THE ORIGIN AND PROGRESS OF WRITING AS WELL HIEROGLYPHIC AS ELEMENTARY, ILLUSTRATED BY ENGRAVINGS TAKEN FROM MARBLES, MANUSCRIPTS AND CHARTERS, ANCIENT AND MODERN: ALSO, SOME ACCOUNT OF THE ORIGIN AND PROGRESS OF PRINTING by ASTLE, THOMAS Esq. F.R.S. F.R.A - 1784

Milano: Giorgio Upiglio & C., 1967. A beautiful copy of this limited edition. One of 85 numbered copies signed by both the author and the artist, from a total issue of 95 copies. 17 original colour etchings by Sergio Saroni. Handmade paper from Filicarta paper mills. A reflection on the survival systems of insects, brought to life by the magnificent illustratons. Soft cover, and held within a matching slipcase, with gilt titles to the spine. A lovely copy. 195 by 140mm (7¾ by 5½ inches).

Charlottesville:: Virginia Center for the Book,, 2022.. Edition of 30. Prints are 7" by 10" with a vertical orientation. The printmaking methods represented in the collection are as eclectic as the patron saints they portray. Each set of prints is housed in a paper retablo, or small Peruvian-style altar-box. A built-in frame compartment holds all 14 prints. When the retablo stands open, the top-most print is displayed. Closed, the retablo measures 7.125" x 13" x .5". Belly band closure with printed title. Each print signed and numbered by the artist. Virginia Center for the Book: "Blending the sacred and the secular, and drawing inspiration from Mexican ex votos, Peruvian retablos, and European and Near Eastern iconography, member artists at the Virginia Center for the Book have produced a collection of storied art venerating whoever/whatever helped them to cope during the pandemic or other recent difficult time.  "Several take refuge in distraction, both… Read More

Belfast, Maine:: Jan Owen,, 2022.. Edition of 3. 10 x 19 x 4 inches open, 10 x 6 x .75 inches closed. Accordion flag book. Hand lettered with acrylic and ink on paste painted paper. Paper case. Signed and numbered by the artist. Jan Owen: "In 2020, the New York Times decided to capitalize Black as they did in1930 for the designation, Negro. But Black and White is hardly a description of the many shades of skin tones so I made shades of pinks and browns, ochre, and red to make the faces.  "The words in 'Black White' are about racism said by writers, preachers, Congress. I don’t think there’s one way, there are many ways that we can learn to give up our prejudices. " I feel that - Laws change actions. Stories change hearts. History records. Arts make visible. Music crosses cultures. Sport makes teams.

Reno, Nevada:: AB Gorham,, 2022.. Edition of 50. 7.125 x 6.125 x .25"; 16 pages including pastedowns. Letterpress printed on a Vandercook Universal 1 at Black Rock Press. Printed on Zerkall Book papers. Hand bound with resin shapes embedded into front and back covers. Cloth covered drop-spine box enclosure. Signed and numbered by the artist. AB Gorham: "'Unidentified Found Object Song' is an artist book that draws on published documentation of unidentified flying objects (ufos) and other alien phenomenon to create a mysterious visual/reading encounter. This book exists on the edge of visual and textual logic, taking recognizable objects and elements of landscape and defamiliarizing them through digital manipulation, unexpected color combinations, and isolation from context. Each spread contains a vaguely-familiar visual mystery letterpress printed in colors from saturated reds and golds to transparent violets. There is sidewalk cheese, lenticular clouds, and a landscape of crumbs.… Read More

Sebastopol, California:: Deeply Game Publications,, 2022.. Edition of 15. 10" x 8"; 66 pages. Illustrated pastedowns and free end pages. Printed with rubber stamps & pigment ink. Images printed with Indigo Electroink on Mohawk Superfine paper. Font is Cochin. Photography by Sara L. Press. Bound in illustrated paper covers with cloth spine. Signed and numbered by the artist. Sara Press: "'Girls vs. Books' is an artist's book made from my Storied Books* photographic series about vernacular altered books.  "The extra-illustrated books in this photo-based project were grangerized, stamped, and drawn-in between 1865 and 1980 by young women who didn't think twice about violating the sanctity of the printed page with their own editorializations. "My photographs, portraits of transcendent everyday objects, cherish the forms and textures of books. Beyond simple lyricism or nostalgia, however, the images celebrate the active consumption of… Read More

