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THE VEATCHS ARTS OF THE BOOK
catalo gue 74
THE VEATCHS ARTS OF THE BOOK
Post Office Box 328, Northampton, Massachusetts 01061
veatchs@veatchs.com www.veatchs.com
phone 413-584-1867
CATALOGUE 74
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Item 72. Officina Bodoni. Ovid.
Item 5. Ashendene Press.
front cover: Item 56. Italian Block-printed Papers.
nb: Many of these books are not on our web site.
Item 1. Abbe.
A World Heritage Site
1.Abbe, Elfriede. Viollet-le-Duc, Eugène Emmanuel. THE CITY OF
CARCASSONNE. Manchester Center, 988. 0 × 3. 54 pages. Wood
engravings by Elfriede Abbe throughout the text, printed from the
original blocks, along with reproductions of the author’s original
drawings from the Dictionnaire Raisonné de l’Architecture Française.
Three-part binding: gray silk woven in a building-block pattern and
black paper over boards, red spine and cover labels. Fine. Number
81 of 110 signed copies. Printed by the artist in black, silver, and red. Carcassonne is a fortified town in Languedoc, founded in the 5th century by
Visigoths building on Roman beginnings. Viollet-le-Duc restored the fortress
in 1853.$450
the veatchs art s of the bo ok
Item 2. Allen Press.
2.Allen Press. Hall, Basil. THE GREAT POLYGLOT BIBLES. Including a Leaf from the First: The Complutensian of Acalá, 54–7. San
Francisco: BCC, 966. 0¾ × 5. (38) pages. Loose in printed wraps
as issued with clam-shell case (one corner bumped). Fine. The original leaf is set in three columns with text in Greek, Latin, and Hebrew.
One of 400.$600
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3.Allen Press. Allen, Lewis. PRINTING WITH THE HANDPRESS.
Kentfield, 969. 8 × 2. (), 75, (2) pages. Printed Irish linen over
boards. Fine with prospectus. Many small press printers learned their
craft from this book. One of 140 copies printed in several colors on handmade paper.$2,000
4.Anderson, John; James Fraser; Eleanor Friedl. JOHN ANDERSON
AND THE PICKERING PRESS, An Autobiography. With a Pickering
Press Bibliography. Madison , (995). 8½ × ½. x, 74 pages, 20 color
plates of Anderson’s typography. Linen cloth, leather spine label,
cloth slipcase. Fine with prospectus, 2 Christmas cards, and several notes to Philip Sperling. Anderson’s typographic career spanned 45
years—from the 1930s with Goudy and Beilenson to more recent associations with John DePol and Claire Van Vliet (his apprentice). One of 150 copies handsomely printed on dampened Rives at the Yellow Barn Press.$95
5.Ashendene Press. Cervantes Saavedra, Miguel de. THE FIRST PART
[-THE SECOND PART] OF THE HISTOIRE OF THE VALOROUS AND WITTIE KNIGHT-ERRANT DON-QUIXOTE OF THE
MANCHA. Translated out of Spanish by Thomas Shelton. Translated by
Thomas Shelton. London, 927 & 928. Two folio volumes, 2 × 7.
xiii, 268, (); x, 256, () pages. Printed in two columns in black and
red, with woodcut decorative initials and borders by Louise Powell.
Full dark green morocco over heavy boards by W. H. Smith and Sons
(Douglas Cockerell) for the press. Slight extremity wear. A fine set
with the prospectus. One of 225 sets on handmade Batchelor paper (20
copies were on vellum). A grand folio production printed in the first use of
Ptolemy type. The initials, reminiscent of those done for the Kelmscott Press,
were a significant departure from St. John Hornby’s usual calligraphic initial letters; this is the only Ashendene publication to use such ornamental
material. A selection of the initials in shown on pages 152–4 in the Ashendene bibliography. Most copies were bound in cloth and boards (for 10 guineas). Special bindings in either morocco or pigskin were 14 guineas. W. H.
Smith and Sons were responsible for all special Ashendene bindings from
1905 onward. Douglas Cockerell was designer and head of the bindery. Colin
Franklin writes in The Private Presses (1969) it is accepted that Ashenthe veatchs art s of the bo ok
dene books bound by W. H. Smith are indeed Cockerell bindings.” Franklin
writes that Hornby enjoyed his large books best, but that long lines of poetry
were problematic. “Of his grand works, Don Quixote in two volumes may
be preferred; easier to read and turn pages of prose, and very fine in his later
type with Louise Powell’s initials.” The Descriptive Bibliography of . . .
The Ashendene Press XXXVI (pages 86–8).$8,000
6.Barbarian Press. Elsted, Crispin. UTILE DULCI. The First Decade at
Barbarian Press, 1977 to 1987. A History & Bibliography. Mission, BC,
988. 6 × 0. 52 pages. Illustrated with photos and pressmarks, several
of them engraved by John DePol. Cloth and DePol patterned boards,
paper label. John DePol’s copy with his bookplate. Fine association
copy. One of 150 copies, printed in terra cotta and black from handset types
on Mohawk superfine.$400
7.Barbarian Press. Spenser, Edmund. PROTHALAMION & EPITHALAMION. The Wedding Songs of Edmund Spenser. Wood Engravings by
Simon Brett. Mission, 998. 5 × 9. Tipped in wood-engraved frontis, (38)
pages. Quarter red cloth and patterned boards. Fine with prospectus. One of 100 numbered copies. Three engravings by Brett. Calligraphic
initials in red. A lovely edition printed in Cancelleresca Bastarda.$300
8.Barbarian Press. Elsted, Crispin. A NATURAL HISTORY OF SURPRISE. Four Poems & an Essay. (Mission), 2002. 6½ × 0. Tipped-in
wood engraved frontis by Peter Lazarov, 20 pages. A portion of the
engraving is repeated on the board covers. Fine. Crispin, in addition
to being a fine letterpress printer, is a published poet and a Shakespearean
actor. One of 120 signed copies printed in Van Dijck type in several colors on
dampened Barcham Green handmade papers.$50
9.Barbarian Press. Elsted, Crispin. HOI BARBAROI: A Quarter-century
at Barbarian Press. Essays by Simon Brett, Robert Bringhurst, Jan
Elsted, and Sjaak Hubregtse. A photographic essay by David Evans.
Mission, 2004. Two volumes. 9 × 2. vi, 33, (3) pages illustrated. With
9 tipped-in original leaves and wood engravings. Quarter black silk
and printed boards. A red silk tray case holds 32 pieces of ephemera: prospectuses (mostly), keepsakes, broadsides, a catalogue, and
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a bookplate—all fine examples of Barbarian typography. Both are
housed in red silk slipcase. Fine. One of 60 deluxe copies, signed by the
Elsteds. Utile Dulci is reproduced in this bibliography.$,200
10.Bates, Wesley. Wilson, Alexander. THE FORESTERS. A poetic account
of a walking journey to the Falls of Niagara in the Autumn of 1804. Newtown: Bird & Bull Press, 2000. 6 × 9¼. xx, 22 pages including 3 full
page wood engravings by Bates printed from the original blocks.
Quarter chestnut morocco, slipcase. Fine. One of 150 numbered copies.
Known for his American Ornithology, Wilson’s account of this journey
was first published in book form in 1818 in Newtown. Wesley Bates is one of
the finest Canadian wood engravers.$400
11.Benson, John Howard. FLAGS OF THE OLD STATE HOUSE AT
NEWPORT R. I. Wood engravings in color by John Howard Benson. Newport: Old State House Inc., (942). 6 × 9½. (2) text pages, 8 leaves
bearing 24 engravings. Quarter cloth and decorated boards. Some
glue offsetting in gutters of endpapers, all else fine. One of 150 signed
copies printed by Benson on fine French paper at his Berry Hill Press.$50
12.Bewick, Thomas. AESOP’S FABLES. A PORTFOLIO OF WOOD
ENGRAVINGS. 30 Fables from Thomas Bewick’s Works, Vol. IV (Memorial Edition). (Glencoe, IL), 974. 0 × 8. The thirty engravings, printed
from the original blocks on Troya paper, are encased individually in
a folder/mat with the title and couplet verse printed on the folder in
red. With a booklet containing Introduction, Index, Fables text, and
colophon. Housed in a pastepaper slipcase. Fine. One of 100 signed
sets printed by Letterio Calapai. Bewick, with his white line engraving on
endgrain, is considered the “father of woodengraving.”$400
13.(Bible Leaves) THE AMERICAN BIBLE, Original Leaves from Rare and
Historic Bibles printed in the Colonies and the United States during the Seventeenth, Eighteenth, and Nineteenth Centuries. Preface by Michael Zinman. Ardsley, 993. Four volumes. 22 × 4 inches. 38 original leaves,
each hinged into a heavy mat, printed with the Bible’s title, publisher,
date, and significance. All mats are a uniform size, regardless of leaf
size. In four sturdy cloth tray cases with large red leather labels. Prothe veatchs art s of the bo ok
spectus. Fine. There are lots of “firsts” here. Leaves include the 1663 Eliot
Indian Bible (the first Bible printed in America) and others in indigenous
languages; the first complete Bibles in English, French, Hebrew, and Spanish, and the first New Testaments in Greek, Portuguese, Dutch, and Swedish
printed in America; and from important English-language editions. A curious hieroglyphic Bible printed by I. Thomas is the first for children in this
country. There’s a folio leaf in raised letters—the first American Bible for the
blind. Excellent for teaching and for exhibition. One of 100 sets.
