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26 Etchings by Shelly Fink
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26 Etchings by Shelly Fink

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Alford, MA, 1962. Fink, Sheldon. Small quarto. 28ff. One of forty copies. Etched title page and twenty-six fine etchings by Fink, ranging thematically from portraits to botany to insects. Many of Fink's etchings have a decidedly Baskinesque aesthetic, but Fink's circle centered primarily in New York, where he was friendly with Jack Levine and Raphael Soyer. For this collection, Fink commissioned Royall Moore to create paper with a high linen count, and this was the subject of a Popular Mechanics article in 1965. Moore, who was described in the article as an "inventive Yankee," was a carpenter by trade, and made all the equipment himself. The binding for this edition was executed by Arno Werner, who bound it in full orange-toned deerskin with a hubbed spine and decorations printed in black on the upper cover and spine. Werner also presumably made the marbled endpapers, which also decorate the deerskin-backed folding case. Book is fine and bright; light rubbing to edges of box.
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The Alder
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The Alder

by Everson, William

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Santa Cruz: Peter & Donna Thomas, 2012. Thomas, Donna. Small quarto. (12)ff. One of fifty copies. Illustrated througout with arboreal linoleum cuts by Donna Thomas, two of which are full-page bookends to the volume's text. Others serve as backdrop to Everson's poem, as well as the colophon, so the text appears as seen through the many branches of a forest. Included is "A Companion to The Alder," with an essay by Allan Campo and an artists' statement by Peter and Donna Thomas. Bound in alder, specifically from Kingfisher Flat, where Everson felled the tree described in his poem. Very fine, housed in a lapped animal-skin slipcover.
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Ardeur
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Ardeur

by Arrabal, F.

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NZ$5,321.43
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Paris: Moreau, 1983. Halska, Véronique. Oblong 12mo. (26) pp. Illustrated by Baltazar. From an edition of 220 copies, this is one of forty signed by the author and by the illustrator, and hand-colored. Reproduced entirely by serigraphy, the text is from the author's own manuscript. The abstract black and white illustrations have been colored with pencils by Baltazar. In a unique binding by Véronique Halska of full red snakeskin, with a nickel-plated brass tubular spine. Protected by a black morocco chemise, titled in silver, with a slipcase of morocco and gray paper. The original pictorial wrappers have been mounted on black morocco, which is edged with red snake skin, and fit into the opposite end of the slipcase. Véronique Halska, a Belgian binder, has been widely exhibited in Europe, her bindings appearing at the Centre Pompidou and at the exhibition "Petits Formats Relis" at the Wittockiana Museum in Belgium. Her goal is to "integrate in bindings very diversified materials, always trying to… Read More
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Biblia, or a Practical Summary of ye Old & New Testaments
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Biblia, or a Practical Summary of ye Old & New Testaments

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NZ$8,706.42
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London: R. Wilkin, 1728. A wonderfully illustrated thumb Bible with sixteen copperplate engravings, including two frontispiece illustrations, one preceding the Preface and another prior to the main text, as well as two engraved title pages. Issued by printer and bookseller Richard Wilkin, this is the first English thumb Bible in prose, all earlier editions having been in verse, and was very popular with children, its intended audience. This was the text from which the famed "Newbery Bible" of 1780 was derived, and as such, constitutes a kind of first appearance of its famous relative. Although the text of the two publications is the same, according to Spielmann, the illustrations in the Wilkin Bible are "vastly superior" to those in the Newbery edition. Indeed, the plain but finely executed depictions of Biblical subjects, such as Noah, Joshua, and the Nativity, are striking for the boldness of their lines. It is for this and other reasons that Bondy considered the Newbery Bible to be "distinctly… Read More
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Béla Blau Bookbinder, 1914-1993

Béla Blau Bookbinder, 1914-1993

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Los Angeles: Mariana Blau, 1993. 26pp. One of 90 copies issued as a keepsake for the Zamorano Club. A touching memorial to renowned miniature-binder Bela Blau upon his death. Published privately by his wife Mariana, who also bound the book and wrote the dedication. Eulogies by Francis Weber, Glen Dawson, and others. In black leather with gilt stamping to cover and spine. Endpapers decorated with the repeating design of a decorative letter "B" within an ornamental frame. Very fine. Housed in slipcase. (2 by 1 1/2; 51x39mm.).
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Béla Blau Bookbinder, 1914-1993

