Fifty Years of Fine Printing
1975-2025
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A note on OCLC
As is now the norm, OCLC counts are tentative, at best, as we recognize that searches using different qualifiers will often turn up different results. Searches are now further complicated by the vast numbers of digital, microfilm, and even print-on-demand copies, which have polluted the database considerably, making it difficult, without numerous phone calls or emails, to determine the actual number of tangible copies. Hence, even though the counts herein have been recently checked, most all should be taken as a measure of approximation.
1. [Abattoir Editions.] The poems ... translated by Charles Martin. Abattoir Editions / University of Nebraska, 1979.
$275
Edition limited to 250 copies (this, no. 12); 8vo, pp. 102, [2]; fine copy in original parchment-backed paste-paper boards, calligraphic titling on spine. From the library of Kim Merker.
A binding different from others we've encountered on this book.
2. [Abattoir Editions.] The ceremony and other stories ... selected and with an editorial introduction by Dana Gioia. Abattoir Editions, University of Nebraska, 1983.
$250
First edition limited to 290 copies (this, no. 131 and one of 198 copies printed on Rising book paper), 8vo, pp. 79, [1]; frontispiece; original cream-colored linen, printed paper label on spine; fine. Printed by Harry Duncan, Roger C. Nielson, and Alison Wilson. From the library of Allan Kornblum, poet, fine press printer, and publisher who founded Coffee House Press.
This copy with a presentation from Gioia on the colophon: "For Allan Kornblum - printer & publisher - Dana Gioia - Minneapolis 2004."
Gillane & Niemi A.I.8.
3. [Agner, Dwight.] Billy Ray's farm ... Engravings by Barry Moser. Wisteria Press, 1997.
$350
First edition, limited to 297 copies signed by Brown and Moser, this copy out-of-series but marked on the colophon in a nice calligraphic hand: "Dwight Agner's copy," and one of the special lettered edition, approx. 8.75" x 6.5", pp. [8], 40, [4]; frontispiece and full-page text illustration by Barry Moser; full original calf, gilt title direct on spine; one inch scrape to the upper cover, else fine.
Designed by Dwight Agner (The Press of the Nightowl) and printed by Michael and Winifred Bixler.
4. A type miscellany. Twentieth anniversary broadside portfolio. American Printing History Association, 1994.
$500
Edition limited to 200 copies, folio, consisting of a bifoliate title with introduction, a list of the 28 contributors, and 28 broadsides, all contained in a natural linen folding box with a red morocco label on the upper cover; fine. From the library of Kim Merker.
Introduction by editor Michael Peich, designed by Jerry Kelly, title page, introduction and contributor list printed at the Stinehour Press. Selections from the work of Dwight Agner, Harold Berliner, Barbara Henry, Allan Kornblum, Henry Morris, Michael Peich, Gaylord Schanilec, Neil Shaver, Roderick Steinhour, W. Thomas Taylor, and many others.
5. [Ampersand Club.] On book collecting. By Arne Kjelsberg. [Edited by Rob Rulon-Miller.]. [Minneapolis]: Ampersand Club, 2005.
$350
First edition limited to 626 copies, this one of 26 lettered copies (this, the letter 'Z') signed by Gaylord Schanilec and printed by him on the occasion of the 75th anniversary of the Ampersand Club; 8vo, pp. [2], 43, [8]; wood-engraved frontispiece portrait of the author by Schanilec, color photograph of Elmer Andersen tipped in at p. 36, Andersen's bookplate designed by Schanilec laid in at the colophon, title page printed in blue and black; original maroon calf-backed gold paper-covered boards, title in gilt on spine, brown cloth slipcase; fine.
Elmer Andersen, long-time Ampersand member, Grolier Club member, governor of Minnesota, CEO of H. B. Fuller, and newspaper publisher, contributed a regular column to one of his newspapers on book collecting under the pseudonym of Arne Kjelsberg, a selection of which is printed here, with an Afterword by Rob Rulon-Miller.
Quarter to Midnight A.240.a.
6. [Angelo, Valenti.] Valenti Angelo author illustrator printer. San Francisco: Book Club of California, 1976.
$300
Edition limited to 400 copies printed by Andrew Hoyem, and signed by Valenti Angelo on the colophon; folio, pp. 97, [2]; fine copy in original red cloth-backed orange paper-covered boards, printed paper label on spine; plain white paper jacket soiled and slightly chipped.
Illustrated throughout with 43 facsimiles of Angelo's work, mostly in color and mostly full-page. Includes texts by Robert Grabhorn, Sherwood Anderson, Annis Duff, Valenti Angelo himself, as well as a bibliographical checklist of Angelo's work by Anne Englund. Design of title page and decorations throughout by Angelo who has also added colors and gold by hand.
7. [Aralia Press.] An Aralia commonplace. Aralia Press, 1982.
$425
Edition limited to 50 copies designed and printed by Michael Peich, "eleven copies have been reserved." 8vo, pp. [12]; printed in various types in red and black; fine copy in original printed blue wrappers. From the library of Kim Merker.
This is the first Aralia imprint under Michael Peich's ownership of the press.
This copy one of those which were reserved: "This copy is for Kim Merker" in type on the colophon. Also with an inscription from Peich to Merker in pencil: "With admiration and in friendship. Mike 12.iv.83."
8. Intimate Immensity. Form and Content Gallery, 2007.
$750
Large portfolio (approx. 15¼" x 11¼") containing 14 original artworks, chiefly in color, by Robyn S Awend; Howard Oransky; Christine Baeumler; Jil Evans; Jim Dryden; Camille J Gage; Leah Golberstein; Fred Hagstrom; Joyce Lyon; Lynda Monick-Isenberg; Faye Passow; David Rich; John Saurer; Jeff Wetzig; and Jody Williams.
Form + Content Gallery is a cooperative artists' gallery in downtown Minneapolis. Intimate Immensity was an exhibition featuring a limited edition of new prints by gallery artists and invited guests, inspired by Gaston Bachelard's The Poetics of Space. This a is the first publication by the gallery.
9. Covid: book of days. Mnemonic Press, 2022.
$1,600
Edition limited to 25 signed and numbered copies, 7½" x 5", consisting of a title leaf, a 12-page gathering ("Prologue"), and six bifolia containing a total of 26 collages and mixed media created by Bart during the incipient days of the pandemic. Conceived and directed by Harriet Bart; produced by Paul Nylander at Four Tree Press; giclee and letterpress print on paper; boxed deigned by Jody Williams and executed by Campbell-Logan Bindery; folio titles excerpted from Emily Dickinson. Covid: Book of Days is based on mixed-media drawings and collages created in response to the events of March through May, 2020. On March 13, Governor of Minnesota, Tim Walz, closed the State in response to the deadly spread of Covid-19. Bart went to her studio that day, collected a small box of art materials, a stack of precut paper and went home. There she created a workspace 18 x 18”, the size of Emily Dickinson’s desk. From March 13 thru May, she created more than 50 mixed media drawings and collages, some of which comprise Covid: Book of Days.
From the artist's website: "Harriet Bart creates evocative content through the narrative power of objects, the theater of installation, and the intimacy of artists books. She has a deep and abiding interest in the personal and cultural expression of memory; it is at the core of her work. Using bronze and stone, wood and paper, books and words, everyday and found objects, Bart’s work signifies a site, marks an event, and draws attention to imprints of the past as they live in the present.
"Bart’s work has been exhibited extensively throughout the United States and Germany, and she has completed more than a dozen public art commissions in the United States, Japan, and Israel. She has been the recipient of fellowships from the Bush Foundation, McKnight Foundation, MacDowell Colony, Virginia Center for Creative Arts, NEA Arts Midwest, and the Minnesota State Arts Board. Since 2000, Bart has published numerous fine-press books and mixed media bookworks. She has won three Minnesota Book Awards, most recently in 2015 for Ghost Maps. Her work is included in many museum, university, and private collections. In 2020, the Weisman Art Museum in Minneapolis presented "Harriet Bart: Abracadabra and Other Forms of Protection." Curated by Laura Wertheim Joseph, Abracadabra… will be the first retrospective and monograph of her work. Bart is a guest lecturer, curator, and founding member W.A.R.M. and the Traffic Zone Center for Visual Art in Minneapolis, MN.
10. [Baskin, Leonard.] The death of a salesman. Certain private conversations in two acts and a requiem. Limited Editions Club, [1984].
$2,500
Edition limited to 1500 copies signed by Miller and the illustrator, Leonard Baskin (this, no. 727); 4to, pp. [8], 164, [4]; 5 etchings by Baskin; bound in full maroon niger, gilt-lettered spine, publisher's slipcase. Fine. Contains a new Preface by Arthur Miller.
Accompanied by: Death of a Salesman: Five Etchings by Leonard Baskin [box title], folding maroon niger portfolio containing 5 separate artist proofs (each on watermarked paper and measuring approx. 12" x 9") duplicating those in the published edition, each marked in pencil by Baskin, "Artist's Proof" and signed "Baskin."
LEC Bibliography 540 making no mention of an additional suite; nor can I find any mention of it elsewhere; Lisa Baskin notes that it was likely made up by the original owner, so almost certainly it's unique.
11. [Bieler Press.] Black-letter: an interpretation of events relating to the time and presence of Johann Gutenberg. Bieler Press, 2000.
$2,000
Edition limited to 146 copies, this one of 26 lettered copies (copy 'I') signed by the author and the printer, Gerald Lange; small folio, pp. 41, [5]; text printed in double column; original green Japanese cloth-backed blue-gray linen-covered boards, the upper cover die-cut to reveal a recessed collotype, 'Mirror and Mould', made from the glass plate, which itself is inset into a frame and mounted inside the publisher's black cloth clamshell box.
"An interpretation of events relating to the time and presence of Johann Gutenberg...a speculative examination based on the extant Gutenberg research and historical studies of the time period [and] fashioned as a pre-World War I bibliographic ghost" (prospectus).
