIFIX IN A DEATHHAND) and a Loujon supporter. Grapes, who… Read More

ILLUSTRATED WITH 66 POCHOIR WOODCUTSThe Fables of Aesop. Printed from the Veronese Edition of MCCCCLXXIX in Latin Verses and Italian Version by Accio Zucco, with the Woodcuts Newly Engraved and Coloured After a Copy in The British Museum. (With) The First Three Books of Caxton's Aesop containing the Fables Illustrated in the Verona Aesopus of MCCCCLXXIX.Epilogue by Giovanni Mardersteig. Illustrated with 66 full-page woodcuts by Anna Bramanti. Woodcuts are pochoir colored by Daniel Jacomet to recreate the illuminated miniature effect of the British Library copy of the Veronese Aesop of 1479 (upon which the present edition is based). The fleurons, first adopted in 1479, were engraved by Charles Malin. 8vo. Publisher's ¼-green morocco; decorated boards; top edges gilt; acetate dust wrappers; enclosed in morocco-tipped slipcase.Officina Bodoni, Verona, 1973. Limited to 160 numbered copies set in Centaur types, printed on Magnani mould made paper with goose watermark. 2 volumes. Volume I contains the… Read More

Quarto., Hammersmith., 1897. lrg.4to. 91pp. 11 3/8 x 81/4. One of only two Kelmscott Press titles (the other Laudes Beate Mariae Virginis, 1896) printed in blue, as well as red and black ink. Beautiful opening spread borders and two illustrations by Sir Edward Burne-Jones along with ornamental initials and borders throughout. Limited to 300 copies. (Sparling 52 ,p.171, Peterson A52, Tomlinson 52). Troy type, with stage directions in Chaucer type. Fine in limp full vellum with some original ties, four missing. Morris profoundly influenced the typographical revival of the late 19th century by showing that printing was an art and its details worth infinite trouble. "The Kelmscott Press...was far and away the most splendid of all private presses." Colin Franklin. A Beautiful copy bound in vellum.Housed in a contemporary clam shell case.

Moser's Alice joins the ranks of the earlier spectacular Alices: Tenniel, Rackham, Dali: not only do the 75 images dance and sprawl across the pages, but they reflect new visions of the text. These images range from marginalia to images merged into the text, to full page and on to two page spreads. The text is printed in black, with highlighted words in red or blue. Moser's signature is in purple, as is the limitation number, 157 of 350. The book is half bound in purple morocco with boards covered in a coordinating hand marbled paper, from the workshop of Gray Parrot. The type was cast and composed by Michael and Winifred Bixler. Further hand composition was done by Arthur Larson. Text and blocks were printed by Harold McGrath on Puligeum, a paper specially made for Pennyroyal by the Strathmore Paper Company. The clamshell case is quarter bound in morocco with cloth covered sides. The extra set of 75 prints, each signed by Moser, is enclosed in a matching cloth covered portfolio. A cover letter to… Read More

Due tomi in-folio; cc. (7), pp. IV, c. (1), pp. LXXXI, 211; c. (1); pp. 366, c. (1). Cartonatura editoriale originale. Qualche abile restauro ai dorsi delle legature, leggermente allentate, tuttavia splendida copia a pieni margini. A splendid copy with uncut margins, preserved in its original editorial orange boards.Iniziata da Bodoni e portata a termine dalla vedova del celebre stampatore, Margherita Paola Dall'Aglio (Parma, 1758 – Parma, 1841), quest'edizione reca nelle pagine precedenti il frontespizio: "Imprimé par ordre de Sa Majesté Joachim Napoleon Roi des Deux Siciles pour l'instruction de son Fils Ainé S.A.R. le Prince Achille Napoleon". Brunet, III, 754: "Édition magnifique"; Brooks, 1149: "E' una delle più belle edizioni bodoniane"; De Lama, II, p. 213.

Geneva: Edwin Engelberts, 1963. Book. Fine. Hardcover. Signed by Illustrator(s). Loose sheets in printed French wrapper in red cloth clamshell box with title label on spine. The inside of the box is covered with velvet paper. Published in Geneva by Edwin Engelberts and printed in Paris by Mourlot, Illustrated with 27 original lithographs by Georges Braque (+ 2 small b/w vignettes). 13 full page color lithographs of which 1 double page (with 2 lines of text). 1 full page black & white lithograph and 13 in text lithographs of which 9 in color. The stones were erased after the printing of the lithographs. Number 130 of a limited edition of 230 copies, printed on Rives. Hand signed in pencil by Georges Braque and Rene Char. A truly fine, collectible publication. Striking lithographs with strong impressions and vivid colors. 55, vii pp. Sheets measure 31,8 x 25,2 cm. .