$6,000
Historical Account With Specimens
14.Bidwell, John. FINE PAPERS AT THE OXFORD UNIVERSITY
PRESS. Whittington Press, 999. Two volumes. 0 × 5. 85 pages, 2
photographic plates, tipped-in small specimen, tipped-in leaf, 38 large
paper samples tipped to black paper. Quarter morocco. A portfolio
contains 25 full size sheets (folded twice) of handmade and mouldmade papers, each identified. Both vols. in clamshell case. Fine. XL
of 65 special copies. “. . . a complete historical account of the handmade and
mouldmade papers at OUP from 1900 to 1970” with specimens of vintage
papers stored at the Press. On the manufacture and sale of handmade paper,
fine printing in a consumer society, John Johnson’s typographical adventure,
rising prices and falling profits, origins and specifications of the Oxford
papers; the mills which made them. Tipped-in leaf is from the Oxford/Bruce
Rogers Hesperides series.$2,200
15.Bigus, Richard. THE MYSTIQUE OF VELLUM. Boston: Anne &
David Bromer, 984. 9 × ½. 38 pages. One page of the text is printed
in black, grey, and red—on vellum. Bound by Claudia Cohen in quarter vellum and decorated boards. Fine in tray case. Bigus’ manual
on printing letterpress on parchment and vellum is supplemented with an
introduction by Decherd Turner, and an historical essay on vellum printed
books by Colin Franklin. One of 225 copies printed on handmade paper (and
one page on vellum.
$500
An Extraordinary Copy
16.Binding—Sarah Wyman Whitman. Hawthorne, Nathaniel. THE
HOUSE OF THE SEVEN GABLES. Boston: Houghton Mifflin, 899.
Two volumes. 6 × 8¼. (xiv), 265; 277 pages, 20 plates. Vellum gilt with
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Art Nouveau floral designs and lettering by Sarah Wyman Whitman
on spine and upper cover, top edge gilt. The untrimmed deckles have
a hint of browning. The bindings are almost as new. They’ve been
protected by canvas dust wrappers, titled on the spine, and by a canvas-covered slipcase. The wrappers have some old pinpoint foxing
on the insides. The lightly worn slipcase is intended to sit on what is
usually the spine of the case. One end of the case repeats Whitman’s
design and lettering from the books’ spines. A fine set. No. 52 of 250
copies in the large paper edition. The acclaimed illustrations were created
by twins Maude and Genevieve Cowles. Head pieces and decorated initials
are by Edith and Mildred Cowles.
$750
4½ × 7. Unpaged (about an inch thick). Each page printed within a
pictorial woodcut border by Mary Byfield. Original black pebbled
morocco titled in gilt. Owner’s name in ink in top margin of title
page. Some invisible, professional repairs to spine. Very good, near
fine. This reprint of the 1569 prayer book is considered Mary Byfield’s
masterpiece. Her 100 different borders are based mostly on designs by Tory,
Holbein, and Dürer. Ruari McLean (1963, pp. 10–11) writes “The cuts harmonize perfectly with the type (which is Caslon) and this small volume . . . is
a triumph of printing as well as of illustration and typography.” Printed by
Whittingham and Wilkins at the Chiswick Press. First published in 1853 by
Pickering.$425
17.Bird & Bull Press. BIRD & BULL NUMBER 13. North Hills, 972. 9½ × 6.
70 pages. Vellum and pastepaper boards. Fine. One of 140 copies on
handmade B&B paper. A collection of short pieces including Henry Morris’
instructions for printing dampened handmade paper on a power press; a
letter from Joe Blumenthal printed on paper made from Blumenthal’s linen
pillow cases; a letter from the infamous Dr. Bachaus printed on Henry’s
cannabis paper.$350
21.Boreman, Thomas. Lance Hidy. MORAL REFLECTIONS ON THE
SHORT LIFE OF THE EPHEMERON. Boston: David Godine, 970.
5¼ × 8. 8 leaves with 3 delicate hand colored etchings and two wood
engravings. Cloth with cover label. Fine in tray case with leather
spine label. One of 100 signed copies printed by Hidy in black and red, with
green and yellow ornaments on Amalfi paper. Bound by Arno Werner. An
early Godine imprint, and David’s favorite. Printer’s Choice 40.$800
18.Bliss, Carey. JULIUS FIRMICUS MATERNUS AND THE ALDINE
EDITION OF THE SCRIPTORES ASTRONOMICI VETERES. With
an original leaf printed by Aldus Manutius at Venice in 1499. Los Angeles: Kenneth Karmiole, 98. 9 × 2. 27, (5) pages. Cloth. Collector’s
booklabel on pastedown. Spine faded, else fine. Handsome Aldine leaf
in Roman type, has paragraph marks in red and blue, and a simple 3-line
initial in blue. Worm hole at margin, else fine. One of 164 copies.$650
22.Brahams, Johannes. A GERMAN REQUIEM After Words of the Holy
Scripture for Soloists, Chorus, and Orchestra (Organ Libitum). Np, Warwick Press, 975. 6 × 9½. (7) pages plus 4 mounted linoleum cuts
hand colored by Carol Blinn. Green morocco and pastepaper boards.
Fine. One of 45 copies, signed by Blinn. This copy not numbered. Printed on
pale green handmade paper in Cochin type.$375
19.Bolton, Claire. DELITTLE 1888–1988. The First Years in a Century of
Wood Letter Manufacture, 1888–1895. Oxford: Alembic Press, 988. 7½ × 0.
63 pages illustrated with type specimens (some on colored paper and
tipped in). Quarter cloth. Fine. One of 145 copies printed letterpress. This
history is based on the company’s copious records.
$250
Mary Byfield’s Masterpiece
20.Book of Common Prayer. THE BOOK OF COMMON PRAYER . . .
together with the Psalms of David. . . . London: R. and A. Suttaby, 863.
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23.Bringhurst, Robert. THE BLUE ROOFS OF JAPAN. A score for interpenetrating voices. William Hofer, 986. 7½ × . 9 leaves, French-fold.
Blue wraps side-stitched Oriental style. Fine. In this “poem for two
voices,” one voice is printed in blue and the other in blind on the lefthand side of each double spread. This text is reversed on the righthand side. One of 150 signed copies printed at Barbarian Press (who issued
the book also under the Barbarian imprint, on different paper, in an edition
of 100). “Blue Roofs required a more particular attention to the problems of
design and printing than any previous production. . . .”
$200
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24.Buckland Wright, Christopher. TO BEAUTY. JOHN BUCKLAND
WRIGHT’S WORK WITH JOSEPH ISHILL OF THE ORIOLE
PRESS. Denby: Fleece Press, 2007. 6 × 9. 56 pages illustrated including 5 wood engravings printed from the original blocks. Half cloth
and marbled boards. Fine in tray case. Some of Buckland Wright’s most
exquisite engravings were created in the 1930s for the Oriole Press. The artist
and the printer never met (the Press was in the U.S.), but corresponded over
the course of five books. One of 246 copies.$255
orate ceremonial object is loose in paper folder. Half red morocco
and boards with ceremonial inset on cover. The second volume
(half cloth and boards) contains 20 more elaborate and larger (some
folded) tipped-in specimens. Fine set in slipcase. One of 50 specials with
the portfolio of rarer papers. These ritual papers have varies uses: Bank of
Hell notes and paper clothing are burned at funerals; prints protect various
rooms of the house. There are prayers for protection to specific divinities.
New Year’s woodcut prints of the Eight Immortals hang in doorways for
good luck.$900
25.Caliban Press. BRUCE ROGERS SELECTED LETTERS 1915–1918.
Np, 988. 6 × 9½. viii, 6 pages, 5 illustrations. Calf spine, boards
printed with the Tory “B.” Slight wear to spine, but fine. No. 22 of
190 copies. Candid letters to H. W. Kent, Ruth Grannis, Emery Walker, and
Sydney Cockerell.
$35
26.Canadian Small Presses. WAYZGOOSE ’84 ANTHOLOGY. A collection of signatures produced by Private Press Printers & bound by Hand
Bookbinders. (Grimsby, 984). 5½ × 8½. There are 20 gatherings, by as
many private presses, in a great variety of styles, types, papers, texts,
and illustrations. The gatherings range from 4 pages to 2 pages.
Bound in grey buckram titled on cover; the plain spine has a small
spot as if a sticker was removed, all else fine. Al Purdy’s (Canadian
poet and contributor to this volume) copy, signed by him. Some of the
presses are Aliquando, All Sorts, Barbarian, Branstead, Eden, Imprimerie
Dromadaire, Ontario College of Art Press, Pie Tree Press & Type foundry.