12. [Bieler Press.] Everything that has been shall be again: the reincarnation fables of John Gilgun. With nine wood engravings by Michael McCurdy. Bieler Press, 1981.
$250
Edition limited to 150 copies on Tovil paper, signed by Gilgun and McCurdy (this, no. 108); 12mo, pp. 67, [2]; wood engravings printed in brown; original brown cloth-backed beige cloth boards by Scott Husby, paper label on spine, slipcase with illustrated paper label; fine.
The fables were printed on dampened Tovil paper from Barcham Green using Bembo and Poliphilus type.
Smith, Bieler, 16.
13. [Bieler Press.] Journal of a tour. Printed in memory of my daughter Dorothea Marie Beckwith. designed and printed by Gerald Lange at The Bieler Press], 1982.
$375
Edition limited to an unspecified number of copies, small 8vo, pp. [4], 71, [1]; 14 tipped-in photographic plates; original gray printed wrappers; fine. A work done by Gerald Lange for hire, and among the rarest of books done by him; and while muted, a lovely book. Says Gerald Lange: "The father only wanted the one copy. If you and Greg have a copy and I have found four here (just now, surprised!) that makes seven, maybe a couple more were sold to other clients. I’m sure there weren’t much more than that."
Smith, Bieler; 31 (noting that the edition was 50); Delawaare only in OCLC.
14. [Bieler Press.] Wild parrots and the King of La Brea. Bieler Press, 1998.
$650
Edition limited to 135 copies, small 4to (approx. 10" x 7½"), 29 leaves of green Usuzumi paper that has been hand-stained using an alcohol-based staining technique and printed on rectos only; bound in Honduras mahogany boards using Ethiopian Coptic-style stitches; only 65 copies in the edition were so bound, the rest remain in sheets.
The book was conceived, designed, and printed by Gerald Lange and illustrated by artist Robert Dansby (Jiggs). The three dozen sketch drawings reflect the thoughts and memories of the narrator. Fine.
15. [Bieler Press.] The neolithic adventures of Taffi-mai Metallu-mai. How the first letter was written and how the alphabet was made. Just So Stories by Rudyard Kipling. Bieler Press, 1997.
$650
Edition limited to 150 copies (this, no. 42), oblong 4to, pp. [65] frenchfold, with inserted slips, as issued, which show through in silhouette; designed and printed letterpress by Gerald Lange, with assistance from Robin Price; wrappers with pictorial pastedown on upper cover, the binding executed by Allwyn O'Mara. Unusual production handsomely presented. Gerald Lange notes that only 79 copies were ever bound.
16. The world of sex: a sampler. Roger Jackson, 1995.
$450
Edition limited to 26 copies of which this is copy "Q," signed by the artist, 8vo, 9 individual unbound sheets on goldenrod cardstock printed in red; laid into a handcrafted envelope made in Nepal from the bark of the Daphne cannabina tree; erotic charcoal illustrations by Camille Binet; printed cover label detached but present, else fine.
Contents also include a previously unpublished preface by Lawrence Durrell to Miller's The World of Sex. Small laid in broadside titled "News Flash!" by the publisher, in which he recounts his disgruntled printer's vow "never to print anything like this again".
17. [Bird & Bull Press.] Complete wood engravings for the foresters: large-paper proofs suitable for framing. Bird & Bull Press, 2000.
$275
Edition limited to 150 copies, 13 leaves plus engraved title sheet; fine, encased in a plain gray paper folder. Morris had originally intended for Gaylord Schanilec to provide the engravings for The foresters, but he ended up so pleased with Bates' work that he obtained permission to print and offer them as an independent set.
Fourty-Four C37.
18. [Bird & Bull Press.] Chinese decorated papers. Chinoiserie for three: Hans Schmoller, Tanya Schmoller, Henry Morris. Bird & Bull Press, 1987.
$325
Edition limited to 325 copies, oblong 8vo, pp. 77, [2] plus 24 mounted (and very colorful) paper samples at the back; fine copy in original maroon morocco-backed pictorial blue paper-covered boards stamped in gilt, blue morocco label on spine; fine.
Thirty, A44.
19. [Bird & Bull Press.] Vignettes. An eclectic assemblage of anecdotes about papermaking, the private press, printing and its history, book collecting, Numismata Typographica and much more. Volume II. Bird & Bull Press, 1999.
$300
Edition limited to 150 copies, the bookbinder Greg Campbell's copy, Campbell-Logan Bindery and out-of-series; folio, pp. 72, [6]; title page printed in ochre and black, the text in red, blue, ochre and black; numerous tip-ins, facsimiles, and illustrations throughout, some in color; in a recessed well of the clamshell box which houses the volume is a pair of clay impressions with human figures and cuneiform inscriptions taken from ancient Babylonian cylinder seals; original full brown cloth, morocco label on spine, brown cloth clamshell, also with a morocco label. Original prospectus laid in.
Forty-Four A62.
20. [Bird & Bull Press.] Trip to Paris in July & August 1792. Bird & Bull Press, [2012].
$375
Edition limited to 120 copies, this the bookbinder Greg Campbell's copy, Campbell-Logan Bindery and out-of-series, 8vo, pp. 82, [4]; 4 wood engravings by Wesley Bates, 2 tipped-in illustrations, 2 facsimiles, red and blue chevron printed on the title page and in the corners of a number of pages; original quarter red morocco over blue cloth boards, gilt title direct on spine, generally fine.
Richard Twiss was an English travel writer who drummed up sales by writing unflattering and derogatory descriptions of the place and people he visited. He was so successful at rising the ire of the Irish that for a time chamber pots with his face printed on the bottom became popular there, and an image of one is included in this volume.
21. [Bird & Bull Press.] On improvements in marbling the edges of books and paper: a nineteenth century marbling account. Bird & Bull Press, 1983.
$250
Edition limited to 350 copies (this no. 128), oblong 12mo, pp. 64, [30]; 14 samples of marbled paper tipped in, original blue morocco-backed marbled paper-covered boards by Gray Parrot, gilt title direct on spine; fine. Original 8-page dos-a-dos prospectus laid in.
The text for this book was originally published in the Journal of the Franklin Institute, April 1829, translated from the French. The introduction and the marble paper for the covers are by Richard Wolfe.
Thirty A37.
22. January 8, 1994. Today I found a poster for the Southern Cross Bicycle Classic... [first line]. Minnesota College of Art & Design, 1997.
$250
Edition size not stated, square 4to (approx. 9½" x 10"), 30 leaves, without a title page, as issued; 38 illustrations from photographs; original brown hand-made paper over boards, unadorned; fine copy.
Text and pictures describing a cross-country bicycle trip Katie Blake took with her friends from California to Florida, from Disneyland to Disney World. "Katie recently graduated with a masters in Art History from Pratt Institute. She is a Library and Information Science graduate from the University of Washington’s iSchool as well. She has worked in many states across the country for libraries, teaching, in the film industry, office job amazingness and was even once outfitted as Miffy for Nickelodeon during a Kid’s Choice party. Having just completed her thesis, Katie is currently living and making art in her hometown of Anchorage, Alaska" (inalj.com).
23. Bruce Rogers. A life in letters, 1870-1957. Foreword by John Dreyfus. W. Thomas Taylor, 1989.
$250
Edition limited to 2000 copies, this one of 125 bound in quarter black Niger and signed by Blumenthal; large 8vo, pp. 215, [3]; photograph portrait frontispiece and 57 plates; fine. From the library of Kim Merker.
Laid in is a typed notice signed by Tom Taylor regarding the delay in delivering the special copies.
Designed and produced by W. Thomas Taylor; plates produced at The Press of A. Colish. The definitive correspondence of arguably the most important figure in 20th-century book design.
24. A bestiary of the Lake Superior basin. Pilot Rock Press, 1988.
$1,500
Edition limited to 18 copies, this being copy no. 1; folio, 5 wood-engravings on Rives BFK gray, each signed and dated by the artist, and each with a descriptive leaf of "letterpress passages" in Garamond types (with titles in Spartan Heavy); contained in a letterpress portfolio printed in green and black, the whole in a gray cloth folding box; fine.
Fred Brian was born in Normal, Illinois, in 1924 and raised in Bloomington, IL. For most of his life he has spent his summers in Gogebic County, in the Upper Peninsula of Michigan. He taught at Illinois Wesleyan University from 1952 until his retirement in 1984. As early as 1947 he began studying printmaking, and in 1950 he enrolled at the Art Department, University of Iowa. This work is "a sequel to a 1977 piece. Like the earlier work, this 1988 version is a creative printing project of the Pilot Rock Press, with all of the design and production done by Fred Brian."
25. Song to the mountain: selected poems. [New York ?: Fredrika Brillembourg, 1995].
$250
Edition limited to 750 copies, 8vo, pp. 89, [7]; 2 tipped-in color photographs; full green cloth over boards, spine and front cover stamped in silver; fine.
Designed by Leslie Miller and Linda Josefowicz. A graduate of Harvard where he studied under Seamus Heaney, Brillembourg died in a rock climbing accident in 1993, and this book of his poetry was published posthumously in his honor.
26. Bearing south. Antarctica, at sea. Photographs by Stuart Klipper. The Press at Colorado College, 1991.
$950
Edition limited to 50 copies (this, no. 18), signed by the printer and designer, James Trissel, and also by the photographer, Stuart Klipper; oblong folio, pp. [50] and but for the title-page spread, printed on rectos only; with 28 mounted black & white photographs, each approx. 3" x 4"; bound with concertina guards around signatures to compensate for the tipped-in photos, in pale blue Japanese cloth over boards, silver-stamped spine, in matching cloth slipcase, slightly faded. From the library of Kim Merker.