Paris: Textes Pretextes, 1953. Book. Fine. Hardcover. Signed by Author(s). 1st Edition. Magnificent binding and matching clamshell box by French master binder Florent Rousseau.The book is bound in full black calf with patterned color (paper?) inlays. Spine lettered in various colors. The binders name printed on a matching inlay on the front paste down. Clamshell box in half-calf with corner inlays and 3 title labels on spine. Covered with velvet on the inside. With an original pencil drawing on transparent paper by Raoul Dufy bound in (32,5 x 24,5 cm.). Signed by Raoul Dufy with his initials RD in ink. Authentication stamp of Andre Robert on verso: 'Authentifie Raoul Dufy par Andre Robert'. The drawing is reproduced as a lithograph on page 73. Limited edition of 277 copies. This is number 73 of 250 copies printed by on Arches. Illustrated with full page, double page and in-text color and black & white lithographs by Raoul Dufy. 124 pp., 33 x 28 cm. (book), 35 x 23,5 cm. (box). The original… Read More

Paris, Societé des Amis des Livres 1912. (and) Maquette of the book with the original drawings by Henri Paillard. Two volumes. 144, (6) pages with 35 etched vignettes with views of Venice in the text, richly adorned with woodcut initials and borders by and after Henri Paillard and an extra-suite of the etchings on 35 plates.; (2), pages (7)-142 with the full complement of the original pen sketches of the views and designs for borders and initials by Henri Paillard, 35 etched proof plates, heavily reworked with pen heightening, of which 4 pasted onto mounts, and 5 plates with the original pen- and ink and watercolour designs for borders and initials. Uniformly bound set in somewhat later French brown morocco bindings signed Canape et Corriez, on five raised bands, second compartments with gilt stamped title, foot of spine of the published volume with gilt stamped date, maquette volume with gilt stamp "Maquette d'Artist", covers framed by triple blind rules. Red morocco doublures, with a geometrical… Read More

Paris: XXe Siecle, 1975. Book. Fine. Hardcover. 1st Edition. Published as a tribute to Gualtieri di San Lazzaro, the founder of the magazine XXe Siecle. Loose sheets as issued. In original wrappers and cloth clamshell box with the portrait of San Lazzaro mounted on the inside. With 15 lithographs by Max Bill, Alexander Calder, Marc Chagall, Max Ernst, Hans Hartung, Joan Miro, Henry Moore, Graham Sutherland, Georges Braque, Lucio Fontana, Rene Magritte, Pablo Picasso, Serge Poliakoff and Alberto Magnelli. All but one (Chagall) printed in color. Text by Gualtieri di San Lazzaro, Pierre Volboudt, Nina Kandinsky, Marc Chagall, Andre Verdet, Marino Marini and others. This is number 310 of a limited edition of 575 copies, all printed on Velin d'Arches by Fernand Mourlot, l'Imprimerie Arte, Pierre Chave, Les Ateliers Bellini and Curwen Studio London. 141,vii pp. 38 x 28,8 x 5,5 cm. Except from the inevitable offsetting from the lithographs to the facing text pages, this is a very fine, almost mint copy in… Read More

Paris: Editions Argillet, 1968. Book. Fine. Hardcover. Signed by Illustrator(s). Loose sheets in wrapper, chemise and clamshell box. Clamshell box with gilt embossed illustration on front cover and gilt titles on spine. Chemise with gilt signature of Dali on front cover. Wrapper repeating the illustration on the box in blindstamp. With 18 original engravings in black and white by Salvador Dali of which 10 full page and 8 smaller etchings (7 out of tekst and 1 in text). The 10 full page engravings with the blindstamped signature of Dali in the margin. All etchings protected by tissue guards. Hand signed in pencil by Dali on the limitation page also containing the publisher's stamp and Dali's blindstamped signature. Limited edition of 299 copies printed by the Presses du Palais Royal. This is number 136 of 165 copies printed on Arches blanc. Sheets measure 38,3 x 28,5 cm. Box 40,5 x 30,5 cm. Very fine, collectible copy..

Hammersmith: Printed by William Morris at the Kelmscott Press, circa 1893.. KELMSCOTT BIFOLIUM circa 1893 (i.e. pair of conjugate leaves). Proof sheet of the opening page from the KELMSCOTT CHAUCER. This proof page was typeset in 1893 in a very small number and distributed to William Morris's friends. It contains a variant type setting of the text, eventually rejected by Morris. Bifolium pages approximately 415 x 285 mm, 16¼ x 11¼ inches, [1]-2 and [15]-[16] comprising 2 illustrated pages and 2 text pages, printed in Chaucer type with side-notes in red, 2 wood-engraved illustrations designed by Edward Burne-Jones, wood-engraved borders and one very large initial plus 5 large and 7 smaller initials by William Morris, folio Proof of one of the most famous pages in printing history, with variations in the typesetting from the final version. A shallow crease due to folding the sheets to house in a another Kelmscott book, a little pale foxing, mostly to margins, edges slightly dusty, otherwise very good… Read More