Search Results: PRESS BOOKS, FINE AND PRIVATE from Thomas A Goldwasser Rare Books

San Francisco: The Book Club of California, 1941. Smyth, William. Small folio, parchment backed boards, fine copy. One of 350, printed at the Grabhorn Press. This is the first publication of four of Smyth's water colors, including a view of the "Blossom" in Hawaii, and his manuscript map. Hill 95; Forbes 772.

Theatre Typographiques, 1996. La Rocca, Valentina. One of 270 copies, this one of 100 signed by translator and artistr. Six sewn fascicles in a chemise covered with Bugra paper and slipcase. 33 x 13 cm. The woodcuts are printed in one or two of four colors.

Vancouver: Heavenly Monkey, 2009. First edition. Budd, Harold. First edition. 10 3/4 x 11 1/2 inches, as issued in paper wrapper and cloth slipcase with printed labels. As new. The composer's first work in fine printmaking. Five plates, each titled with the name of a Renaissance composer, engraved by Harold Budd, etched and printed at New Leaf Editions, on Barcham Green Penshurst paper. The title page, colophon, and portfolio were printed and produced by Rollin Millroy at Heavenly Monkey. One of ten portfolios containing complete sets of the five etchings. There were 15 numbered copies of each etching, (plus 7 proofs) each numbered and signed by Budd, who also signed the colophon.

San Francisco: Gelber, Lilienthal, 1936. First edition. Grabhorn Press. Orange boards, cover label. Lighter than usual offset on the endpapers, but a fine copy of this fragile book, in a matching linen folding case with printed spine label, on the face of it apparently supplied by the publisher, though not recorded. One of 100 copies only, printed by the Grabhorn Press, of which 75 were for sale. This essay, with a preface by Nathan Van Patten, Director of Stanford University Libraries, who own the manuscript, was apparently intended as a preface to the first edition of "Women in Love," but never included. Roberts A74; G.B. 249.

San Francisco: Gelber, Lilienthal, 1936. First edition. Grabhorn Press. Orange boards, cover label. Slightly marked, narrow damp stain along top edge of the sheets; a very good copy of a fragile book. This essay, with a preface by Nathan Van Patten, Director of Stanford University Libraries, who own the manuscript, was apparently intended as a preface to the first edition of "Women in Love," but never included. One of 100 copies only, handsomely printed by the Grabhorn Press, of which 75 were for sale. Roberts A74; G.B. 249.

No place, 1965. Broadside, folio: 43 x 35 cm; Caslon Old Style; 75 copies printed by Walter S. Hamady at Robert E. Runser's Rob Run Press, on the printer's handmade paper. Fine condition.

Leipzig: Insel, 1925. First edition. GILL, Eric. Quarto, original paste paper boards with vellum spine and corners, fine. Title page in red. Handsomely printed at the Cranach Press, with initials by Eric Gill. One of 400 copies on Bütten paper, from a total edition of 450.

Mt. Horeb, Wisc: The Perishable Press, 1970. First edition. Boards covered with marbled paper, leather spine and tips, pamphlet with notes in pocket on back endpaper. One of thirty copies for patns of the press, printed on their own white Shadwell paper, using Sabon Antiqua type, from a total edition of 165. Fine condition.

New York: Joseph Hall Schaffner, 1968, 1968. First edition. Dean, Mallette. Cloth backed boards, fine. First edition, one of fifty copies on handmade Tovil paper, from an edition of 250, designed and printed by Mallette Dean. Signed by Weigel. Frontispiece portrait of Sandburg after Steichen.

Berkeley: Poltroon Press, 1976. first edition. Wrappers, 15 unnumbered leaves. Slight fading. Colophon: "One hundred coloured copies have been printed on the Poltroon Vandercook & five hundred copies offset at the West Coast Print Centre, Berkeley." This copy is the offset printing. Kit Robinson (in Dictionary of Literary Biography, vol 2 M-Z, Gale Research) describes the work: The sea-voyage theme, as in the nineteenth-century adventure novels of Jules Verne or Robert Louis Stevenson, suggests its obverse, the cozy, bourgeois domesticity by which the individual is secured from imagination's perilous seas (a boat is a room), but the violent swiveling and physical rupture of Raworth's prose, with the explosion of the image bank depicted in Frances Butler's illustrations, signals the obsolescence of western cultural icons, a space where, by a kind of Doppler effect, objects only get further away, a world in which "all books are dead & we live where the edges overlap.".

San Francisco: The Book Club of California, 1993. First edition. Red cloth, spine label, fine. One of 400 copies printed; much of the edition was lost in shipping.

Marcham: The Alembic Press, 1997. Quarto, wrappers 12 " x 8 ". 60pp. Hand set in 14pt Grotesque and printed on Zerkall paper, with a non-adhesive binding with red decorative sewing in a heavy grey cover paper from the Schoolmeester wind papermill. 120 copies, printed (including 20 deluxe).

Los Angeles: The Bieler Press, 1995. First edition. Original wrappers, spine slightly faded, else fine. One of 200, signed by the author and illustrator.

Madison, Wis: The Perishable Press, 1967. First edition. Boards, fine. One of 40 hardbound copies printed on Chauke Heavy paper, from a total edition of 143. Fine.

Berkeley: Poltroon Press, 1988. First edition. Original black cloth, gilt, not issued in dust jacket. Fine. One of 200 hardbound copies, typeset by the author, with tipped-in color illustrations.

Berkeley: Poltroon Press, 1988. First edition. Original black cloth, gilt, not issued in dust jacket. Fine. One of 200 hardbound copies, typeset by the author, with tipped-in color illustrations. Contemporary inscription from the author.

Berkeley: Poltroon Press, 1983. First edition. Unprinted brown wrappers. 8 unnumbered leaves, folded along the fore edge, each with portions of the recto cut out to partially reveal the hidden page beneath. Typeset and printed by the author. One of an edition of five copies, this marked "proof". OCLC locates a numbered copy at the University of Wisconsin, and another "proof" at the University of San Francisco.

The Grenfell Press, 1988. First edition. Clemente, Francesco. One of 26 specially bound copies containing a signed original watercolor. From an edition of 350 copies, signed by author and artist, 152 pages, 67 duotone lithographs by Clemente accompanying Mathews's text. Printed on Kozo/Gampi. The lithographs were printed by Joe Petruzzelli and Maurice Sanchez, the type cast and set by Michael Bixler. Full leather binding by Claudia Cohen.

Waltham St. Lawrence: The Golden Cockerel Press, 1925. First edition. Mabel Annesley. Cloth backed boards; covers faded, interior fine. One of 450 copies.

London: Privately Printed, 1925. First edition. Marbled boards, spine label, 43 pp. Instead of the usual black slipcase, the slipcase on this copy is covered with the same marbled paper as the book. A fine copy of this fragile book. One of 150 copies, designed by Stanley Morison and Frederic Warde, printed at the Fanfare press, using, for the first, and one of the few times in a book, Morison and Warde's original Arrighi type.