Wesley Bate’s West Meadow Press makes its first appearance here. The 5
poems by Jane Berland are accompanied by 5 wood engravings. Signed by
Bates and Berland. Jim Rimmer’s 12-page signature is printed in the first use
of his Juliana type. Ontario College submitted 8 examples of student work,
in a handmade paper folder. About 120 copies were made.$600
27.Cave, Roderick. CHINESE CEREMONIAL PAPERS: An Illustrated
Bibliography. Lower Marston Farm: Whittington Press, 2002. Two
volumes. 0 × 5. 62 pages with 38 colorful ceremonial papers: mock
money, prayer sheets, even a paper bowl, some gilded, some with
cut outs. Most specimens are tipped-in; one is in rear pocket; an elabthe veatchs art s of the bo ok
Item 28. Cheloniidae. Lawrence.
28.Cheloniidae Press. Lawrence, D. H. TORTOISES, SIX POEMS. (Williamsburg), 983. 8 × . Etched portrait, 25 leaves with 8 wood
engravings of turtles by James Alan Robinson. Quarter tan vellum
and Japanese paper boards, in vellum and cloth tray case. Fine with
prospectus (signed by Robinson under the engraving). No. 34 of 90
copies on Fabriano Perusia paper with a frontispiece etching of Lawrence
signed by Robinson; with an extra suite of the prints, each signed and
numbered.$650
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29.Cheloniidae Press. Louÿs, Pierre. LEDA, In Praise of the Blessings of
Darkness. (Easthampton), 985. 8 × . (42) pages. Seven erotic wood
engravings and 5 drypoint etchings in color by Alan James Robinson.
Blind-embossed blue paper boards edged with white pigskin. Extra
suite of the engravings and etchings, numbered and signed is laid
with the book into a quarter pigskin traycase. Fine with prospectus.
One of 75 copies signed by Robinson, who printed the etchings on handmade
Gampi. Harold McGrath printed the wood blocks, with letterpress by Wild
Carrot. Bound by Peter Geraty. Translation by David Ball.$,350
An “Incunable” of American Lithography
30.Colden, Cadawallader D. MEMOIR PREPARED AT THE REQUEST
OF COMMITTEE OF THE COMMON COUNCIL OF THE CITY
OF NEW YORK, AND PRESENTED TO THE MAYOR OF THE
CITY, AT THE CELEBRATION OF THE COMPLETION OF THE
NEW YORK CANALS. Printed by order of the Corporation of New
York, 825. 7½ × 9½. Portrait of Colden engraved by A. B. Durand,
v, 2-page Directions to the binders for placing the 47 plates, 408, (2)
pages, 8 lithographic facsimiles. This copy has 46 plates; it lacks one
of the maps of North America. There are 8 engravings by Durand,
and many by Samuel Maverick & Morin. The 29 lithographs by
Imbert include text, views, maps, and autograph letters reproduced
by transfer lithography. Bound by Wilson and Nicholls. New tan calf
spine, label, and corners, with original marbled sides and matching
endpapers. Presentation label on upper cover from “The City of
New York to William W. Gilbert Esquire, Member of the Committee
of Safety in 775 and A Senator of the State of New York. . . .” Some
offsetting from a few plates, some closed tears in folding maps, but
mostly clean and attractive. There are some Gilbert family records
on rear blanks. A very good association copy. A wonderful book which
lays out this amazing celebration in evocative detail. The pageantry culminated with all the Trades, Fire Departments, Military, Societies, Associations, and even Columbia students carrying banners in a grand procession.
144 bookbinders marched with an almost 5-foot tall leather bound book,
preceded by the finishers John Bradford and Isaac Peckham. Two printing
presses “of recent invention” (a Hoe and a Rust & Turney, drawn by four
the veatchs art s of the bo ok
Item 30. Colden.
horses) produced 11,000 copies of an Ode for the Canal Celebration during
the procession. Henry I. Megary carried the banner for the Booksellers, Stationers, & Music Dealers. Great care was taken with the production of the
book. It is finely printed on paper watermarked “John Butler.” Imbert’s lithographs and their technique receive special mention.
$900
31.Cox, Morris. CRASH! AN EXPERIMENT IN BLOCKMAKING
AND PRINTING. London: The Gogmagog Press, (963). 4¼ × 7½.
26 leaves, joined at fore edges, including 8 double page color prints.
Plain brown wraps. Fine. One of 80 copies, signed by Cox. “This little
book utilizes a series of blocks made from odds and ends of waste material,
printed on a home-made press” (introduction). The title comes from a (carefully) broken beveled glass circle as the basis for a Sun block. Brief notes
describe the process for each print. Chambers 11, pointing out that Crash! is
a “survey or anthology of his discoveries across several years.”$575
32.DePol, John and Cathleen Baker. ENDGRAIN DESIGNS AND REPETITIONS. The Pattern Papers of John DePol. Tuscaloosa: Legacy
catalo gue 74
Press, (2000). 5½ × 0. x, 54 pages plus 5 original patterned paper
specimens mounted. Quarter cloth and patterned boards bound by
Gray Parrot. Fine. Each of the 117 designs is displayed as a single block
titled in red, and then shown in a repeat pattern. Seven pages are devoted to
a history (date, inspiration, etc.) of the designs. One of 130 copies signed by
De Pol and by Baker.$225
33.(DePol) Heyen, William. THE SHORE. (Roslyn), Stone House Press,
99. 6 × 9. 27 pages. Two original wood engravings printed in green,
by John DePol. Quarter green cloth, grey cloth sides. DePol’s copy
with his bookplate on pastedown. One of 85 copies bound in cloth (of
170) signed by poet and artist.
$0
34.Dickens, Charles. A CHRISTMAS CAROL, or, The Miser’s Warning,
a Drama in Two Acts Adapted from Charles Dickens’ celebrated work by
C. Z. Barnett. Mission: Barbarian Press, 984. 7½ × . xii, 49 pages
illustrated with wood engravings by Edwina Ellis. Red cloth, large
cover label, red cloth slipcase (slightly soiled). Fine. One of 350 copies.
The first illustrated Barbarian book.$85
35.Dickens, Charles. THE CHIMES, or Some Bells That Rang an Old Year
Out & a New Year In, a Goblin Drama . . . adapted . . . by Mark Lemon &
G. A. a’Beckett. (Mission): Barbarian Press, 985. 7½ × 0½. xi, 72 pages
with wood engravings by Colin Payton. Cloth with spine and large
cover labels. Fine in slipcase. One of 150 copies.$50
36.Double Elephant Press. Michael Kuch. A SPHINX’S FIELD GUIDE
TO QUESTIONABLE ANSWERS. Asparagus Valley (Hadley), 2004.
7½ × 0. 6 leaves, 6 of which are fold outs, plus a coded spinning
wheel. Printed in several colors on Japanese handmade paper.
Printed wraps, in a heavy flax paper chemise. Fine, with prospectus.
One of 150 signed and numbered copies. A marvelously inventive, colorful,
exuberant work—unriddle the riddles, solve the cryptogram, septsec the
circumference of the a circle, and behold the sacred geometry of the Great
Pyramid. Lavishly illustrated with wood cuts by Michael Kuch. The text,
impeccably printed by Art Larson, is set in 19th century wood type from
the veatchs art s of the bo ok
Item 35. Dickens. Chimes.
his collection; a separate sheet identifies the type faces used. Book, Art,
Object page 154.$,200
37.Dwiggins, W[illiam] A[ddison]. John Keats. TO AUTUMN. (Hingham: Püterschein-Hingham, 95). 7½ × 6½. Title plus 3 leaves
printed rectos only, from WAD’s calligraphy. Three-color illustration
on title. Green wraps printed in yellow. Fine. According to a prospectus,
200 copies were done.$75
38.Dwiggins, W[illiam] A[ddison]. PRELUDE TO EDEN. A Drama for
Marionettes. (Hingham: Puterschein-Higham), 956. 7 × 8. 32 pages.
Thirty illustrations in a variety of colors and silver. Quarter green
paper and aluminum boards. Lower cover has a few scratches; light
foxing to endpapers; slight separation between gatherings before
half title, else very good. One of 175 copies. Dwiggins wrote the play and
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made the marionettes, which were photographed. Typography, printing,
silk-screening, and binding by Dorothy Abbe.