The photographs were taken by Stuart Klipper during an expedition to Antarctica in 1987. Klipper had joined the crew of the Bermudian yacht War Baby on a two-and-a-half-month journey that covered over 4000 nautical miles. The text accompanying the images consists of excerpts from the log of War Baby's skipper, Warren Brown, and quotations from the renowned Irish ice-sailor, John Gore Grimes. The voyage began in Punta Arenas, Chile on the Strait of Magellan, to the Falkland Islands, then on to Antarctica and Tierra del Fuego; later, the journey took them up the western coast of Chile and ended at Valdivia, Chile.
27. Panthers. [Minneapolis]: Indulgence Press, 2007.
$300
Edition limited to 151 copies (this, no. 24) printed, illustrated and bound by Chip Schilling, this is one of the 121 "standard" copies (there are also 26 "deluxe" copies); signed by Browne and Schilling; oblong 12mo, pp. narrow folio in sixes; pp. [4], 53, [2]; title page printed in gray, 4 cyanotype photographic illustrations; fine throughout in original gray and silver cloth, silver lettering on spine, gray cloth slipcase.
28. Walker Art Center and Duffy's present William Burroughs with John Giorno; Chandler Poling, piano; 8 pm Sunday, 22 March 1981. Walker Art Center, 1981.
$750
Broadside approx. 22" x 13" in frame; signed by Burroughs. Depicts Burroughs holding a handgun, with a shooting target at the lower right showing 6 bullet holes. Fine.
A poster announcing a benefit reading for the Walker Art Center's Writers reading series. Photograph of Burroughs by Alan Pogue.
Only Kansas (2 copies) in OCLC.
29. [Caddis Case Press.] Words of the teacher. Selections from Ecclesiastes. Caddis Case Press, 1992].
$500
Edition limited to 60 copies (this, no. 9); 8vo, pp. [56]; decorated by Margaret Sunday with abstract, doodle-like wood engravings, and printed on Sakamoto from handset Gill Sans monotype, with Helvetica figures; the illustrations are printed from endgrain blocks cut with burins; the book was hand-bound by Caroline Gilderson-Duwe in tan paper-covered boards with exposed spine sewing over tabs, blue Japanese cloth wrap-around case. Fine. From the library of Kim Merker.
30. Manhattan an elegy and other poems ... Woodcuts by Margaret Sunday. Iowa City: University of Iowa Center for the Book, 1990.
$2,500
Edition limited to 130 numbered copies and 10 unnumbered proofs (this, copy no. 124), all of which are signed by both the artist and the author; folio, pp. [60]; illustrated throughout; fine in original illustrated paper-covered boards designed by Pamela Spitzmueller; printed on heavy French mouldmade paper by Kim Merker and Don Howell, with assistants. Nice copy from the library of Kim Merker.
This is the "second in a series of livres d'artistes published by the University of Iowa Center for the Book" (p. [9]).
"Overcoming the challenges of printing this book was difficult. It was like putting a jigsaw puzzle together. It was great fun to do, but it was a bear."
Printing and the Mind of Merker, 95.
31. The great Naropa poetry wars: with a copious collection of germane documents assembled by the author. Cadmus Editions, 1980.
$300
First edition limited to 100 copies (this, no. 42) signed by the author; 8vo, pp. 87, [9]; original quarter brown cloth over printed paper-covered boards, acetate dust jacket; fine.
An exposé and renunciation of Chogyam Trungpa, spiritual head of the Naropa Institute. The “Great Naropa Poetry Wars” erupted at the seminary that was held in fall, 1975, in Snowmass, Colorado ... Trungpa presided, but neither Ginsberg nor Waldman was present. The poet W.S. Merwin, interested in expanding his Buddhist training, and his then-partner the poet Dana Naone attended the seminary ... On Halloween, a party was given to celebrate the end of the second and the beginning of the intense third and final stage of the seminary. Merwin and Naone attended but did not stay. Summoned by Trungpa, they refused to return, and were confronted in their apartment by other seminary students who, acting for Trungpa, met their resistance by assaulting them and abducting them to the party, where, against their wills, they were stripped naked at Trungpa’s order, and humiliated ... This shocking event circulated through published writings in the aftermath and in Buddhist communities, and has reverberated in the record of Beat poetry and poetics" (Editors at Journal of Beat Studies).
Original broadside apology by Kenneth Rexroth laid in, as issued.
32. [Untitled]. Durham, NC: K. Clove, 2005.
$250
Edition limited to 20 copies (this, no. 16), dated and signed with initials in blind on rear cover flap; 3" x 3¼", 6 folding leaves, each leaf with 3 photographic images approx. 1¼" x 2"; fine, sewn into plain cream paper wrappers.
33. [Cummington Press.] The Cummington Press. Harry Duncan. Four photographs by Stuart Allen Scott. The Cummington Press, 1976].
$1,250
Edition limited to 10 copies printed under the direction of Harry Duncan, 4to, pp. [12]; 4 mounted black & white photographic prints; original brown printed wrappers over stiff card; spine partially split else near fine. From the library of Kim Merker.
The text of the pamphlet is likely by Duncan himself.
Not found in OCLC.
34. Blood harvest. Woodcut by Roxanne Sexauer. Iowa City: Windhover Press, 1987.
$250
First edition limited to 200 copies, 8vo, pp. 47, [1]; full-page color woodcut; printed in red and black; fine copy in original brown cloth, printed paper label on spine. From the library of Kim Merker.
This copy inscribed by Dana to Kim Merker: "For Kim / whose blood is in this / harvest / my best friend - / much love - / Robert Dana / Ia City 6.24.87."
Berger, Printing and the Mind of Merker, 90.
35. In a fugitive season. Iowa City: The Windhover Press / University of Iowa, [1979].
$500
Edition limited to 200 copies signed by Dana, 8vo, pp. [54]; original blue cloth stamped in silver on upper cover and spine; fine copy. From the library of Kim Merker.
This copy inscribed by Dana "For Kim - Genius printer, oldest and dearest friend. Truck on!! Bob 8-2-79 Iowa City, Ia."
Merker and Dana collaborated on their respective first books issued under the Constance Press imprint in 1957. My Glass Brother was Dana's first book and it was the first book Merker set and printed.
Berger, Printing and the Mind of Merker, 72.
36. Dante's Inferno. Translations by twenty contemporary poets. Introduced by James Merrill. With an afterword by Guiseppe Mazzotta. Edited by Daniel Halpern. The Ecco Press, [1993].
$3,000
Edition limited to 145 copies, this being one of 125 numbered copies signed by all the poets (this, copy no. 19); folio, pp. xiii, [1], 199, [3]; title page printed in red and black; signed frontispiece by Francesco Clemente laid in, as issued; original black morocco-backed red linen, gilt lettering direct on spine, publisher's slipcase; fine. Original prospectus laid in. From the library of Kim Merker.
With all the required signatures on the colophon, including: Seamus Heaney, Richard Wilbur, W. S. Merwin, Amy Clampitt, Mark Strand, Robert Pinsky, Galway Kinnell, Cynthia Macdonald, Jorie Graham, Charles Wright, Richard Howard, Stanley Plumly, C. K. Williams, Susan Mitchell, Carolyn Forche, Alfred Corn, Sharon Olds, Deborah Digges, Robert Hass, James Merrill, and Daniel Halpern.
A collaborative version into English by multiple poets, each rendering their canto(s) via terza rima, prosaic sound, a modified rhyme scheme, blank verse, or free verse. Beautifully printed by Michael and Winifred Bixler on Rives heavyweight paper after a design by Peter A. Andersen, and bound by Claudia Cohen.
37. [Dawson's Book Shop.] Marbled vignettes...including Muir Dawson & Norma Rubovits in conversation. Dawson's Book Shop, 1992.
$650
Edition limited to 135 signed copies, this being one of 35 (copy no. XV) in a box with 5 matted examples of marbled vignettes; 4to, pp. [6], 8, [2]; original black Japanese cloth lettered in blind on spine and upper cover; together in a black Japanese cloth clamshell box containing the 5 matted vignettes, each numbered and signed by the author; fine,
The text consists of a conversation between Muir Dawson and Norma Rubovits on the art of marbling.
38. [DePol, John.] [Ephemera.]. [mostly 1990s].
$1,250
Large quarto clamshell box containing approx. 60 items, including California Flora, Book Club of California, 1995 with 12 wood engravings by DePol; eight 8½" x 11" wood engravings by DePol, all but one numbered, signed and titled by him; two 9" x 5¾" wood engravings, each titled, dated, and signed by DePol; seven 8½" x 11" holiday letters from DePol, most with a reproduction of a DePol wood engraving, 2 with postscripts in ink addressed to Greg Campbell; three other holiday cards for others with wood engravings by DePol; two bifolia printed by The Stone House Press for The Typophiles with wood engravings by DePol; 4 invitations with DePol wood engravings; proof of the covers for the journal Bookways, Nos. 13-14, Oct. 1994 - January 1995 containing a signed proof of the cover wood engraving by DePol, inscribed to Greg Campbell; a large folio printed leaf of the 42-line Bible, inscribed at the bottom in pencil by DePol: "For Greg Campbell, printed on the Gutenberg Press at the Pierpont Morgan Library by Neil Shaver and John DePol on 27 April 1994"; a wood engraving approx. 9¾" x 7", "The Falls at Deepdene," signed by DePol; an 8½" x 11" proof of a wood engraving of The Gutenberg Press, dated and signed by DePol, "The Church of St. Luke in the Fields," a new wood engraving by DePol with commentary by Don Wesely; numerous printed samples of DePol wood engravings on cards, postcards, bookplates, invitations, announcements, printed samples of wood engraved pressmarks; etc., as collected by Greg Campbell.
39. [DePol, John.] For William Heyen's Memoir the Stone House Press, 1994.. 1994.