Béla Blau Bookbinder, 1914-1993

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Los Angeles: Mariana Blau, 1993. 26pp. One of 90 copies issued as a keepsake for the Zamorano Club. A touching memorial to renowned miniature-binder Bela Blau upon his death. Published privately by his wife Mariana, who also bound the book and wrote the dedication. Eulogies by Francis Weber, Glen Dawson, and others. In black leather with gilt stamping to cover and spine. Endpapers decorated with the repeating design of a decorative letter "B" within an ornamental frame. Very fine. (2 by 1 1/2; 51x39mm.).
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The Book of Gems: The Poets and Artists of Great Britain
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The Book of Gems: The Poets and Artists of Great Britain

by Hall, Samuel Carter, ed

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NZ$48,369.00
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London: Saunders and Otley, 1836. Fazakerley of Liverpool. Three octavo vols. 304; 304; 304pp. Engraved titles with vignettes, as well as nearly 150 engravings throughout the set. A testament to British literature and artistry, with the poetic pillars of Chaucer, Spenser, Donne, Shakespeare, Dryden, Burns, Wordsworth, Shelley, Coleridge, and myriad other writers comprising the anthology. Along with these are brief biographical sketches, facsimile autographs, and portraits rendered after paintings and designs by notable British artists like Turner, Bonington, Landseer, and Maclise. Gorgeously bound by Fazakerley of Liverpool in maroon morocco with giltwork, intricate rose onlays, moiré silk doublures, and gauffered edges highlighting three fore-edge vignettes of bucolic villages, seacoast towns, and storm-blown ships. Hint of wear to extremities, else fine, housed in a morocco-backed cloth folding case.
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The Book of Common Prayer and Administration of the Holy Communion According to the Use of the...
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The Book of Common Prayer and Administration of the Holy Communion According to the Use of the Church of England. Together with the Psalter or Psalms of David

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NZ$725.11
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London: Eyre & Spottiswoode, 1915. 702pp. An unabridged Book of Common Prayer. Gorgeously bound in maroon morocco with a hallmarked Birmingham silver plaque affixed to the front cover, featuring five cherubs. Very fine. A.e.g. (Bromer/Edison, p. 81). (2 1/8 by 1 7/8; 53x47 mm).
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The Butterfly's Ball and the Grasshopper's Feast
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The Butterfly's Ball and the Grasshopper's Feast

by Roscoe, William

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(Watertown, MA): Anne and David Bromer, 1977. Kunikata-Cockram, Midori. (24)pp. The text is printed on Japanese paper with ornamentation in green. Wood engravings by Sarah Chamberlain, as her first miniature book commission. This is the first miniature book published by the Bromers. Midori Kunikata-Cockram captures the whimsical nature of the text, which was the first English poem for children intended for sheer amusement. The front and rear boards of her designer binding are covered with parchment, on which the artist has hand-drawn the insects and small animals attending the feast amongst a pattern of vines and flowers in crimson ink. Delicate onlays of black morocco create the silhouette of a vine climbing up the book's burgundy morocco spine. Inside, endpapers printed with oak leaves and cut-out leaves with hand-drawn shading in pastel reference the oak tree in the poem, beneath which the revels were held. Housed in a suede-lined box, the exterior of which is covered with paper hand-tooled in a… Read More
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Comus: A Mask
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Comus: A Mask

by Milton, John

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NZ$72,553.50
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Newtown: Gregynog Press, 1931. Hughes-Stanton, Blair. Octavo. (10), 25, (3)pp. From an edition of 250 copies, this is one of twenty-five printed on Japanese vellum and bound after a design by Blair Hughes-Stanton himself. It marks Hughes-Stanton's first contribution to the Press' run of special bindings, and the advent of a shift in the style of those bindings toward modernity, embracing restraint while highlighting line and form. Hughes-Stanton likewise supplied as wood engravings the frontispiece, title vignette, and illustrations of all six costumed characters. This is the first book of the Press arranged by William McCance, though set and printed by Idris Jones. Its artistic and critical success helped turn the Press' fortunes and added to its growing reputation as a pinnacle of not only Welsh bookmaking, but of Western printing as a whole. Hughes-Stanton's binding is of full dun-colored levant morocco, with covers bearing vertical panels of blind lines, bordered by gilt frames. Upper cover shows… Read More
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The Concise Dictionary of National Biography
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The Concise Dictionary of National Biography