$50
39.Dwiggins, W[illiam]. A[ddison]. THE GLISTENING HILL. Athalinthia III. Püterschein-Hingham, 950. 5¾ × 7½. Double spread title,
30 pages. Pink wraps, silver foil wrap-around label with illustration stenciled in red. Very good. Printed by Dorothy Abbe in WAD’s
Winchester type. Pen and ink drawings by WAD in black, blue, green, or
lavender.$50
40.Dwiggins, W[illiam]. A[ddison]. THE WAR AGAINST WAAK. Bellona. (Püterschein-Hingham),948. 6 × 7½. (33) pages. Illustrated
with 2 designs by WAD, of which seven are watercolors executed
with stencils (pochoir) cut by the author/artist. Printed turquoise
paper over boards. A bit dusty, very good. One of 194 copies printed and
bound by Dorothy Abbe at the Press of the Little Red Hen, this is the fifth
story in Athalinthia.$300
41.Dwiggins, William Addison. Thank you card with large stencil ornament in three brilliant colors by pochoir. Hingham, 952. 5 × 6½. 4
pages, printed on first and last pages. Interior blank pages have a few
small spots. Very good. Uncommon piece of quintessential WAD.$25
42.Dwiggins, William Addison. Shimer, Florence. TWELVE POEMS.
(Hingham: Püterschein-Hingham, 950). 6 × 8¼. Stenciled title page
in purple and green, (5) pages. Blue boards, wrap-around label. A
fine copy in the original shipping carton, which is worn. Inscribed
by both Dwiggins and Dorothy Abbe to Edward A. Karr, a fellow
calligrapher. Laid in is a typed note signed from Abbe to Carr on letterhead designed by WAD.
$85
43.(Dwiggins) Abbe, Dorothy. STENCILLED ORNAMENT & ILLUSTRATION. A Demonstration of William Addison Dwiggins’ Method of
Book Decoration and Other Uses of the Stencil, together with A Note by the
Artist. Hingham: Püterschein-Hingham, 979. 6½ × 0. ix, 74 pages.
Illustrated throughout in black and white, with several pasted in
photographs. Quarter cloth and boards. Fine. One of 120 copies.$400
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Item 44. Ex Ophidia Press.
“An Italy of the Mind”
44.Ex Ophidia Press. Gioia, Dana. JOURNEYS IN SUNLIGHT, Poems.
Etchings by Fulvio Testa. 986. 8 × 3. 23, () pages, tissue guards. Laid
in note about the binding. Morocco spine and delicately marbled
boards. Fine in glassine and tray case. “An Italy of the mind,” with
three “rich, meditative” etchings which are the perfect accompaniment to these poems inspired by Italy. One of 90 copies signed by poet
and artist. Printed by Gabriel Rummonds with an Albion hand press on
dampened handmade Magnani paper. Plain Wrapper Press #42. Artists
of the Book 988, A Facet of Modernism #26.$,200
45.Feather, John. ENGLISH BOOK PROSPECTUSES, An Illustrated History. Newtown: Bird & Bull Press, 984. 6 × 9½. 09 pages. Quarter
morocco, “Dutch gilt” paper boards by E. G. Parrot, slipcase. Illustrated with 24 facsimile prospectuses in the original size; those too
catalo gue 74
large for the book are contained in a separate portfolio. Fine. One of
325 copies printed at the Bird & Bull Press.$85
illustrated, plus 8 tipped in color reproductions. Boards, dust jacket.
Near fine. Written with the paper collector Olga Hirsch.$250
46.Fleece Press. MUD WALLS. Exerpts from the Sermons of John Donne.
With 5 wood engravings by Jane Lydbury. (Wakefield), 986. 6½ × 9½.
(ii), 6 pages. Brown boards, printed labels. Fine, with prospectus.
One of 200 copies.$50
52.Hamady, Walter. PAPERMAKING BY HAND. A Book of Qualified
Suspicions. Minor Confluence, WI: Perishable Press, 982. 7 × 0½.
(2), 42, (3) pages. Illustrated with linocuts by Jim Lee. Irish linen,
blind stamped title. Fine. One of 200 copies printed by Walter Hamady.
Title page calligraphy by Hermann Zapf. Printed in five colors on 13 various
Hamady Shadwell papers and 6 from other makers/mills. Illustrated, with
one of the engravings signed by Walter Hamady. A Century for the Century 87.$,600
47.Franklin, Colin. EXPLORING JAPANESE BOOKS AND SCROLLS.
(San Francisco): BCC, (999). Folio. 56 pages. Illustrated with 93
color plates. Index. Blue cloth, sides cover with Japanese print. Fine
in slipcase, with prospectus. One of 450 copies printed at the Artichoke
Press.
$200
48.Gehenna Press. Gardner, Robert G. A HUMAN DOCUMENT. Northampton, 964. 6 × 9½. (5) pages. Wood engraved crow headpiece,
owl press mark, pomegranate pressmark, some shaped typography.
Wraps. Fine. With a signed proof of the crow on Japanese paper laid
in. One of 500 copies; this signed “printer’s copy. Leonard Baskin.” (The
edition was not signed.) A moving story by this filmmaker.
$50
49.Gehenna Press. James Baldwin. GYPSY & OTHER POEMS. (Leeds),
989. 9 × 2. (24) pages. Copperplate portrait of Baldwin by Leonard
Baskin, numbered and signed. Pomegranate pressmark in red. Pastepaper boards by Claudia Cohen with red morocco spine and cover
labels. Some tips lightly creased, but fine. First edition. One of 325 copies
signed by Baskin. In this copy the etching is numbered, but not the colophon.
Printed by Wild Carrot Letterpress on Magnani handmade paper.$250
50.Grace Hoper Press. COMMON PLACE BOOK SIX. Aptos & Woodside, 983. 8 × ½. 48 pages. Cloth and boards. Fine in dj. Each page
prints a delightful quotation, displaying a wide range of typefaces
and ornaments in various typographic settings. One of 275 copies,
printed in red, blue and black, with colored illustrations.$75
51.Haemmerle, Albert. BUNTPAPIER. Herkommen Geschichte Techniken
Beziehungen zur Kunst. München, (977). 9½ × . 255 pages copiously
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53.Hassall, Joan. DEAREST SYDNEY. JOAN HASSALL’S LETTERS TO
SYDNEY COCKERELL. (Wakefield): Fleece Press, (99). 6½ × 0½.
67 pages. Cloth and patterned boards. Fine. One of 220 copies.$25
54.Hopkins, Kenneth. SHE IS MY BRIGHT AND SMILING SHY
DEAR. (Easthampton): Warwick Press, 985. 8½ × . (0), –63, ()
pages printed rectos only. Japanese paper boards. Fine. One of 75 copies signed by Hopkins and Carol Blinn, who designed, printed, bound, and
illustrated the volume with four water colored drawings. A significant and
lovely piece.$400
55.Hutner, Martin. THE MAKING OF THE BOOK OF COMMON
PRAYER OF 1928. Sandy Hook: Chiswick Bookshop, 990. 0 × 4.
2 pages. With an original leaf (xix/xx) printed on vellum. Cloth,
leather spine label, slipcase. Fine copy, inscribed by the author. One
of 285 copies, designed by Jerry Kelly. A fascinating history of Updike’s
magnum opus. J. P. Morgan sponsored a competition to design and print
this book. Bruce Rogers was the unsuccessful competitor, and some of his
designs are illustrated here. The leaf is “Lessons for the Christian Year,”
with columns of Bible readings for each day.$450
56.Italian Block-printed Papers from Remondini/Rizzi and others.
Twenty decorated paper specimens. Varese, late 9th and early 20th
century. 2 Remondini/Rizzi (one duplicate, one pattern twice but
in different colors); 6 Rizzi; 3 smaller, later, unidentified specimens.
catalo gue 74
A few have penciled numbers in the margin. The patterns measure
6½ × 3½ on a sheet 20 × 6. The six Rizzi papers are stamped “Made
in Italy” on back. These would have been exported after the McKinley tariff act of 890. The 2 Remondini/Rizzi papers bear the oval
blind-stamp (in the margin) “Stampi Remondiniani PESP.” Seven are
printed in a single color (ochre, red, or blue). Two are printed in two
colors; two are in three colors. Designs range from large floral to tiny
repeat stars. There’s a large floral stripe, cherries enclosed in checker
boards, interlocking medallions, a diaper pattern with dots and flowers. Very good condition. The Remondini firm, established in Bassano in
1650, was renowned for its wood block and copper prints and block-printed
papers. They dominated the market, employing a thousand persons, with
38 printing presses, a paper mill, die foundry, and a trade school of woodcarving. When the Remondini firm closed in 1861, 4 noble families rescued
about a thousand of the old blocks. They granted Giuseppe Rizzi of Varese
(hence the tern “Varese papers”) a license to print them—if he used the original methods. The blocks were printed by hand, with a separate block for
each color; some were inlaid with metal for more intricate detail. The colors
were from vegetable dyes. Such papers carried the embossed stamp (PESP
stands for last names of the noblemen). The last Rizzi died in 1939; and the
blocks were never used again. Information about the Remondini company is
from Tanya Schmoller, Remondini and Rizzi.
$,800
Item 41.
Dwiggins. Thank you card.
57.James, Angela. THE ART OF BINDING BOOKS. Illustrated by
Anthony Christmas. (Wakefield), The Fleece Press, (99). Miniature,
¾ × 2¾. 27 leaves. Floral cloth, unpaged. Fine. One of 290 set in 8pt
Van Dijck at the Rocket Press.$60
58.Keats, John. THE EVE OF ST. AGNES. Wood engravings by Andy English. Barbarian Press, 2003. 5 × 7. Frontis and 4 other engravings, (24)
pages. Purple cloth and boards patterned in purple and silver. Fine.