$375
An octavo hand-made portfolio (likely by DePol) with a title on the front in pencil (as above) by DePol, containing a set of 8 proofs (of 10 which appeared in Heyen's book With Me Far Away: A Memoir, each one signed, numbered, and dated by DePol.
40. Fire to fire. Poems ... Woodcuts by Lisa Schoenfielder. Winona & Stockton: Sutton Hoo Press, 2004.
$500
Edition limited to 160 copies "plus proofs," signed by Doty and Schoenfielder; folio, pp. 48, [4]; 6 woodcuts by Schoenfielder; original mustard Japanese cloth, printed paper labels on spine and upper cover; fine. From the library of Kim Merker.
Doty's Fire to Fire: New and Selected Poems as published by Harper Perennial in 2008, where was collected the best of Mark Doty's seven books of poetry, along with a generous selection of new work, won the National Book Award for Poetry.
41. Fire in the wax museum. [Colorado Springs]: The Press at Colorado College, [1980].
$250
Edition limited to 150 numbered copies (this, no. 29) signed by Drury, folio, pp. [30] with 5 leaves folding; color silkscreen illustrations throughout; fine in original cream blindstamped wrappers printed in red and black, postbound. From the library of Kim Merker.
42. [Duensing, Paul Hayden.] Fourth decade: 40 years of a private press. Private Press & Typefoundry of Paul Hayden Duensing, 1991.
$350
Edition limited to 100 copies, this 1 of 50 printed on handmade paper and bound in boards, oblong 8vo, pp. [31]; typographic illustrations and facsimiles throughout, some in color; fine in original beige linen, printed label on upper cover; light soiling to upper cover, fine. Sequel to 25 Years, covering some of the author's more recent personal experiences in typography, with a bibliography of Duensing imprints (1976-1990) and a list of translations of typographic works sponsored or arranged by him. 50 copies were also bound in wrappers. Calling card from Duensing noting the fine work done by Campbell-Logan laid in.
43. [Duensing, Paul Hayden.] Printing types. Their birth in the typefoundry depicted in woodcut and verse. Private Press & Typefoundry of Paul Hayden Duensing, 2000.
$250
Folio, pp. 10, [2]; 9 full-page wood engravings by Karl Mahr; original printed wrappers, loose and laid into a black cloth-backed red cloth binding, front cover stamped in gilt, fine. An excellent collection of portraits of bookmen and bookwomen working their craft. The edition size is not stated but Oak Knoll reports that only 130 were printed, of which only 28 were in boards. The cloth binding was done by Greg Campbell, Campbell-Logan Bindery, but this copy is not bound, as such, but rather laid in.
44. A garland for Harry Duncan. Austin: W. Thomas Taylor, 1989.
$250
Edition ltd. to 530 copies, this one of 30 specially bound copies on T H Saunders mouldmade paper; 8vo, pp. [10], 96, [10]; title printed in red and black; fine in original brown morocco-backed linen-covered boards, gilt lettering on spine. From the library of Kim Merker.
A collection of poems in honor of Duncan, by fifty-eight poets whose poetry have been published by Duncan, including those by Hayden Carruth, Richard Eberhart, James Merrill, Richard Wilbur and Phillip Gallo, among many others.
45. Doors of perception: essays in book typography. W. Thomas Taylor, 1983.
$650
Edition limited. to 325 copies signed by Duncan, designed by Carol Blinn at the Warwick Press and printed by Daniel Keleher at the Wild Carrot Letterpress; 8vo, pp. [2], 99, [2]; title printed in red and black; fine in original morocco-backed paper-covered boards, gilt lettering on spine, the binding by Blinn and Sara Creighton. From the library of Kim Merker.
This copy inscribed by Duncan on the colophon: "With my best love, for Kim Merker, the most edifying of all my devils - Harry, 21 August 1983."
Five essays, including one on Victor Hammer and another on The Cummington Press.
46. Greetings from Atlantic City. A suite of etchings. 1977.
$1,500
Edition limited to 25 copies (this, no. 7); 8 leaves (approx.14½" x 10¼") consisting of an etched title leaf, 6 leaves of etchings, and a colophon; letterpress printed in grey ink, the illustrations all signed and numbered in pencil by the artist-publisher; all contained in a portfolio covered in tan, gold, brown, and white striped denim with white braided cord ties.
"The text for this book was set by hand in Mistral and Horizon Light types and printed on Rives BFK Paper. The etchings were done on copperplates and printed by hand on an intaglio press" (colophon).
From the library of Kim Merker.
Five in OCLC: Georgia, Iowa, Duke, North Carolina-Greensboro, and University of Washington.
47. A selection of American press books, 1968-1978. Printer's choice. Catalogue of an exhibition held at the Grolier Club, New York, December 19, 1978 - February 3, 1979...Selection of books and press histories by Ruth E. Fine and William Matheson. Bibliographical descriptions and notes by W. Thomas Taylor. W. Thomas Taylor, 1983.
$250
Edition limited to 325 copies (this, no. 130) printed and designed by David Holman at the Wind River Press; folio, pp. [iii]-xvi, [2], 67, [3]; title page printed in red and black; 18 photographic illustrations of the printers at work plus 8 tipped-in specimens; original 4-color linen cloth binding printed at the Janus Press, printed paper label on spine; slight wrinkle at the fore-edge of the upper cover, else fine.
Among the presses represented are the Abattoir, Adagio, Arion, Bird & Bull, Cummington, Gehenna, Janus, Perishable, Press of the Night Owl, etc. Laid in is the elaborate 8-page prospectus for the work containing a frontispiece facsimile and one other facsimile in text; original brown printed wrappers, printed in blue and black; fine. Order form and envelope laid in.
48. [Frasconi, Antonio, & Kim Merker.] Five minutes before 3 p.m., Father died.... Kim Merker, n.d., 1965 or after].
$650
Broadside approx. 21¼" x 7¼", edition limited to 35 copies from Spectrum and Centaur types on handmade U I C B paper. Printed in red and black, and with a woodcut of Thoreau at the top by Antonio Frasconi.
This copy, while unnumbered, is inscribed in pencil: "to Kim Merker who did the beautiful printing. Frasconi."
The woodcut is the same as used in A Vision of Thoreau with his 1849 Essay: Civil Disobedience [with] Woodcuts by Antonio Frasconi, Spiral Press, 1965.
The text by Thoreau concerns the death of his father, as recorded in his journals February 3, 1859.
Not found in OCLC. No mention of this broadside in Berger, Printing and the Mind of Merker.
49. VIsual poems. Bennett Ernst Gallo Helmes Kamin Kostelanetz [cover title]. Minneapolis: Stamp Pad Press / Hermetic Press, 2003.
$425
Edition limited to 75, folio, consisting of 4 bifolia (each approx. 13" x 10") with letterpress wrappers and contents, and a total of 6 visual poems printed in color, as below:
1) Preface to an Autobiography, by Richard Kostelanetz;
2) A Naive Topognomy of Loopules on a Fabric-Manifold of the All-Angel, by Franz Kamin;
3) Dialogue with Anna Blume, by Scott Helmes;
4) High-Heeled, by K. S. Ernst;
5) Untitled. John M. Bennett;
6) Nuclear Child, by Philip Gallo.
Fine, and contained in the original Zip-Loc bag, as issued.
50. 15 April 93 X. A. Jesus: archive of the unknown Fluxus poet. P. Gallo @ Walker Art Center. Phil Gallo at the Hermetic Press], 1993.
$375
Ziploc plastic bag, approx. 9" x 7", with typed green peel-off mailing label, containing the following printed broadsides and cards, all 6½"x 4" or smaller:
1) Lapel button: "Just Say No to Art";
2) Homage a Maciunas;
3) William S. Burroughs (Recombinant);
4) Radon Dispersal thru the typical suburban home and its effects;
5) Danger. Do not play on or around;
6) Schedule F. Fluxus surtax;
7) Some trepanned dementias;
8) Invocation and mantra for tape loop;
9) for better help we offer a smoke-free environment;
10) Real Ants / Imaginary Bugs;
11) Park even tonight;
12) Park odd tonight.
13) Three tiny plastic ants.
Distributed gratis to the attendees of an interview with Phil Gallo, Ides of April, 1992 at the Walker Art Center, Minneapolis.
51. Allo / tropes. An alchemy thru a glass darkly - with lines expropriated from Tennyson & Wordsworth. [Saint Paul]: The Hermetic Press, 2019.
$1,500
Edition limited to 31 copies, this being one of 26 lettered copies on 125 gsm Stardream paper (there are also 5 on 110 gsm Plike paper), 8vo (approx. 9¾" x 5½"); [22] leaves; printed in color throughout, handset foundry type used includes Eurostyle Normal & Extended; Aurora Condensed & Bold Condensed; Permanent; Headline & Headline Open; Impact Open; Anzeigen & Inserat Grotesk; Folio Extra Bold; Huxley Vertical; Bauer Bodoni Italic & Bold Roman; Libra; Sapphire; Prisma; Boulevard and Fry's Ornamented, card covers in an orange chemise of RFID/NFC Faraday fabric. The covers are susceptible to soiling and this copy shows evidence of that.
Quite a book, pushing the limits of color, type, design, and poetry, found or otherwise, "like a slurry full of swarth."
52. Electric tulips 5.1...with an appreciation by Alessandro S. Strega and accompanied by diverse notes and drawings. privately printed, 2015.
$1,500
Edition limited to 50 copies, this being one of 45 (there are 5 artist's proofs); small tall folio, pp. [24]; illustrations in the text (1 full-page and in color), large double-page folding plate printed in color; original stiff orange wrappers with gilt vignette, the whole in a plexiglass slipcase. As new, at the published price.