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NZ$18,380.22
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London: Oxford University Press, 1925. Miss C.B. Currie" (Caroline Billin Curry). Octavo. (ix), 1456, (iv), (130)pp. Later printing. With a large fore-edge painting by Miss C. B. Currie, which, according to the signed statement on the front endleaf, depicts "(a) view of the entrance to the avenue from Clare Hall Piece, Cambridge." It is identified as number 138 of her fore-edge paintings. Between 1910 and 1931, Currie executed 164 numbered fore-edge paintings for the bookseller, Henry Sotheran—and is the only practitioner of this particular art form to have set out to create a signed, numbered series of paintings. This was perhaps the result of her partnership with Sotheran's and the binder, Robert Rivière, for whom Currie also created miniature paintings on ivory that formed the main feature of the famous "Cosway" bindings. As with other Currie fore-edge books, this example is bound in a handsome dark green straight-grained morocco by Rivière, gilt and blind roll-tooled border and central panel… Read More
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Das Maerchen vom Sinn: Ein Mysterium
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Das Maerchen vom Sinn: Ein Mysterium

by Lechter, Melchior

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NZ$99,640.14
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Berlin: Einhorn-Presse, 1927. Lechter, Melchior. Tall quarto. (24)pp. From an edition of 600 copies, this is one of only five printed on vellum and with text calligraphed by Melchior Lechter. In addition to writing the text, Lechter also designed the book, including initial letters of gold backed with green leather and onlaid to the pages, and the decorated borders, which are printed in gold and bear printed almond-shaped medallions at their lower sections. These medallions, reminiscent of the iconographic mandorla, each show a distinct mystical design, incorporating symbols and imagery from a variety of Eastern and Western faith traditions, along with other esoteric elements. The book is not shy about the Theosophical overtures of its tale or of its author; it begins and concludes with Hindu lettering in gold, as well as, on the final page, a six-pointed star with four rays suffused with Buddhist symbology, its basic floral outline mirrored in the gold borders. The story itself is an allegorical… Read More
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Discovering the Lost Maya Cities

Discovering the Lost Maya Cities

by Rau, Jack

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NY: Pre-Columbian Press, 1960. Rau, Jack. Octavo. 31pp. One of 500 copies, signed by Rau. Drawings accompany each of the eight sites described, and a map prefaces the text. Bound in sienna boards printed with Mayan hieroglyphs. Spine slightly tilted, else near fine in near fine dust wrapper.
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El Partido de José Martí/ Martí's Cuban Revolutionary Party
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El Partido de José Martí/ Martí's Cuban Revolutionary Party

by Rodríguez, Pedro Pablo

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Matanzas, Cuba: Ediciones Vigía, 2013. Balboa, Diana. Octavo. 59pp. One of 200 copies. Nancy Balboa's illustrations celebrate Cuba's agriculture, and draw a parallel between its grassroots rural life and its heritage of grassroots revolution. Martí, considered by many the "patron saint" of Cuba, was at the forefront of such organic, popular activism throughout the late 19th century as he called for Cuba's independence from Spain. Rodríguez's historical essay reflects on Martí's Manifiesto de Montecristi and his Revolutionary Party, and their lasting impact on Cuba. The essay by Pedro Pablo Rodríguez first appears in Spanish, then in English, with illustrated recycled paper as dividers. Book designed by Elizabeth Valero. Ediciones Vigía is a longstanding literary and artistic mainstay of Cuban book arts, known for using throwaway or inexpensive materials to create beautiful works. It thus reflects the resourcefulness and hope of Cuban citizens broadly, who have adopted those characteristics to… Read More
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Erté Maquettes
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Erté Maquettes

by Bingham, Rebecca Saady

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Hyattsville, MD: Rebecca Press, 1984. Estorick, Michael. (58)pp. From an edition of 2,200, this is one of 200 specially bound deluxe copies, signed by Erté. Erté, whose fashion images adorned the pages of Harper's Bazaar from 1932 to 1937, was one of the most prominent French illustrators of the Art Deco period. With a foreward by Bingham, and an introduction by Salomé Estorick. Estorick and her husband owned the Grosvenor Gallery in London, and were also Erté's agents. Illustrated with a frontispiece portrait of Erté at age 91 sketched by their son, Michael. The text is followed by forty-four maquettes that Erté designed in miniature as covers for Harper's Bazaar, although only two were ever enlarged into full-size covers. Their subjects and design are modèrne in style, colorfully capturing 1930s fashion and elegance. Most of Erté's maquettes had never been published before this undertaking. In addition to the natural suitability of publishing Erté's miniature paintings in a miniature… Read More
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Erté Maquettes
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Erté Maquettes