One of 115 copies printed in black and purple.$200
59.Kinney, Arthur F. BIRDS AND BEASTS FROM SHAKESPEARE.
Illustrated with wood engravings by Alan James Robinson. Cheloniidae
Press, 990. Folio, 0½ × 6. Etched frontis signed, i–(v), 87 Frenchfold pages. Twenty-one birds and 7 animals are depicted in one or
the veatchs art s of the bo ok
Item 111. Whittingham.
catalo gue 74
Item 107. Village Press.
Item 69. Mason Hill Press. Traherne.
Item 16.
Binding. Whitman.
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Item 99. Shakespeare Head Press. Froissart
catalo gue 74
Item 40.
Dwiggins.
The War Against Waak.
more engravings (55 engravings in all). Each page is set within a red
rule border. The appropriate line from Shakespeare is also printed
in red, with more quotation and commentary in black. Bound in full
citron morocco, titled in gold on upper cover. With an extra suite of
the engravings, in cloth portfolio, numbered and signed. Both volumes in cloth tray case with leather spine label. Fine, with prospectus. One of 100 copies bound in full leather, signed by Robinson. (The total
edition was 155, with 100 copies in full leather.) Printed by Harold McGrath
in Centaur and Arrighi types, on a sheet “the exact untrimmed size of the
First Folio.” Bound by Sarah Creighton and Claudia Cohen. Professor Kinney directs the center for Renaissance Studies at UMass. His introduction
discusses the importance and the prevalence of animal imagery in Shakespeare’s works.$3,750
60.Koch, Peter. REAL LEAD DEEP DRIVE LETTERPRESS. (Berkeley):
Hormone Derange Editions, (200). 5 × 0. (36) pages. Three-quarter
cloth and printed boards. Fine. Antique metal and wood type specimen
book. An amusingly arranged collection gathered from defunct California
businesses, the advertising cuts and electrotypes are display with humorous
text. One of 100 copies.$250
What Wood Engraving Can Do Today
Item 39. Dwiggins.
The Glistening Hill.
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61.Lazarov, Peter. PETER LAZAROV, A Selection of Engravings with an
Introduction by the Artist. (Mission): Barbarian Press, 2003. 0½ × 5.
 text pages on cream Zerkall paper, color frontis and 47 leaves of
wood engravings in black on white Zerkall paper. Quarter morocco
and patterned boards, in matching slipcase. With a proof of the large
frontis printed in a different color and signed. Fine. One of 60 deluxe
copies. (There were also 135 regular copies.) Some of the engravings are
abstract; a number of them are for bookplates; three were commissioned for
this book. “In our field, [Peter Lazarov] is the great virtuoso of the age. . . .
[His work] seems to live a life of its own, dancing between image and
abstraction, surface and depth, the modelled and the line, the sketch and the
fully resolved, to be always a pyrotechnic display. . . . With this book, however, one can begin to push aside dazzlement and sense what lies beyond
catalo gue 74
Item 61. Lazarov.
it. It is essential reading and viewing for anyone who wants to know what
wood engraving can do today”—from a review by wood engraver Simon
Brett.$700
62.(Leaf Book) De Vinne, Theodore. ALDUS PIUS MANUTIUS. With
an essay by Theodore Low De Vinne together with a leaf from the Aldine
Hypnerotomachia Poliphili printed at Venice in 1499. San Francisco:
BCC, 924. 8 × ¾. (6), leaf, (25) pages. Illustrations in the text.
Cloth-backed boards. Spine silverfished, upper tips bumped and worn,
contents fine. One of 192 copies printed by the Grabhorn Press on handmade paper. The leaf (numbered 124 by hand) is in fine condition. It has two
quarter-page woodcuts: the vertical cut shows a cupola above an entrance to
a crypt; a horizontal cut, on the verso, shows a sarcophagus with three lines
of inscription beginning “Interno Plotini.” One of the world’s celebrated
books, the Hypnerotomachia Poliphili is renowned for the perfect integration of text and woodcut illustration.$850
63.Lee, Brian North. THE BOOKPLATES OF RICHARD SHIRLEY
SMITH. Fleece Press, 2005 (actually 2006). 6 × 9½. 0 pages. Numerous illustrations, including 9 from original wood blocks. Quarter
cloth and wood veneer boards, slipcase. Fine. One of 275 copies. With a
checklist of 65 bookplates.$275
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Item 62. Leaf—Aldine.
catalo gue 74
Two Harmless Drudges
64.Littlejohn, David. DR. JOHNSON AND NOAH WEBSTER. Two Men
& Their Dictionaries. SF: Book Blub of California, 97. 0 × 2½. 84
pages. Quarter cloth and boards, leather spine label (rubbed). With
matching original leaves from their two dictionaries. Lower cover
very slightly scratched. Very good copy. One of 500 copies. Tipped in is
matched pair of original leaves (letter “A” ) from Johnson’s 1755 A Dictionary of the English Language and Webster’s 1828 An American Dictionary of the English Language.
$250
Flip Book for Adults
65.Macgregor, Miriam. COUNTRY CHAOS. Andoversford: Whittington Press, 980. 6 × 7½. 6 pages, each leaf cut horizontally into 3
parts. With 6 vinyl engravings by Macgregor showing the fronts
and backs of 8 colorful country characters. Printed boards with
engraving on cover. Fine in slipcase. No. 15 of 30 copies hand colored by
the artist (total edition was 630). A delightful flip book for adults.$600
66.McGovern, Melvin. SPECIMEN PAGES OF KOREAN MOVABLE
TYPES. Los Angeles: Dawson’s Book Shop, 966.  ×½ × 6½. Frontis, 73 pages. Original cloth-backed boards covered with a special
handmade Korean embossed paper. Cloth slip case, with a little joint
and extremity wear. Two previous owners have pasted descriptions
etc. on 3 pages; of value is a full page prospectus from Dawson’s as
well as a letter describing how to identify original vs. facsimile specimens in this particular copy. The first owner has underlined some
text in ink on three pages and has a small date note in ink at the foot
of two pages. Book is in otherwise fine condition. Copy 126 of 300 copies. Pages 9–18 provide a brief history of the development of Korean moveable type. Following this, are 22 specimens (from 1420 to 1858) each using a
different font with a facing page of descriptive text. In this copy there are
15 original and 7 facsimile specimens; the earliest original is Specimen 5
from 1484. The first 95 copies had 22 original specimens. The succeeding copies had fewer and fewer specimens as the copy number went up., e.g. copy 176
had only 3 original specimens.$6,000
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Item 67. Mackley.
67.Mackley, George. Colt, Armida Marie-Theresa. WEEDS AND WILDFLOWERS. Some Irreverent Words. With Wood-Engravings by George
Mackley. London: Two-Horse Press (965). Two vols. 9 × 2. 54 pages
with  engravings. With a separate suite of the engravings on Japanese paper, laid into a matching portfolio. One of the loose prints
has 4 small holes away from the image (paper defect?). Green cloth
spines, handmade yellow Japanese paper boards, slipcase a bit toned
from acidic paper. A fine set. One of 250 numbered sets, printed by Will
Carter at Rampant Lions. Printed in lovely 16pt Arrighi type on Turkey
Mill paper. Signed by the artist. Exhibited at The Grolier Club as one of the
best books created in the twentieth century. “The delicate and refined Arrighi typeface is the perfect complement to Mackley’s senisitve and detailed”
engravings. A Century for the Century 69.$,000
68.Mason Hill Press. Ditmas, K[itty]. K[ouwenhoven]. COUNTRY
POEMS. Woodcuts by James Dignon. Pownal, 969. 4¾ × 7¾. (4),
, () pages with 5 color woodcuts of the Vermont countryside
mounted in the text. Cloth with title label. Few touches of foxing,
trace of white paint on bottom edge, near fine. Warm inscription
catalo gue 74
from the author. The first book of the press, and scarce. According to the
colophon, Dignon printed 400 copies on Rives paper. This is copy number 53.
It is unlikely that all the sheets were bound up.$300
69.Mason Hill Press. Traherne, Thomas. ONE HUNDRED MEDITATIONS & DEVOTIONS, Comprising the First Century of Thomas Traherne 1637–1674. (Pownal), 975. 7½ × 0. 54 pages, with 99 large initials
hand painted by Mark Livingston in red, blue, or green. The first
line of text is engraved in wood and printed in red. Bound by Arno
Werner and Tara Devereux in quarter vellum and blue boards. Fine.
One of 75 copies printed in Palatino on dampened handmade Hayle paper
by James Dignon and Mark Livingston. Dignon writes “This must be the
closest set book in history . . . Because of all the initials you need the strong
blacks—we wanted it solid to resemble the early manuscripts.”$,250
70.Moser, Barry. “ABM ætat 32.” Self portrait etching in black. Circular
etching 9½ inches in diameter on a sheet measuring 2 × 6. Signed
artist’s proof.