Electric Tulips 5.1 was conceived as a dialogue between an imaginary literary critic (Gallo) and the poet (Gallo), and revolves around the writing and presentation of his poem, Electric Tulips 5.1. The essay which results, Future Preterite, by the esteemed critic Alessandro S. Stompanado is intended to emulate that of the essay by James Joyce, written under the pseudonym Vladimir Dixon; and which appeared in the Sylvia Beach publication of 1929: Our Exagmination Round His Factification for Incamination of Work in Progress, in which Joyce writes an appreciation of his own novel, Ulysses. As such, the book is a multi-layered pastiche of both literary and typographic treatments, along with a magnificent double gatefold presentation of the poem in eight colors (each of the seven stanzas in a separate color and the seminal tulip in an eighth); the type all set by hand and printed letterpress and polymer from Permanent Headline Open from the now defunct foundry Ludwig & Mayer.
53. How little pterodactyl invented the art of flying. Translated from the Pterodactyl by Philip Gallo and with drawings by the author. Philip Gallo at the Hermetic Press, [2020].
$750
Edition limited to 35 copies, 8vo (approx. 10¼" x 6½"), 16 leaves printed in blue, green and black on rectos only; illustrations throughout; original blue card wrappers; as new, in a plexiglas slipcase.
"Printed on 180 gsm Rives from handset Studio & Allegro; 'a fractal of pterodactyls' was set in Illustrator from Eurostile and printed from polymer plate; the drawings were created in Illustrator from the Calligraphic Brushes Set & printed from polymer."
Gallo's pandemic creation, a children's book for adults.
54. Pathetic fallacy from allusive typography to Cancel Culture. An extrapolation from word-fetishism in Edmund Wilson's Night Thoughts. Philip Gallo at The Hermetic Press, 2021 [i.e. 2023].
$1,500
Edition limited to 31 copies signed by Gallo, press numbered 1-26 and 5 lettered A-E; 8vo, pp. [34]; frontispiece printed in silver, "from Bric-A-Brac [J Swift] and first appearance of Hermetic Press imprint :: 1966," the whole printed in red, blue, green, and black, in roman and cyrillic type, on Johannot, with extracts from Montaigne, William Massey, John Ruskin, Laurence Sterne, Ralph Ellison, and Vladimir Nabokov's translation of Lewis Carroll's Alice's Adventures in Wonderland; stiff card wrappers with black dust jacket, stamped in silver, in a plexiglas slipcase.
An overtly political book, on the "limitations, if not the failings of Cancel Culture."
55. The broken G. Entertainment with Deepdene, Kennerley & Cloister initials. Concept by Phil Gallo. Design by Dean Lindblad. Truck Press, 1978.
$400
Edition limited to 70 copies, printed and bound by hand at the Hermetic Press in Minneapolis by Philip Gallo; [32] leaves printed on rectos only in a multitude of colors; original quarter black niger over red cloth-covered boards. The dedication reads: "For Frederic W. Goudy whose Types these are."
A collection of initial letters from the three named typefaces, beginning with W X Y Z, and then A B C up to V. Only the G is uncolored.
56. This side up: 1 [- 2] [- 3] [cover titles]. Typographica Broodthaers excerpta. Word bags. Palabra* Sixteen samples sixteen voices. Hermetic Press, 2016-17-18.
$1,500
The complete series in 3 volumes, edition limited to 30 copies, 8vo, pp. 18; 18; 56; illustrated throughout; original cream printed wrappers. Fine.
On Typographica Broodthaers excerpta: "This book started out as an installation but devolved into conceptual art and lay dormant until now. But my first idea was to set it in a kind of poison pen letter fashion, and as I had a complete run of Eurostile Extended—which I felt quite suited to it—I went ahead and printed it on a half sheet of Strathmore. It was not long before I decided that the copy was irrelevant—that the idea was simply an idea—or more to the point—joke—that the piece did not need to be produced and that a written description would suffice: The idea of the thing being better than the thing itself. I still have the press and the type (still standing after 25 years) and for the book I reprinted the form, photographed the original drawing and sheet of Strathmore; along with the press and the type piled up and into it."
On Word Bags: "Graffiti on a bank building. A suite of seven cibachromes showing individually the letters of the word PROTEST. Building maintenance went over the letters with lacquer thinner and then covered the entire word in clear plastic to protect passers-by. The red spray paint spread and ran down the side of the building, imparting a blood & tear-like aspect to the letterforms under the billowing shroud of plastic. Hence body bag, viz. word bags."
On Palabra*: Found poems in lowercase Peignot - by way of its modified ascenders and dotted i - if handled as a unicameral may be seen as a democratization of type; or as a kind of gentrified graffiti.
57. Opuscules: a mindfulness of type. Phil Gallo at the Hermetic Press, 2025].
$1,500
Edition limited to 35 copies on Rives BFK, signed by Gallo with his initial P; 8vo, pp. [56]; printed in a variety of colors and in a variety of fonts; portrait of the printer by B. Kreft; original stiff cherry wrappers printed in silver; fine in original plexiglas slipcase.
A retrospective, of sorts, of Gallo's work over 60 years. "A number of these poems were printed on 5x7-inch cards and sent to friends of the press. The Printer, however, being of a dilatory nature, sent out so few he feels it not unwarranted to call them new, 'Qfwfq' notwithstanding, and to include them in this new book."
Twenty or so separate items, for lack of a better word, composed, designed, illustrated, and printed by one of the finest printers alive today.
58. Coffee House Press and the University of Saint Thomas present Allen Ginsberg. [Minneapolis]: Coffee House Press, 1994.
$500
23" x 18", large event poster, two color, featuring wood engravings by Dean Bornstein, signed and dated by Ginsberg.
59. Minorities versus majorities. The New Moon Press, [1990].
$275
Edition limited to 45 copies (this, no. 2); 8vo, pp. [6], 14, [4]; original handmade beige flax wrappers; fine. From the library of Kim Merker.
Printed from Dante by Jennifer Hughes on Arches, and produced at the University of Iowa with the assistance of Kay Amert and Kim Merker in the spring of 1990. Printed paper label for spine laid in.
Laid in is a note from Jennifer Hughes pulled from a notebook: "Kim, Here it is. Sorry it took so long to get to you. Thanks for helping me. I changed the binding format to the Chinese butterfly. The labels on the spine didn't turn out quite as I had hoped ... May your summer be wonderful and I'll see you in the winter."
Not found in OCLC.
60. [Graywolf Press.] The ceremony & other stories ... edited & with an editorial introduction by Dana Gioia. Graywolf Press, 1984.
$375
First trade edition (following the 1983 Abattoir edition), 8vo, pp. xvii, [1], 147, [1]; original cream-colored linen over terracotta paper-covered boards, spine and upper cover stamped in gilt; fine copy. From the library of Kim Merker.
This copy inscribed by Dana Gioia to Donald Justice: "For Donald Justice - / who started it all. / With best wishes, / Dana / 7-15-84."
The reference is to Justice's resurrecting Weldon Kees with the 1960 Stone Wall Press edition of Kees's Collected Poetry.
Gillane & Niemi A.I.11.
61. Sightings. Artichoke Press / Ephemeral Press, January, 2010].
$425
Edition limited to 35 copies (this, no. 31); 6" x 5", 10 interleaved bifolia; Layered Indigo Day, a handmade flax sheet by Cave Paper, forms the cover of a non-adhesive, tab and fold binding. The book block is hand sewn, comprised of textured Domestic Etching and interleaved Thai Kozo sheets. The text is set in 12 pt. Optima" (colophon). Stitching becoming a little loose, else fine.
"Poems & illustrations: Georgia A. Greeley; book design: Sue Bjerke."
Denver and Hennepin County in OCLC.
62. A convocation address commemorating 100 years at Stanford University. Huckleberry Press, 1991.
$375
Edition limited to 125 copies (this, no. 103); 8vo, pp. 24, [6]; 4 illustrations from photographs by Joel Simon; fine copy in original gray wrappers, printed paper label on upper cover. From the library of Kim Merker.
63. [Grenfell Press.] Ideograms in China. Translated from the French by Gustaf Sobin. New Directions, [1984].
$350
Edition limited to 150 copies (this, no. 16) signed by the author and the translator; 8vo, pp. [42]; a dozen ideograms printed in green; original tan buckram green printed labels on spine and upper cover; fine copy in publisher's slipcase. From the library of Kim Merker.
Laid in is a letter from the printer and proprietor of the Grenfell Press, Leslie Miller, in the third person reading: "Dear Kim - You've been such a good little boy this year, like printing that book about the man who has no flesh on him, that Santa Claus is sending you this book printed by that nice young girl in New York, Leslie Miller, who did it all by herself on a Vandercook."
64. [Hamady, Walter.] Flora ... Drawings by Jack Beal. Being a recollection of four friends' excursion from Umbria through various French and Italian places with digressive reflections upon matters of gourmandise, botany, beloved works of art & amourous play.... Mt. Horeb, [Wisconsin]: Perishable Press, 1990.
$850
Edition limited to 125 copies (this, no. 111) signed by the author and illustrator; oblong folio, [6] blank leaves on variously colored paper, 24 leaves, [6] blank leaves on variously colored paper; binding by Kent Kasuboske, consisting of translucent vellum spine attached to flexible three-ply plywood boards, with exposed sewing structure; publisher's green cloth clamshell box stamped in blind; fine. From the Library of Kim Merker.
Printed by Walter Hamady. "Twenty-one original poems handset in Sabon Antiqua and twenty-three evocative line-drawings printed on/into handmade papers in several greens, browns, greys and maroon, black and blind in fifty-two pressruns."
65. Off the hip. Two journal pieces...with a 1944 sketch book lifting by John Wilde. Landlocked Press, 1984.
$425
Edition limited to 85 copies printed in black and various colors on various colored papers from Méridien type; 8vo, pp. [14]; hand-sewn in self-wrappers; fine.
The "tenth book and final project at the University of Wisconsin - Madison ... Walter Hamady sent the printer these pieces taken from his journals. A book person really did tell two students he was not interested in books that could not be described in 38 words or less! These off-the-hip pieces were in response to that attitude. The ruffled papers were hand-made by the printer - most are from remnants of favorite clothing" (colophon). Contained in the original printed manila folder, as issued.