Portland, Maine:: Rebecca Goodale,, 2002.. Edition of 10. 8.5 x 8.5" with compound binding. Mixed media prints with hand lettering. Another of Goodale's books in the Threatened & Endangered series. Each in this series uses different structures and approaches to communicate knowledge and love of each species. In this book she used Japanese grass paper to cover the boards. Using this material allows the reader to have a tactile experience as well as a visual one with the subject of the book.

First edition. One of 500 numbered and signed copies, printed at the Spiral Press from the original blocks. Marbled paper over boards with printed cover label. Nine fables of Aesop, with full page woodcut illustrations on Goyu paper. Lower corners slightly rubbed, still a fine copy, with the original glassine, which has some chips and edgewear. In addition to Frasconi's signature on the colophon, he has inscribed this copy on the first blank leaf to Herman Cohen of the Chiswick Bookshop, dated December 1964.

First edition, 1977, second printing after the 1938 first. Progress Publishers, Moscow. Large octavo, original yellow cloth, with copper casings fastened over both boards, designed by Koba Gouruli.
The Knight in the Panther's Skin is an unequivocal work by medieval Georgian poet Shota Rustaveli, this translation by Marjory Waldrop was the first prose translation in the English language. This copy bound in a unique copper relief casing featuring a traditional Georgian portrait to the front with a bold pattern and Georgian script to the rear board.
A prolific translator, Waldrop travelled to Georgia in the late 1800s when it was still part of Imperial Russia, and published three English translations of Georgian titles in the following five years. The Knight in the Panther's Skin was the fourth and final translation, but was only published in 1912 three years after her death. Waldrop refused publication in her lifetime, feeling it wasn't up to snuff. It remains the translation against which all others… Read More

[Seattle, Washington]:: M Kimberly Press,, 1989.. Edition of 35. 6.5 x 9.5"; 32 pages including pastedowns and free end pages. Accordion structure. Printed on one side. Ten wodcuts in color. Printed on Rives Heavyweight in Times New Roman and Futura types. Bound in dark beige cloth with title in red on fron cover. Numbered. Signed by Blocker and Stern on the colophon. Preface: "This book was modeled after the popular Victorian parlor game, the 'Exquisite Corpse'. It was played by a number of people, each drawing one segment of a 'corpse' on an accordion-folded piece of paper. Each segment was drawn without seeing the rest of the corpse. That was how we wrote and illustrated this book. One of us wrote a paragraph and sent a sentence to the other, which then became the first sentence of their paragraph. The story progressed and her unfolds."

[Saint Paul, Minnesota]:: Hot Tomato Press,, 2020.. Edition of 20. 4.5 x 13 x .75 "; 32 pages. Letterpress printed on Rives Heavyweight paper. Font for text is Georgia. Handmade cover paper of cotton, Aardvark dyes, dictionary pages and gelatin size. End sheets of Nepalese Lokta. Coptic stitch binding. Edited by Mark Spitzer. Graphic design by Bryan Starry. Printing assistance from Laura Brown. Book design and publication by Erica Spitzer Rasmussen. Numbered. Hot Tomato Press: "Where can a single word lead us? In this book of poems, titles are used like quirky dictionary entries that lead readers to archaisms, tragic histories, omni-present popular culture, observations of the natural world and elegy. We find Salman Rushdie and Donald Trump at a Crosby, Stills and Nash concert; a visit to a former detention center in Argentina's Dirty War ends up in 80s pop songs and bilingual jokes. The pervasiveness of violence and pain is threaded throughout the poems, but so is wonder and… Read More