$200
71.Moser, Barry. LEONARD BASKIN 1922–2000. Barbarian Press, 2000.
6 × 9. Tipped-in wood engraved portrait of Baskin, signed by Moser,
3 leaves. Wraps titled on cover. Fine. One of 150 copies.$35
“A Lyric Delicacy of Great Refinement”
72.Officina Bodoni. Ovid. AMORES. Verona, 932. 6¼ × 9½. (0), –34,
(8) pages. Original oatmeal cloth, spine and upper cover titled in gilt;
top edge gilt. In original dust jacket, professionally repaired inside
the spine which is darkened on the outside. Oatmeal cloth slipcase
has some hand soil and two small spots, very good condition. The
book is in fine, almost new condition. One of 120 numbered copies on
Magnani handmade paper. Printed in Warde’s Arrighi-Vincenza italic for
which Mardersteig commissioned Charles Malin to cut a smaller size of the
capital letters; with initials in red, hand done by the calligrapher/scholar
Claudio Bonacini. “The beauty of the type and the paper, and the perfect
printing and spacing of Ovid’s verse, combine to create a lyric delicacy of
great refinement.” A Century for the Century No. 31.$5,000
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Item 73. Officina Bodoni. Gide.
73.Officina Bodoni. Gide, André. THESEUS. ( James Laughlin, New
Directions, 949). 9½ × 3. 04 pages plus 2 lithographs by Massimo
Campigli. The first lithograph is signed and laid in loose. White
paper wrapper titled in black, covered with glassine (which is missing a small piece). The book is fine, in new slipcase. Inscribed “ex
dono JL” ( James Laughton), this copy was for Dudley Fitts. Translated into English by John Russell from Gide’s revised edition. The book is a
pleasure to handle and to read. No. 98 of 190 copies printed by Mardersteig
on Magnani handmade paper in Garamond type. (There were also 10 copies
on Fabriano). “This copy printed for Dudley Fitts” is printed in the colophon. Fitts was best known for his translation of Greek classics. Massimo
Campigli “is one of the most prominent contemporary Italian painters to
occupy himself extensively with book illustration, in which he adapts his
characteristic types and compositions to the locale of the story.” The Artist
and the Book 860–960 page 39.$2,500
74.Pennyroyal Press. A FAMILY LETTER, Written in Nineteen Thirty-Two
by George Moser to his Nephew Arthur Moser. Easthampton, 979. 0 × 7.
catalo gue 74
(32) pages. Wood engraving of the family sword, on japanese paper
(8 × 4), overlays the double-spread title. Boards. Two tiny dings to
board edges, fine. One of 175 signed. Engraving of sword is signed also.
Letter is printed in black with Barry Moser’s commentary alongside in red.
Moser writes “My father died when I was an infant. The strongest attachment I have to him is this letter. . . .” Pennyroyal Checklist 21.$25
The Only Bible Illustrated by a Single Artist
75.Pennyroyal Press. THE HOLY BIBLE. Containing all the Books of the
Old and New Testaments. West Hatfield, 999. Two volumes.  × 6.
87, 247, 09, (5-page list of illustrations); 234, (4-page list of illustrations) pages in double columns. Illustrated throughout with engravings by Barry Moser. Full vellum titled in gold. Each volume in a
cloth tray case. A fine set, signed by Moser. The Pennyroyal Caxton
Bible is the only edition of the Bible to be illustrated by a single artist.
For this beloved King James version, Moser created over 235 full page and
smaller engravings on resingrave blocks. The large opening “God” and the
final “Amen” cut by John Benson are printed in red, as are the initial letters
throughout. Bound by Claudia Cohen and Sarah Creighton. One of 400 copies (and 25 printed on vellum).
$2,500
76.Prickly Pear Editions. BILLETS-DOUX, Being an exquisite Nosegay, or
Posy, now newly pluckt from popular Letter-writing Manuals of Yore. Np,
998.7 × 9. 20 pages delicately decorated (mostly by pochoir). Several
leaves are scalloped in imitation of stationery. Gold cloth with ornamental label inset on upper cover. Fine with prospectus. A gem from
the collaboration of Coriander Reisbord (decorations and binding) and Asa
Peavy (typography and printing). These love letters come from three early
c19 texts. One of 45 copies.
$325
77.Randall, Karen Pava. INFANTS OF THE SUN. Easthampton: Propolis Press, 200. 7 × 9. Nine french-fold leaves with nine relief images.
Bound by the artist in Japanese paper dyed a saffron yellow, side
stiched, titled with wood type and bearing a large color monotype;
in a black cloth tray case topped by a small glass bee. Exhibited in the
juried show “Girl Printers.” No. 21 of 52 copies. Printed on Hosho paper
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from hand set foundry and wood type. The nine relief images are monotypes—differing in every copy of the book. Artist and author Karen Randall
creates a world of alchemical bees and melliferous madness.$325
78.Red Angel Press. THREE POEMS BY HART CRANE from THE
BRIDGE. NY, 2004. 2½ × 7½. Double spread title, 5 text leaves, 3
prints (two double spread), 42-inch fold out with the text of “To
Brooklyn Bridge” and a pop-up construction of the bridge. Textured
cloth, design of suspension cables in silver. Fine with prospectus. The
horizontal format reflects the span of the bridge. The typographic layout of
the foldout forms the bridge’s roadway; it is bordered by a construction of
suspension cables which rise up from the pages when opened. Printed letterpress in 6 colors. One of 100 copies numbered and signed by the artist/printer
Ronald Keller. Beyond the Text #1.$795
79.Red Angel Press. Hawthorne, Nathaniel. SIGHTS FROM A STEEPLE. NY, 988. 9 × 5. A 3-color woodcut By Ron Keller unfolds to 38
inches wide and surrounds the -page text (8½ × 7½). Green cloth.
Fine, with prospectus. The text is a philosophical analysis of a New
England seaport viewed from a chuch steeple. In the woodcut, the viewer’s
perspective is as Hawthorne’s—from the top of the steeple. The book’s structure allows the one to read Hawthorne’s words while sharing his view. One
of 100 numbered and signed copies printed by the artist in black, green and
blue. Beyond the Text 37.$500
80.Red Angel Press. Melville, Herman. ROCK RODONDO. Sketches Third
& Fourth of “The Encantadas.” NY, 98. 2 × 2. 24 pages (6½ × 2)
with embossed birds in flight on the title and half titles. A two-color
woodcut of the Galapagos birds folds out vertically to 2 × 36, with
a facing page of text and key to the birds. Bound by Ronald Keller
in sand-colored cloth painted to resemble breaking waves; the front
pastedown is a cast paper sculpture of the rock and birds in flight.
Fine, with prospectus. One of 100 numbered and copies signed by printer/
artist Ronald Keller. Beyond the Text 52.$750
81.Red Hen Press. Shirley Jones. FALLS THE SHADOW. Six Essays.
995. 2 × 5. Each essay, printed in brown, is preceded by a blindcatalo gue 74
embossed shell and followed by a sepia mezzotint. Mezzotints are
interleaved with Japanese Unryushi. Quarter brown morocco and
cloth by the Gwasg Gregynog bindery, with a brown morocco onlay
of angel-wing shells. Fine in slipcase, with prospectus. One of 40 copies
signed by the artist/printer. Shirley Jones describes this as “a multi-layered
work which explores the gulf between Man’s ideals and the realization of
those ideals.”$985
82.Red Hydra Press. Gunn, Thomas. DEATH’S DOOR. Np, 989. 5 × 7.
(4) pages, gravestone rubbing in taupe. Bound by Paula Gourley in
colorful pastepaper boards, leather spine. Fine. No. 8 of 20 signed copies (of 80) in this binding. Printed in black and blue on Twinrocker handmade paper. Title page calligraphy by Anita Karl.$275
83.Red Ozier Press. Glass, Mark. ANCIENT SONG. Illustrated by Janet
Morgan. NY, (980). 2 × 8. One large sheet folded into thirds. Opens
to 24 inches. One of 10 copies hand-colored by the artist, and signed by
printer and artist. (Total edition was 100.)$50
84.Red Ozier Press. Wright, Charles. FIVE JOURNALS. NY, 986. 7 × 0.
39 pages. Red cloth spine, blue paper boards with title printed in
black. Some discoloration on lower cover, but a fine copy signed by
Wright. One of 5 Artist Proof copies on Amora paper; this is the only one
bound in boards. (The total edition was 100 copies: 25 in boards and 75 in
wraps.)$275
85.Reed, Ronald. THE NATURE AND MAKING OF PARCHMENT.