66. [Hammer, Carolyn.] Andromache: a tragedy freely translated into English in 1674 from Jean Racine's "Andromaque" by a young gentleman & John Crowne. Foreword by Desmond Flower. Anvil Press, 1986.
$750
Edition limited to 100 copies (this, no. 44), printed in red and black in Victor Hammer's American and Andromaque uncial types; 4to, pp. 10, [2], iv, vii, [1], 51, [7]; text printed in red and black throughout; with 21 woodcuts by Fritz Kredel; fine.
Original prospectus, order form, extra label, and an autograph note signed by Carolyn Hammer all laid in.
67. "Those visible marks..." The forms of our letters A ... Z . The Anvil Press, 1988.
$450
Facsimile edition limited to 50 copies, this copy unbound in three gatherings of 8 pages each; small 8vo, pp. [4], 15, [5]; fine in a recent clamshell box, printed paper label on spine.
Laid in are 3 autograph notes signed by Carolyn Hammer to Greg Campbell, Campbell-Logan Bindery, regarding the binding of this little book, which ended up being bound in Verona. "A long & hard story," Carolyn writes.
68. A second book of fragments and Alexander von Humboldt "the genius of Rhodes" a story translated from the German by Helmut Gordon. Anvil Press, 1991.
$275
Edition ltd. to 80 copies printed in Hammer's American and Samson uncial type on hand-made Magnani Mills paper; slim 8vo, pp. vi, [2], 34, [3]; printed in red and black; 1 full-page illustration; errata slip laid in at p. 16, as issued; also laid in is a small portion of a trial title page for the book; fine in original black cloth-backed red paper-covered boards, paper label on spine.
Foreword by Carolyn Hammer.
69. [Hammer, Victor.] Victor Hammer: artist and craftsman. David S. Godine, 1978.
$275
First edition limited to 500 copies (this, no. 423) designed by Martino Mardersteig and printed at the Stamperia Valdonega in Verona, Italy; 4to, pp. 57, [3], [30]; 26 color plates; sienna cloth, spine stamped in black; matching sienna cloth slipcase; fine. An appraisal of the private commissions and ecclesiastical works of the cosmopolitan artist/craftsman, as well as biographical information. Laid in is a short typed note, signed, from Carolyn Hammer to Greg Campbell thanking him for the order and asking if he could rebind two books.
Together with: Hammer, Carolyn. Victor Hammer: artist and printer. Lexington: Anvil Press, 1981. Edition limited to 550 press-numbered copies (this, no. 491), small folio, pp. [14], 5-213, [3]; illustrated throughout; original sienna cloth, publisher's slipcase; fine.
Together with: Hammer, Victor. Victor Hammer: an artist's testament. With a foreword by Carolyn R. Hammer. 1988. Lexington: Anvil Press, 1988. Edition limited to 200 copies designed by Martino Mardersteig, small folio, pp. 304, [4]; portrait of Hammer tipped in, original sienna cloth, publisher's slipcase; fine.
70. Sweet homeland. [A book of poetry and prints]. Providence: The Red Book Press, Brown University, 2002.
$750
Edition limited to 12 copies, (this, no. 3); signed in full by the author and the printer; 8vo (approx. 10" x 7"), 1 sheet in accordion-fold format, pp. [12], 28 (i.e., 29). [3]; printed in blue, purple and black; with 6 etchings on Rives lightweight, and 2 silkscreens on tracing paper; original paper-covered pictorial boards, contained in the publisher's blue cloth clamshell box stamped in silver on the upper cover. Fine throughout.
This book ... was made possible by a Research at Brown grant, a donation from Richard Rubin, and the blessing of Brown University President, Ruth Simmons. Under the "perfect instruction" of professors Michael S. Harper and Walter Feldman, it was designed and printed by Rebecca Bella Wangh ... printed on Brown University and Rhode Island School of Design printing presses as well as the Karl Schrag press in Deer Isle, Maine. Etchings and text are on Rives lightweight white paper. The silkscreen images are on tracing paper. The text was set in 12pt. Garamond by Kent LeFebvre in Holyoke, Massachusetts ... The bird design that appears on the cover is from a block print created by Ruth Wolfson, Rebecca's great grandmother ... The book project was inspired by a Metropolitan Opera performance of Prokofiev's adaptation of Lev Tolstoy's novel, War and Peace. It was concluded with Richard Wagner's operatic score, Tristan and Isolde. It is about motherland, fatherland, and homeland sweet homeland" (colophon).
Michael Harper (1938-2016) was the first poet laureate of Rhode Island. "Known for his innovative use of jazz rhythms, cultural allusion, historical reference, and personal narrative, Harper was 'a deeply complex poet whose mission is to unite the fractured, inhumane technologies of our time with the abiding deep well of Negro folk traditions,' wrote John Callahan in the New Republic. Poetry reviewer Paul Breslin noted that Harper did this by drawing “upon black history, literature, and myth” (Poetry Foundation). When he retired from Brown University in 2013, where he had taught literature, poetry, and creative writing since 1970, he was the longest serving professor of English and Literary Arts at that institution.
Yale, Harvard, Brown and LC in OCLC.
71. Songlines: mosaics. Providence: Brown/Ziggurat Press, 1991.
$400
Edition limited to 65 copies, this marked "Pressman Proof," signed in full by the author and the printer; 8vo (approx. 10½" x 7"), pp. [26] some french-fold; 9 illustrations by Michael Feldman; printed on Rives, German-Ingre, and Mohawk Superfine papers, in Garamond type by Walter Feldman; fine, in original cream wrappers, printed paper label on the upper cover, and contained in the publisher's terracotta clamshell box, paper label on spine.
This is the "first volume in the Brooke Hunt Mitchell Distinguished Authors Series" and the first book of the press. Michael Harper (1938-2016) was the first poet laureate of Rhode Island. "Known for his innovative use of jazz rhythms, cultural allusion, historical reference, and personal narrative, Harper was 'a deeply complex poet whose mission is to unite the fractured, inhumane technologies of our time with the abiding deep well of Negro folk traditions,' wrote John Callahan in the New Republic. Poetry reviewer Paul Breslin noted that Harper did this by drawing “upon black history, literature, and myth” (Poetry Foundation). When he retired from Brown University in 2013, where he had taught literature, poetry, and creative writing since 1970, he was the longest serving professor of English and Literary Arts at that institution.
72. The fret cycle. Poems ... Visual accompaniments Walter Feldman. Providence: Ziggurat Press, 2006.
$275
Edition limited to 35 copies, (this, no. 7); small square 4to, pp. 38 accordion fold, the last page affixed to the back end of the publisher's beige cloth case; 11 hand-colored photo-engraved drawings by Walter Feldman; case fastened with a white plastic clasp, copper plate title label on upper cover; fine. The text was set by Kent Lefebre in Holyoke, Mass. and printed on an Universal 3 Vandercook at the Walter Feldman Book Arts Studio in the John Hay Library of Brown University.
Harper (1938-2016) was the first poet laureate of Rhode Island. "Known for his innovative use of jazz rhythms, cultural allusion, historical reference, and personal narrative, Harper was 'a deeply complex poet whose mission is to unite the fractured, inhumane technologies of our time with the abiding deep well of Negro folk traditions,' wrote John Callahan in the New Republic. Poetry reviewer Paul Breslin noted that Harper did this by drawing “upon black history, literature, and myth” (Poetry Foundation). When he retired from Brown University in 2013, where he had taught literature, poetry, and creative writing since 1970, he was the longest serving professor of English and Literary Arts at that institution.
OCLC locates only the Yale, Illinois, and Brown copies.
73. A word about words ... With illustrations by Jiří Kolář. Cooper Union, 1992.
$250
Edition limited to 500 copies, this copy marked "presentation copy," and with a presentation slip from Cooper Union laid in, reading in part "for Kim Merker and the Center for the Book," folio, pp. [60]; parallel text in Czech and English; printed in red and black; original black cloth-backed black paper-covered boards, spine lettered in gilt, pictorial pastedown on upper cover, original glassine; fine. Designed by George Sadek and Charles Nix. From the library of Kim Merker.
"In 1989 Havel was awarded the International Peace Prize of the German Booksellers Association. It was presented in absentia at the Frankfurt Bookfair on October 15, 1989. Havel's acceptance speech was read by Maximilian Schell. His words, published here in the original Czech and its English translation celebrate "Prague and the Book," an exhibition at the Cooper Union, presented in cooperation with the Charter 77 Foundation and PEN American Center."
74. [Henke, Dellas.] Within the walls. Wood engravings by Dellas Henke. Iowa City: Windhover Press, 1993.
$2,500
Edition limited to 300 copies, this being one of 25 numbered I-XXV (this, copy no. XXV) which have been hand-colored and signed by the artist, and bound by Pamela Spitzmueller at the Conservation Laboratory at the University of Iowa; 8vo, pp. [8], 58, [4]; 37 hand-colored wood engravings; original black morocco-backed gray paste-paper boards, die-cut upper cover revealing the title; fine throughout. From the library of Kim Merker.
A previously unpublished manuscript "by a writer whose work documents the major transformation of modernism." The balance of the edition, 275 copies, were bound at Campbell-Logan in Minneapolis and were uncolored.
Berger, Printing and the Mind of Merker, 102.
75. [Henry, Barbara.] A rustic tea: being a compilation of traditional recipes for afternoon delectation...presented in the artistic style by Bowne & Co., stationers. South Street Seaport Museum, 1994.
$400
Edition limited to 200 copies (this, no. 102), 8vo, pp. [30]; decorative title page and each text page printed with a unique color-printed border "set from foundry type and electrotypes in a style popular during the last quarter of the nineteenth century," original green cloth-backed mauve paper-covered boards, printed decorative title on upper cover, mauve printed label on spine; fine.