by Bingham, Rebecca Saady

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Hyattsville, MD: Rebecca Press, 1984. Estorick, Michael. (58)pp. From an edition of 2,200, this is one of 200 specially bound deluxe copies, signed by Erté, this one out of series and noted as the binder's copy. Erté, whose fashion images adorned the pages of Harper's Bazaar from 1932 to 1937, was one of the most prominent French illustrators of the Art Deco period. With a foreward by Bingham, and an introduction by Salomé Estorick. Estorick and her husband owned the Grosvenor Gallery in London, and were also Erté's agents. Illustrated with a frontispiece portrait of Erté at age 91 sketched by their son, Michael. The text is followed by forty-four maquettes that Erté designed in miniature as covers for Harper's Bazaar, although only two were ever enlarged into full-size covers. Their subjects and design are modèrne in style, colorfully capturing 1930s fashion and elegance. Most of Erté's maquettes had never been published before this undertaking. In addition to the natural suitability of… Read More
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NZ$1,838.86
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The Gehenna Florilegium
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The Gehenna Florilegium

by Hecht, Anthony

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(Rockport, ME): Gehenna Press, 1998. Baskin, Leonard. Folio. (65)pp. From an edition of fifty, this is one of ten deluxe copies, accompanied by a page of Hecht's manuscript, three watercolor drawings by Baskin, one of the original woodcut blocks, and a suite of woodcuts printed in black with several hand-colored by Baskin. Signed by both Hecht and Baskin at the colophon; Baskin has also signed each of the prints in the book. Hecht's poems, rich with earthy imagery to communicate the individual and common depths of grief and joy, are each faced with a colorful woodcut of a flower. Baskin's signature dark shading and rough edges capture both the gritty beauty of the plants themselves and their untidy but profound reflection of humanity. Bound by Claudia Cohen in full peach morocco, with rules in both blind and gilt, an artful gilt laurel design and yellow leather onlays to covers, matching gilt spine decoration onlaid. Drawings and extra suite housed in cloth-covered chemise. Held, along with the book… Read More
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A Glance at Private Libraries

by Farnham, Luther

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Weston, MA: M&S Press, 1991. Gonet, Jean de. Octavo. 98pp. One of 350 copies. This copy specially bound by Jean de Gonet in revorim covers with exposed red bands and red titling to leather spine. The text is a reprint of the Boston edition of 1855, here with introduction and annotated index contributed by Roger E. Stoddard, at the time the Curator of Rare Books at Harvard College. Inscribed by him at the front flyleaf. Stoddard's index provides key citational value, providing quick historical reference. Fine. Laid in is a previous owner's memo note on the attractiveness of de Gonet bindings, with Harvard header.
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The Haggadah: A New Critical Edition with English Translation, Introduction, and Notes Literary,...
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The Haggadah: A New Critical Edition with English Translation, Introduction, and Notes Literary, Historical, and Archaeological

by Roth, Cecil (ed.)

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London: Soncino Press, 1930. Rutherston, Albert. Small quarto. xl, (3), 209pp. One of nine copies printed on Roman Vellum, signed by the editor, Cecil Roth, and the illustrator, Albert Rutherston. With fourteen full-page stencilled illustrations, plus seventy small ornaments, all in color. Rutherston's bright depictions of the Passover story, including illustrations of the Jews under Pharaoh, the parting of the Red Sea, the Ten Commandments, and the prophets looking over modern children at play, bring both joy and gravity to the sacred text. Rutherston collaborated with the Curwen Press repeatedly over his career, and this is perhaps one of his most accomplished works, possibly influenced by his years in Palestine while serving in the British Army. Set in Roman and Italic English type, as well as Hebrew type purchased from Enschedé en Zonen in Holland, the edition embraces the tradition of the pictorial Haggadah while imbuing it with modernity. A Western title page appears at the front of the… Read More
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La Belle Dame Sans Merci
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La Belle Dame Sans Merci

by Keats, John

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(Shaker Heights, OH): Wind and Harlot Press, 1986. Delrue, Paul C.. 12pp. One of twenty-three copies. Keats's ballad of a knight wooed by a beautiful and wild "faery's child" and then abandoned by her, haggard and pale, on the cold hillside. In a designer binding by Paul Delrue depicting the setting at the poem's beginning and end: the countryside after harvest has ended, a barren and empty landscape with a sloping hill and the silhouettes of birds overhead. A rustic fence borders the pale green, tan, and brown fields, all created using Delrue's signature "Lacunose artwork." In this technique, Delrue covered the boards first with tan goatskin, and then many layers of leather in autumnal hues, some puckered and others flat, were overlapped and alternately sanded down smooth and varnished with PVA to create various effects. The Lacunose panels are set onto the goatskin background intentionally askew, echoing the knight's disorientation, and bordered by blind-stamped circles. The endpapers are grey and… Read More
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