WITH SPECIMENS OF PARCHMENT. Elmete Press & Dawson’s
Bookshop, 975 & 976. Two volumes. 8 × . Text volume is 96 pages
with 4 illustrations in the text. Quarter vellum and cloth. A cloth
and printed board portfolio contains a title sheet and 9 original
specimens hinged to a sheet printed with descriptive text. Portfolio tips are bruised; all else fine. “The Specimens” is limited to 200 copies, this having 9 original specimens. (Half the sets had 9 specimens; half
had 10.) The specimens here are parchment, vellum, and manmade vellum
substitutes. Earlier specimens are from an antiphonal, an indenture, and a
Mosher Press book. There are unused specimens of sheep parchment, goat
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parchment, parchment made by H. Band & Co.to the specifications of the
Kelmscott Press, and thin manuscript calf. Letterpress describes the nature
and uses of each. Text, limited to 425 copies, covers the history of parchment
from ancient times to the Medieval period.$750
86.Rogers, Bruce. Kenyon, Frederic G. ANCIENT BOOKS AND MODERN DISCOVERIES. Chicago: Caxton Club, 927. 9 × 2¼. (v), 83
pages, 30 collotype plates by Emery Walker. Vellum and marbled
boards. Two tape marks on rear pastedown, slight bump at head,
and wear to lower tips. A very good copy lacking dust wrapper and
slipcase. Penciled note of the collector M. S. Slocum, Pasadena, that
he purchased this from Duschnes in 938. About early books on papyrus, clay, vellum, wood, and bark. One of 350 copies, printed at Rudge on
Kelmscott handmade paper, with head-and tailpieces from various combinations of printers’ flowers printed in brown. One of BR’s 30 favorites. The
Printed Book in America #38.$335
87.Rogers. Adams, Randolph G. THE PASSPORTS PRINTED BY BENJAMIN FRANKLIN AT HIS PASSY PRESS. Ann Arbor: Clements
Library, 925. 9⅛ × 2½. 0 pages plus Aquatone reproductions of
three passports discovered since the 94 publication of Livingston’s
Franklin and His Press at Passy. Cloth-backed marbled boards, printed
spine label. Very slight wear to tips, else a fine copy. One of 550 printed
at Harvard University Press. A BR “favorite 30.”
$00
88.Rogers. Nicholas Breton. THE TWELVE MONETHS & CHRISTMAS DAY. From “Fantastickes.” NY: Clarke & Way, 95. 6 x9. (64)
pages. Full navy morocco, upper cover gilt with design by BR, t.e.g.
Lightly rubbed along joints, else fine in marbled board slipcase. With
prospectus for the regular edition. One of 100 deluxe copies signed by
Rogers Printed on dampened English handmade paper with decorations
in 14 colors. Decorated with Trafton calendar cuts and with 15 ornaments
designed by BR. The only book for which Rogers himself handset the Caslon
type; and the first book from the Thistle Press.$225
89.Rorer, Abigail. Clemens, Samuel L. IS HE LIVING OR IS HE DEAD?
Etchings by Abigail Rorer. Colin Press, (984). Folio, 9½ × 3. Eight
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leaves with 3 etchings in the text, plus 3 hors text prints. Loose as
issued in a folder of stiffened marbled paper with cover label. Lower
tips just slightly creased. Fine. Letterpress text was printed by Darrell
Hyder. Rorer’s etchings were printed by Elena Colin, who also marbled the
cover paper. No. 12 of 100 copies signed by Rorer and Colin. Abigail’s fine
etchings make an interesting contrast to her wood engravings.$650
barian Press, 2007. 6½ × 9. Frontis and 9 other engravings, 78 pages.
Cloth and illustrated boards. Fine. One of 125 copies printed in black and
wine inks.$375
92.Rufinus. THE COMPLETE POEMS, in English Versions by Robin Skelton. Barbarian Press, 997 5 × 9. Twenty-one leaves sewn on vellum
strips and woven into wraps printed in graduated colors from wood
type. Illustrated with 7 erotic wood engravings by Wesley Bates.
Fine. No. 26 of 200 copies signed by Skelton. Printed in Van Dijck and Cancelleresca Bastarda—types suggested by “the elegant music” of the poems.
This is only the second translation of all Rufinus’ poems. The first, published privately and anonymously in 1917, is rare.
$75
A Good Read
Item 90. Rorer.
90.Rorer. ABIGAIL RORER, a Selection of Engravings, with an Introduction
by the Artist. (Mission, BC, 200.) 7½ × 0. Tipped on wood engraved
frontis, 0 text leaves on cream paper, 43 full page wood engravings
on white paper. Three engravings are hand colored, one is folding.
Quarter morocco and patterned boards, in matching slipcase. With
a signed proof of “The Dress Rehearsal.” Fine. One of 60 deluxe copies
(there were also 150 regular copies). Rorer is known for her use of black-line
engraving and attention to minute detail. Three engravings were commissioned for this book.
$700
91.Rorer. Clough, Arthur Hugh. AMOURS DE VOYAGE, An Epistolary
Novela in Verse. Illustrated with wood engravings by Abigail Rorer. Barthe veatchs art s of the bo ok
93.Russem, Michael. A KAT RAN PRESS CHECKLIST. Limited editions
designed, printed, and/or published between 1994 and mid-2012. With an
introduction, occasional comments, and an essay about fine printing. Cambridge, 202. 6 × 9⅜. 60 pages illustrated in color throughout. Bound
by Sarah Creighton in red cloth. Kat Ran Press was founded by Michael
in 1994 with the goal of combining classical typography and contemporary
art with the old ideals of fine printing. Michael’s commentary on his some
80 books is humorous and enlightening. Printed on Mohawk Superfine by
offset lithography. This is one of 40 copies bound in cloth. (There is also a
deluxe leaf-book edition of 10 copies, and a paperbound edition of 300 copies, $40, available directly from Michael.)$80
94.Russian Printers’ Manual. 94. 5½ × 8½. 70 pages with 46 text illustrations. Printed wraps. Four oily stains at spine and in gutters. Good
copy. Text in Cyrillic. Illustrations are typical of 19th c. printing equipment, cases and other furniture, lay of the cases, and room arrangements.
The manual appears to be for handset types; but there are two illustrations
of keyboards. There is no illustration of a printing press.$00
95.Schanilec, Clayton. THE INTRUDER. Stockholm (Wisconsin): Midnight Paper Sales, 2004. 5 × 7½. Color wood engraving by Gaylord
Schanilec on gray paper (opens to 3 inches) shows Clayton fishing
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his favorite pool; 9 pages. Quarter cloth, slipcase. Fine. One of 120
signed copies.$25
96.Schanilec, Gaylord. Logue, Mary. A HOUSE IN THE COUNTRY.
Minneapolis: Midnight Paper Sales, 994. 6¾ × 0. 62, (3) pages.
Quarter leather and marbled boards with separate portfolio, all in
brocade-lined clamshell case. Small typographic bookplate on pastedown. Fine. Three letters (2 autograph,  typed) from Schanilec to
the collector are laid in. One of 50 special copies. With a separate portfolio
of five signed engravings, including one (The Wrong House) not in the regular edition.$800
97.Shaffer, Ellen. THE GARDEN OF HEALTH, AN ACCOUNT OF TWO
HERBALS, The Gart der Gesundheit and the Hortus Sanitatis. SF: Book
Club of California, 957. 9 × 3. 4 pages, original herbal leaf tipped in.
Cloth-backed boards. Collector’s label on paste down. Near fine with
prospectus. One of 300 copies. Folio leaf in two columns bears 4 woodcut
illustrations of capitulum. An early hand has labeled two in English: Indian
quince and poppy. The leaf bears a bull’s head watermark. Original leaf
is from Hortus Sanitatis (Strassburg: Johann Pruss, 1499).$350
98.Shakespeare, William. VENUS &
ADONIS. Wood engravings by
Andy English. (Mission): Barbarian
Press, 2005. 5½ × 0½. 53 pages
with 2 engravings. Green cloth
and patterned boards. Fine copy
of this charming book. One of
135 copies, printed letterpress in
Poliphilus type for narrative and
Blado italic for dialogue.
$300
Item 98. Shakespeare.
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99.Shakespeare Head Press. Froissart, Jean. FROISSART’S CRONYCLES. Translated by Sir John Bourchier, Lord Berners. (Oxford,
927) 8 volumes. 7 × 9½. 486 pages. Decorated with 6 hand colored
maps, heraldic headpieces and tail pieces, and over 600 hand colored coats-of-arms of English, Scottish, and Irish princes and knights
drawn by Paul Woodroffe. Text includes lengthy indices of persons
and places, Holland-backed blue paper boards, paper spine labels
(extra labels tipped-in at rear). With the printed publisher’s note. A
little wear to labels. A fine, beautiful set. One of 350 sets printed by Bernard Newdigate on untrimmed Batchelor handmade paper. One of the three
major works issued at Shakespeare Head Press, which “became the most
mature and sophisticated of the [between war] private presses, producing
some works in the grand manner which are a great pleasure to read and
examine now.” Colin Franklin goes on to say (The Private Presses pp.
147–149) “Newdigate must stand as the best user of Caslon in the history
of book design, of pure typography as adequate in itself.” Froissart’s chronicles, 1322–1400, describes the conditions leading to the Hundred Years War
and the first 50 years of that war, and the age of chivalry. This translation
was first printed by Pynson in 1523.$2,500
100.St. Teresa’s Press. THE DREAM OF THE ROOD. Taken from the Ninth
Century Anglo-Saxon. (Flemington: Carmelite Monastery, 966). 8 × 0.