Printed by Barbara Henry. 1995 Xmas card printed by Barbara Henry laid in.
76. [Horatius Flaccus, Quintus.] The Ashendene Press edition of Horace's Carmina Sapphica. Boston: Anne and David Bromer, 1983.
$750
64mo (i.e., a miniature book approx. 1⅜" x 1"), pp. [20], 46, [2]; text in English and Latin, full crimson morocco, gilt-ruled covers, gilt-paneled spine in 3 compartments, gilt-lettered direct in 1, a.e.g.; fine throughout, with accompanying prospectus (with a portrait of St. John Hornsby at his Albion Press) in a cloth portfolio, together in a morocco-backed clamshell box lettered in gilt.
Edition limited to 150 copies (this, copy no. 100), printed on the Ashendene hand press by Linnea Gentry from the original Ashendene plates. The binding of this edition is by David Boubeau of the Thistle Bindery, replicating the binding of the 1923 first miniature edition of these songs by Horace was printed at the Ashendene Press in 1923 for the library of Queen Mary's Doll's House in an edition of ten copies. The plates for the 1923 edition consisted of photographic reproduction of a larger edition of the work issued by the Ashendene Press.
77. [Huckleberry Press.] Leatherneck Square. A professional marine's personal perspective of the Vietnam era. [Incline Village, Nevada]: The Huckleberry Press, [1989].
$250
Edition limited to 125 copies (this, no. 8); folio, pp. 89, [3]; color frontispiece map of Leatherneck Square, Quang Tri Province, just south of the DMZ in Vietnam; title page printed in red, yellow, and black, ornaments printed in blue, red, and yellow; fine copy in original linen-backed marbled boards, paper label on spine, publisher's slipcase. From the library of Kim Merker.
"Printed ... by Greg Peterson and John Balkwill. Handset in Dante types and printed letterpress on Rives Heavyweight White using a Vandercook 4 press. The frontispiece map and the design elements opening each section were designed by John Balkwill and printed from linecuts."
78. A collector's long march. 2008.
$750
Edition limited to 10 copies (this is no. 3), square 12mo, 17 double-page spreads, Leporello-style, showing a long drypoint etching; fine in white paper wrappers, printed paper labels on upper cover and spine, marbled slipcase; fine.
The etching is meant to be "read" as a roaming through a gigantic fleamarket in search of a unique object which is found at last in the final panel.
79. [Illouz, Claire.] Frontier poem. 2002.
$750
Edition limited to 30 copies (this is no. 30), 8vo, 8 bifolia laid loose in original decorative cream wrappers printed in red and black, paper label on spine; 6 color etchings by Claire Illouz; letterpress by Sergent-Fulbert on Johannot paper; publisher's box with map motif; fine.
A poet and a journalist, Eugene Jolas was born in the United States in 1894 but lived and worked on both sides of the Atlantic (Strasbourg, Pittsburgh, Paris, New York, Aachen, etc.). During the 1920s he became a member of the group "L'Arc" in Strasbourg, and in 1927 founded the very influential literary magazine Transition and published Hemingway, Beckett, Joyce, Gertrude Stein, and many others.
80. A bibliography of the Auerhahn Press & its successor Dave Haselwood Books. Compiled by a printer. Poltroon Press, [1976].
$250
"Somewhat less than 500 copies printed on a variety of presses" (colophon), 26 of which have been "grangerized" with Auerhahn ephemera (not here); 8vo, pp. [2], 87, [3]; illustrations and facsimiles throughout; decorative blue silkscreen cloth over boards, printed paper label on spine; fine. From the library of Allan Kornblum, poet, fine press printer, and publisher who founded Coffee House Press.
This copy inscribed in pencil by Johnston: "For Allan & Cinda Kornblum, yrs. Alastair Johnston. 'You'll wonder where the yellow went / when you brush your teeth with wet cement'." This is a reference, no doubt, to Kornblum's Toothpaste Press, a letterpress operation which he operated in West Branch, Iowa, and later in Saint Paul, Minnesota from 1970 to the early 1980s.
81. [Kairos Press.] Six poems from the songs and sonnets ... printed to celebrate the joyful marriage of Judy Lusk & Tom Taylor July 7th, 1986. Kairos Press, 1986].
$250
Edition limited to 100 copies, 8vo, pp. [16]; the type is Romanée, the paper handmade Magnani, printed damp on a Reliance handpress by Bradley Hutchinson & Tom Taylor, the whole bound in Fortuny cloth by the Jensen Bindery; tan slipcase with printed paper label on spine. Fine. From the library of Kim Merker.
82. A bonsai-shaped mind & postures of the heart. Engravings Richard Wagener. Mixolydian Editions & Nawakum Press, 2024.
$4,500
Edition limited to 82 copies, this one of the 20 special Engraver's Edition (this, copy no. V), signed by both the artist and the author in a full leather goatskin binding with pictorial onlay, 8 end-grain boxwood engravings by Wagener on Japanese gampi paper, with other illustrations in the text, and with an extra suite of 5 bonsai tree prints (9¾" x 10½") and one unique print which is not included in the book; contained in a folding box of red and black Japanese book cloth. Original 8-page [prospectus laid in.
The edition is a collaboration between Richard Wagener, award-winning master wood engraver and fine press publisher from Petaluma, California, David Pascoe of the award-winning Nawakum Press in Gig Harbor, Washington, and Marc Peter Keane, artist, Japanese garden designer and author of fiction and non-fiction from Kyoto, Japan.
The first section of the book consists of a series of five short essays on bonsai from the internationally known author and artist, Marc Peter Keane, living in Kyoto, Japan. These essays address bonsai culture, the awe-inspiring yet humble nature of the art form, and the foresight required to work within its realm. For the author bonsai is a living art; it is the art of shepherding; it is the art of inheritance ... In the second section of the book is an intricately crafted short story in nine parts ... The story takes place over a five-hundred-year period ... Three owners of the bonsai, and their circumstances while shepherding the tree, are portrayed.
83. Two prose sketches. Introduction by Dana Gioia. [West Chester, Pennsylvania]: Aralia Press, 1984.
$275
Edition limited to 280 copies, 8vo, pp. [26]; frontispiece portrait after a wood engraving by Michael McCurdy; title page printed in red and black; fine copy in original red cloth-backed decorative paper-covered boards specially made for this edition by Claire Mazciarcek, and signed by Gioia and McCurdy on the colophon. From the library of Kim Merker.
This is the third Aralia Press imprint.
Of this edition the first 40 copies were casebound and signed by McCurdy and Gioia. This copy is unnumbered but specially "for Kim Merker" as printed on the colophon. The extra copy of McCurdy's engraving is not present in this copy.
Gillane & Niemi A.I.13.
84. A specimen of an etymological dictionary... Edited, with an introduction by J. Lawrence Mitchell. Saint Paul: Rulon-Miller Books, 1990.
$450
Edition ltd. to 100 copies, 8vo, pp. 61, [2]; photographic facsimile tipped in, original green cloth, slipcase, paper label on spine. Printed by hand in red and black on handmade Umbria Bianco paper by Emily Mason Strayer of the Kutenai Press, South Willington, CT; designed and produced under the direction of Gerald Lange of the Bieler Press, at the University of Southern California, Los Angeles; matrices for unique characters were provided by Monotype International, Surrey, England; additional characters were supplied by MacKenzie-Harris Corp., San Francisco.
Kemble (1807-1857), the son of Charles Kemble, the actor, was the foremost English philologist of his day, and a friend, correspondent, and protege of Jacob Grimm. The text is taken from the recently discovered eight-page manuscript dated 1830, compiled three years before the appearance of his influential edition of Beowulf -- the first in English, and the first to show competent knowledge of Old English. No trace of the Dictionary itself is known and likely it was never published. But, coming at in important juncture of English etymological research and Anglo-Saxon scholarship, this Specimen of select English words, traced back through centuries of Middle and Old English literature, is fitting tribute to Kemble's erudition and interest in the history of the English language.
85. The first & last annual six towns area old timers' baseball game. Wood engravings by Gaylord Schanilec. Espresso Editions, Coffee House Press, 1991.
$325
Edition limited to 150 copies signed by Kinsella and Schanilec, tall 8vo, pp. [2], 31, [3]; five multicolor wood engravings by Gaylord Schanilec, designed by Allan Kornblum and printed by Jill MacKenzie and Julia Druskin at Coffee House Press on a Vandercook 219 proof press; "cast in Walbaum type with P.T. Barnum and Vaudeville display by M & H Type," printed on Rives Heavyweight paper, mouldmade in France at the Arjomari mill; brown morocco-backed boards by Jill Jevne, publisher's slipcase, with the extra suite of Schanilec's 5 engravings, as called for in the colophon.
Quarter to Midnight A-107.
86. Fine Print: a review for the arts of the book.. 1975-1990.
$950
A complete file of this influential journal, 64 issues in all. Folio, original pictorial wrappers, illustrated throughout; generally fine throughout. Volume I, no, 1 to volume XVI, no. 4 [all published]. Includes the last number, The Complete Index to Fine Print, 1975-1990, often missing.
87. The queen of snakes ... with three etchings by John Thein. Omaha: Abattoir Editions, University of Nebraska, 1978.
$325
Edition limited to 208 copies (this, no. XIX of XLIII on paper from the Wookey Hole Mill and with 3 signed intaglio etchings in color by John Thein), 8vo, pp. 109, [3]; original black cloth stamped in blind on upper cover; fine copy. From the library of Kim Merker.
88. The blizzard voices. Minneapolis: Bieler Press, 1986.
$325
First edition limited to 200 copies signed by the author and the illustrator, Tom Pohrt (this, no. 62), the whole designed and printed by Gerald Lange; 12 line drawings in the text printed in blue, laminated blue hand-made paper-covered boards, paper label on spine; fine copy.