4 pages, hand colored initials throughout. Quarter calf and Japanese paper over boards, title on upper cover printed in gold uncial
type. Collector’s book label on pastedown. Tiny bit of wear at spine
extremities, else fine. One of 150 copies hand printed in Solemnis and
Palatino Italic, on English handmade paper. The capital letters, based on
those in the Book of Kells, are “black goldless letters filled in with unshaded
colors and designs.” The second book of this press, founded in 1965, which
took its inspiration from the Stanbrook Abbey Press and which produced
exquisite work.$375
101.Stone House Press. CHRISTOPHER COLUMBUS. By Charles Bertin.
Translated by William Jay Smith. Roslyn, 992. 6 × 9½. 85 pages. Six
wood engravings, each in a different color, by John DePol. Dark grey
cloth. Fine. A poetic drama set aboard the Santa Maria, which evolves
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around a series of tempters (the crew-chorus) who “encircle the chief protagonist until he is deprived of all human support and is left alone with God.”
One of 200 copies signed by translator, artist, and printer. Engravings are
based on 15th and 16th century illustrations in Brown Library.
$85
102.Stone House Press. CHECKLIST STONE HOUSE PRESS BOOKS &
EPHEMERA 1978–1988. Compiled by Catherine Brody. NYPL, 989.
6½ × 9½. 3 pages. Cloth and patterned boards. Copiously illustrated with specimen pages. Fine. DePol’s own copy, dated and
signed by him on pastedown. No. 181 of 200 signed copies. John DePol
was the “house artist” for this press. Laid in is a prospectus and a list of
DePol’s copies which he has marked #181 “personal copy.”$50
boards, but fine. Contents are excellent. An attractive specimen showing text layout for various sizes, ornamental material (32 pp.), and sample
display designs using the type and ornaments with several in different color
inks. Between 1909–1913 Weiss Fraktur was used exclusively by Tempel Verlag editions in Leipzig. In 1913 Bauer, with this specimen, made the typeface
available to the public.$20
103.Stoneback, H. R. CARTOGRAPHERS OF THE DEUS LOCI: The Mill
House. Newtown: Bird & Bull Press, 982. 6½ × 9½. 6 leaves. Vellum and pastepaper boards. Fine copy in plain dj, with prospectus.
Inscribed by Henry Morris. One of 240 copies, printed on Dard Hunter’s
1930 Lime Rock paper. Title page drawing of The Mill House by Hunter.
This was the site of his first paper mill.$45
104.Type Specimen. Bauer Type Foundry (Bauerschen Giesserei). HAUPTPROBE. Frankfurt, c. 907. 8½ × . 500 pages (plus 8 subscripted
pages, and 6 section dividers). Original gilt cloth. Binding a little
shaken due mostly to its size (about 2 inches thick). Contents are
excellent, a small corner clipped on title page (? previous owner’s
name); there are no excisions in the specimen. Very good. A wonderful comprehensive specimen in 6 sections. The sections include: job faces,
display faces, italic/cursive faces, numbers and mathematical symbols, and
various decorative material including cuts. One of the largest sections is
titled Spezial-Schriften and appears devoted to their most recent faces and
decorative material—with many contemporary layouts. Among the largest
specimens from Bauer. Rare, OCLC locates only a single copy at the Staatsbibliothek in Berlin.$,500
105.Type Specimen. Bauer Type Foundry. WEISS-FRAKTUR, Die Schrift
des Tempel-Verlags. Frankfurt, 93. Oblong  × 9. 04 pages. Original boards with printed label on upper cover. A little toning to the
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Item 106 Type Specimen. Connor.
106.Type Specimen. James Conner’s & Sons (United States Type Foundry). ABRIDGED SPECIMENS OF PRINTING TYPE, Brass Rule, Electrotypes and Revised Catalogue of Printing Materials. New York, 888.
9½ × 3. (2), 252 pages. Original cloth boards, joints and extremities a
bit worn. Brittle end papers are chipped. Library stamp on introductory page and remnant of old card on rear blank—no other marks.
catalo gue 74
Contents are complete with no excisions, and very good. The first 30
or so pages include price lists, some equipment, and job faces. The bulk of
the specimen is an extensive showing of display faces plus approximately 50
pages of decorative material. A rare specimen from this venerable old New
York City foundry. Annenberg/Saxe note five institutional copies.$,500
tipped-in photographs. Nubby oatmeal cloth with engraving inset.
Harold Hugo’s copy. Fine in slipcase. One of 240 copies. Engravings are
grouped by subject matter: those from a book are captioned; the others are
unpublished. Printed from the blocks in black, blue, or red. With a catalogue
raisonné of published work.$250
107.Village Press. PRINTING. An Essay by William Morris & Emery Walker.
Park Ridge, 903. 7 × 9. 6 pages in black and red. Kelmscott-style
-line woodcut initial, one illustration, tailpiece, and woodcut pressmark. Tan boards titled on upper cover, lightly soiled, chipped at
head of spine. Very good copy. A most appropriate first book from the
Village Press, as Frederic Goudy was inspired by William Morris. One of
231 copies printed by Goudy in his Village type (the first of over 100 faces he
designed) based on Morris’s Golden type.$600
“Chief Typographic Event”of the
Mid-9th Century in the Original Dutch Gilt Binding
108.Wakeman, Geoffrey. GRAPHIC METHODS IN BOOK ILLUSTRATION. (Leicestershire), The Plough Press, 98. 8½ × 2. Text booklet in wraps, 8 fascicles describing each illustration process, and
each with an original leaf laid in. Fine in cloth tray case. The 18 prints
are: woodcut, wood engraving, etching, copper engraving, stipple engraving, steel engraving, aquatint, mezzotint, chalk lithography, line lithography, chromolithography, relief color print, hand colored print, photograph,
woodburytype, collotype, photogravure, photomechanical printing (3 examples laid in). The “purpose of this book is to assist with the identification
of prints used in book illustration . . . [the prints] have been taken mostly
from damaged and imperfect books. . . .” Includes a folio leaf (folded) from
Foxe’s Actes and Monuments (1610) with a large woodcut, and one from
Bewick’s British Birds. One of 120 numbered copies.$950
109.Warde, Beatrice. STANLEY MORISON, MAN OF LETTERS. (Wakefield): Fleece Press, 988. Miniature, 2 × 2½ inches. About 32 pages.
Striped yellow cloth, slipcase. Fine. One of 240. Eleven type specimens in
colors accompany the Sunday Times obituary of Morison.$80
110.Weissenborn, Hellmuth. HELLMUTH WEISSENBORN, ENGRAVER. With an autobiographical introduction by the artist. Whittington
Press, (983). 0½ × 5. (3) text pages, 63 plates of engravings, several
the veatchs art s of the bo ok
111.Whittingham Printers. Rathbone, Hannah Mary. SO MUCH OF THE
DIARY OF LADY WILLOUGHBY AS RELATES TO HER DOMESTIC HISTORY, & to the Eventful Period of the Reign of Charles the First.
London: Longman, 844. 6½ × 8½. 74 pages. Bound by Remnant &
Edmonds (ticket at rear) in pink and gilt paper over boards, marbled
endpapers, printed paper spine label. Both covers are cracked along
joints but still attached by linen tapes. Housed in a sturdy cloth chemise and cloth slipcase with leather spine label. Publisher’s printed
notice mounted inside front cover states that copies were bound also in
morocco, and that this copy could be returned to the publisher for a morocco
rebinding. The gilt paper, however, seems far more appropriate for this fictional diary. Printed by Charles Whittingham at Chiswick Press in 17th century style with ruled pages, woodcut headpieces and initials, catch words,
and swash letters, it is a very pleasing book. Revolutionary in its attempt to
raise the bar during a period of debased typography and shoddy printing,
The Diary revived Caslon fonts for book work. Updike called this revival
“the chief typographic event of the mid-nineteenth century.” (Printing
Types II, pp. 197–199.) In Victorian Publishers’ Book-Bindings in Paper
McLean illustrates this first edition of The Diary, a fourth edition, and the
1848 sequel each in a different decorative paper, all bound by Remnant &
Edmonds.$800
112.Winchester, Simon and Carol Blinn. THE WRITER, THE MADMAN
& THE PRINTER. Notes on a Writer’s Artistic License, Or, Setting the Record Straight. Easthampton: Warwick Press, 2002. 6 × 9. Six leaves
printed in colors. Silk cloth, wrap around label. Fine. Title page bears
a whimsical portrait of the printer fashioned from printers’ ornaments and
printed in 6 colors. One of 120 copies.$65
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Please visit us at the
46th California International
Antiquarian Book Fair
February 15–17, 2013
San Francisco
Item 96. Schanilec. Logue.
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Item 65. Macgregor.
Item 56. Italian Papers.
Item 104. Type Specimen. Bauer.