The text is based on the reminiscences of those men and women who witnessed the great blizzard of January 12, 1888 in Nebraska. AIGA Book of the Year award winner.
Smith, Bieler, 43.
89. Sketchbook. Blue Heron Press, August, 1990].
$500
Edition limited to 18 copies (this, no. 13), signed by the artist; 5" x 7", pp. [22] including covers; stitching becoming a little loose, else fine. Laid in is a 10-line note about the photoengravings, the paper, watermarks, and her woodblock prints.
"Watermarking handmade paper; superimposed overlays of woodblock printing; actual-scale drawings from letterpress engravings; hand embellishments and binding; pages of new history from old prints - a stream of order - entangled, surprising, incongruous - a source book" (colophon).
From Kunc's Wikipedia page: Karen Kunc is a printmaker and book artist whose artwork utilizes, augments, and distorts symbols of nature. She attended the University of Nebraska-Lincoln and received her BFA in 1975.Her work examines the colors, shapes, and forms of both the natural and artificial landscapes present within our society. She is the Cather Professor of Art at the University of Nebraska – Lincoln.
Six in OCLC: LC, National Gallery, Nebraska, Ohio, Swarthmore, and Utah.
90. [Kutenai Press.] Four miles from Ear Mountain. Kutenai Press, [1987].
$300
Edition limited to 300 copies signed by Guthrie and the illustrator, Kathy Bogan; small 8vo, pp. [48]; printed in red and black; 3 full-page wood engravings printed in gray; fine in original beige wrappers printed in red.
91. Gists & piths: a memoir of Ezra Pound. Windhover Press, 1982.
$3,000
Edition limited to 250 copies, this the first (number 1) of 25 copies signed by the author and with the original signed postcard from Pound inside the rear cover pocket; 8vo, pp. [2], 22, [2]; printed in red and black; title page embossed with the likeness of Pound's head; fine copy in original brown niger-backed paper-covered boards, stamped in gilt on spine. Also, with a printed slip concerning Laughlin's donation of the post cards to the University of Iowa Foundation. From the library of Kim Merker.
This particular postcard (postmarked Oct. 22, 1937) is addressed by Pound in type to James Laughlin (and with a forwarding address added in ink likely by a New Directions employee); the body of the text is typed with four additions by Pound in ink, the whole signed in ink, 'E.P.' A typically manic Pound creation: In part: "I suppose some supposer supposed that representin "Globe" here iz th same as Globating the representation etc / in the there / otherwise there is one born ever 3 minutes." Here, Pound inserts in ink: "Besides it may be over by now."
He continues: "re Pell / IZ he Pell of Livright? and what does he mean a difference??? ... anyhow the sommer the cash comes in the sooner it can go OUT that is called circulation ... PS / about old Bill / dn it I HAVE an opinion as with Marianne / for years I bat it into the brick stupidity of the pubk till someone prints 'em and then they xpect me to HAVE an opinion / they havin don non of the constructy ... Why don't they do a bit of work getting ME into circulation..."
James Laughlin was editor of New Directions, and over the course of his relationship with Pound, received better than 1500 letters from him.
Berger, Printing and the Mind of Merker, 79.
92. Blue. West Chester: Aralia Press, [1989].
$500
Edition limited to 175 copies; 8vo, pp. [20]; title-page drawing by Nadya Brown and printed by Michael Peich; fine, in original gray printed wrappers. From the library of Kim Merker.
This copy inscribed in pencil on the colophon: "For you Kim Merker / the master / & friend. / Love / Phil / Philip Levine."
93. The afterlife. Poems. Iowa City: Windhover Press, 1977.
$250
Edition limited to 175 copies, this one of 105 on Cream Laid paper, signed by the author on the half-title; 8vo, pp. 61, [3]; fine copy in original blue cloth-backed paper-covered boards, paper label on spine. From the library of Kim Merker.
Winner of the 1976 Lamont Poetry award which Merker helped orchestrate.
Berger, Printing and the Mind of Merker, 67.
94. Calisthenics of the heart [cover title]. [New York]: Vehicle Editions, 1976].
$250
Edition limited to 24 copies (per OCLC - this copy designated "commercial 12"); square 16mo (5¼" x 5¼"); printing, binding, and marbling by the author; lightly rubbed, else fine. From the library of Allan Kornblum, poet, fine press printer, and publisher who founded Coffee House Press.
Apparently, this is Levitt's and Vehicle Editions' first book. From the Vehicle Editions website: "Vehicle Editions was founded in 1976 by Annabel Levitt. Annabel Lee (she married the Lee in 1988) brings diverse experience to her role as publisher. A printer (letterpress and offset), hand bookbinder, teacher of book crafts, bookkeeper, phototypesetter, monotype typesetter, hand typesetter and writer, Annabel has worked for many other publishers (including responsibilities as Managing Editor and as Production Manager) and she has worked extensively with art book publishers on behalf of European printers." She was also formerly Secretary/Treasurer on the Board of Center for Book Arts, New York.
Arizona only in OCLC.
95. [Limited Editions Club.] Bibliography of the fine books published by the Limited Editions Club 1929-1985. [Limited Editions Club, 1985].
$275
Edition limited to 800 copies (this, no. 547), folio, pp. [6], 182, [4]; original half brown goat over marbled boards, gilt-stamped spine, publisher's slipcase. Fine.
96. [Limited Editions Club.] Song of the open road. Limited Editions Club, 1990.
$750
Edition limited to 550 copies, this being the bookbinder's unsigned, unnumbered contributor's copy, without a slipcase; large folio, pp. [24]; 6 full-page photogravures by Aaron Siskind; black leather spine and front fore-edges, spine gilt-stamped, green cloth over boards by Greg Campbell, Campbell-Logan Bindery. Fine.
The photography in this volume represents the last project of Siskind's life, and was published a year before his death in 1991. Tar over concrete produces a series of winding, textured forms in Siskind's typically abstract style.
97. [Logan Elm Press.] A Letter of Columbus...with monoprints by Anthony Rice. Logan Elm Press at the Ohio State University, 1990.
$2,000
Edition limited to 130 copies, 4to, pp. [38]; 29 multi-color monoprints in the margins, 22 hand-brushed initial letters, bound in handmade raw flax paper covers with visible sewing structure through brown goatskin spine, title embossed in blind on upper cover, brown pastepaper-covered wooden slipcase, the whole designed by Robert Tauber.
A magical and wondrous volume, beautifully produced, being a poetic adaptation of Columbus' letter to Ferdinand and Isabella as he was returning to Spain from his first voyage to the New World. Rarely do text and illustration harmonize so. A "tour de force ... On every page of this richly textured paper, handmade appropriately from Spanish flax, there is at least one colored picture: only the half-title and colophon leaf are not illustrated. Dolphins, sharks, turtles, hares, dogs and doves, torsos and trees, and mitred bishops in brilliant profusion fill margins, corners, and half-pages. Crimson and magenta, emerald green and cerulean, lemon yellow and blazing orange, tints of blues and greens and earth colors dazzle the viewer" (review in Fine Print, summer, 1990).
98. [Logan Elm Press.] Inangaro: a Polynesian folktale of love lost. [And:] Inangaro: the legend of the coconut. Logan Elm Press, 1987.
$850
Edition limited to 70 copies, folio clamshell box designed by Greg Campbell and constructed at the Campbell-Logan Bindery, using Flax, Abaca, and Coir fiber paper made at the Logan Elm Press, and with an inset on the front of a coconut monkey head.
The box contains four different versions of this Polynesian folktale by four different designers/printers (Rod Johnson, Ruth Leonard, Richard Brunell and Robert Tauber); and illustrated by four different artists (Eric May, David Macaulay, Sidney Chafetz and Margret Prentice). Each volume is is signed by the printer and the illustrator, and the first is also signed by M. Charlotte Johnson. The volume size ranges from a small square16mo (6") to a small folio (12").
99. Life with atropos. Poems: Sam Magavern. Prints: Monica Angle. 82 St. Books [Out of Hand Press / Minneapolis College of Art & Design, 1995].
$350
Edition limited to 20 copies (this, no. 18) signed by Monica Angle, 7¼" x 5¾", pp. [6], 9-29, [1]; 9 monoprints by Angle "reworked in Adobe Photoshop, and printed from photolithography plates," pictorial gray hand-made paper over boards; fine. Printed and bound by Angle.
"Monica Angle is a painter, printmaker, bookmaker, and collage artist living and working in Buffalo, New York with her husband Sam Magavern and her two daughters. She was born in Omaha, Nebraska, and attended Harvard College, earning a Bachelor of Arts in 1984. She majored in folklore and mythology while also studying painting. Angle completed a master's degree in geography from Pennsylvania State University in 1987, and her continued interest in art led Monica to pursue advanced courses in printmaking and bookmaking at the Minneapolis College of Art and Design in 1994."
Not found in OCLC.
100. A pattern book of Cadiz ornaments. 2021].
$500
Edition limited to "roughly 90 copies" signed by Maret; oblong 8vo (approx. 6¼" x 9¼"), 5 leaves interspersed with 14 smaller slips (some overlapping) bearing a title, a colophon and a plethora of decorative ornaments, printed from two pieces of ornament only, and designed by Russell Maret and printed by him and Sarah Moody during the Covid-19 pandemic. The ornaments engraved and cast by Ed Rayher at Swamp Press. Printed in red, maroon, orange, green, silver, blue, brown, yellow, and pink. Enclosed in a plexiglass slipcase. Out of print as of 11/29/21.
Includes a brief appendix of patterns printed on paper handmade at the Whatman Mill in 1950. "After drying the prints it became apparent that the translucency of the paper was interfering with the visual integrity of the patterns. Rather than discard the sheets, they are included here, at a small remove from the rest of the book, to provide what joy they may."