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    XI LXIVmos - Memoirs Of A Bibliomidget by Bromer, Anne C. and David

    Vancouver: Heavenly Monkey Editions & Bromer Booksellers. Fine+. 2015. Deluxe Edition; First Printing. Hardcover. A deluxe edition of 35 copies (I-XXXV) , this one being XXXIV, was printed on F. J. Head handmade paper, with each copy including four sample leaves from the books. Original calligraphy on the title page and colophon in each copy by Francesca Lohmann. This variant copy, originally not intended for publication, was bound in full black leather by Sarah Creighton, with the vine pattern stamped in gilt. Issued in a folding box. XI LXIVmos is set in eight-point Centaur and Arrighi types, and printed with a Ostrander-Seymour Co. Handpress on dampened papers. The regular edition of 85 (1-85) copies was printed on Somerset Book paper, and bound by Sarah Creighton in a printed vine-patterned paper over boards. The design was created by Francesca Lohmann, who also drew the book’s interior foliage; Twenty-six years after their last publication, Anne Bromer has written a memoir of the eleven printed miniature books she produced with her husband and partner David from 1977 to 1989. In the book - - she relates brief stories of pleasure, coincidence, and difficulty for each of their publications, followed by a detailed bibliographic description. .



    Rural Rides. [Introduction by Edward Thomas]. BRIGHT, CLEAN COPY by William COBBETT

    Dent,, [1948]. 2 vols., sm. 8vo., neat signature on front free endpaper of first volume; original series binding of green cloth, upper boards blocked in blind, gilt backs, patterned endpapers, backstrip of first volume sunned else a very good, bright, clean copy. Based on the 'New Edition' edited by James Paul Cobbett of 1853. First published in EL in 1912. EL 638-9; Eckert, p.267; Seymour 196.0, 197.0.



    The Tragedy Of Richard The Third: With The Landing Of Earle Richmond, And The Battell At Bosworth Field by Shakespeare, William

    San Francisco: The Grabhorn Press. Near Fine. 1953. Limited Edition. Vellum. One of one hundred and eighty copies, bound in full limp vellum with ties. The prospectus, featuring a red woodblock illustration, is included. The color woodblock illustrations were designed and produced by Mary Grabhorn. The handmade paper is from the Tuckenay Mill of Arthur Millbourn and Company. The type is an old French Lettre Batarde and cast at the Peignot Foundry. This volume is near fine. The vellum cover is bright and clean except for minor darkening to the bottom corner, as pictured. Minor foxing on interior pages but otherwise fine in unread condition. The slipcase is in lesser condition with sunning to the spine, two blemishes, and chipping to the corners; The text is from the 1623 Folio with some updates and corrections including the full spelling of characters' names .



    SALAMMBO by FLAUBERT, Gustave (Edward BAWDEN)

    Cambridge: Limited Editions Club, 1960. Hardcover. Bookplate on the front pastedown. Spine slightly darkened, otherwise Fine in a lightly soiled, Near Fine slipcase. Edward Bawden. Quarto (8" x 11") bound in cream buckram with an introduction by Justin O'Brien. Illustrated by Edward Bawden with eight double-page spreads in six colors and fifty smaller black-and-white drawings. Copy #39 of 1500 SIGNED by the artist on the colophon page.



    Folding Paper: Technique, Design, Obsession - 1st Edition/1st Printing by Hodgson, Barbara and Claudia Cohen

    Vancouver, BC: Heavenly Monkey Editions. Fine+. 2017. Limited/Numbered Edition; First Printing; Signed by All Authors. Folding Paper was designed and set in Monotype Fournier by Barbara. It is printed on 200 g Arches Wove by David Clifford at Black Stone Press. For technical reasons, the title page - which is itself a piece of folded art - was printed at Heavenly Monkey on the handpress. Copies are uniformly bound by Claudia Cohen, with an accompanying two-piece box. The box also contains about 15 three-dimensional pieces and a separate Zhen Xian Bao (a magical Chinese thread box). All of the pieces have been created specifically for the book. This edition is 1 of 30 numbered copies, signed by both contributors. .




    New York: Limited Editions Club, 1950. Hardcover. Spines sunned with very mild rubbing to tips. Slipcase with usual wear and wrinkling but still quite sturdy. Near Fine in a Very Good slipcase. Two volumes bound in half red linen and pictorial boards. Designed by Bruce Rogers and printed in red and black with one book measuring 18-1/2" x 13-1/2" (a "miniature book" for Brobdingnagians) and the other 3-1/2" x 2-1/2" (an "elephant folio" for Lilliputans). Both volumes ingeniously slipcased in one box. Each is copy #709 of 1500, and each is SIGNED by the designer with his initials. One of the more imaginatively designed books of the press. Form letter from publisher George Macy laid in.



    Charles & Kathleen Norris: The Courtship Year

    San Francisco: The Book Club of California. Near Fine. 1983. Limited Edition. Cloth. One of four hundred copies produced by W. Thomas Taylor using Adobe Minion type on Mohawk Superfine Paper. Burgundy cloth with paper spine label. Nearly invisible mark on cover, else fine. ; Editor Richard Allan Davison presents a collection of letters between novelists Charles and Kathleen Norris during their year-long engagement. During this time they lived on opposite sides of the country and wrote daily letters to ease the pain of separation. The Norrises became one of the most celebrated literary couples of the era and these letters, beginning in the Spring of 1908, exemplify the charm, wit, and affection for which they were acclaimed .



    Bibliophiles at Oxford, A celebration of fifty years of the Oxford University Society of Bibliophiles, 1951-2000 with descriptive notes on the term cards by Nash, Paul W. and Justin Howes

    Witney: Oxford University Society of Bibliophiles, 2006. First edition. Hardcover. Fine copy/fine. Small 8vo. Cloth. Pp. 224. Illustrated: including a fold-out frontispiece in color. Index of Printer and Designers. Index of Talks and Visits. Index of Officers. Foreword" by Paul W. Nash. "Beginnings" by Bent Juel-Jensen. "Memories of Meetings" by Giles G. Barber. "Bibliophilic Excursions" by Paul Morgan. 300 copies. Dust-jacket printed letterpress by Paul W. Nash. The Society of Bibliophiles at Oxford University met periodically during each of the three academic terms: Hilary, Trinity and Michaelmas. To announce the meetings it was the long-standing custom to ask different private press printers to do a card which was sent to all the members. Over the years many printers participated, and the cards they produced showed their individual style. In this copy of the book a real term card is laid in. It is one of the two from the only American printer to participate.



    Aurora Teardrops - Collector's Edition by Budd, Harold

    Vancouver: Heavenly Monkey. Fine+. 2016. Limited Edition; First Printing; Signed by Author. The Collector's Edition (7.5 x 10 inches, approx. 60 pages including prints) will be 50 lettered copies, of which 40 will be offered for sale. Double-page color reproductions of Jane Maru’s batik paintings, printed on semi-transparent vellum, will be interleaved among the text pages. The Collector's copies will be signed by Harold Budd and Jane Maru. Handbound at Heavenly Monkey in decorated paper over boards; Harold started writing the 59 poems that form Aurora Teardrops during his first collaboration with artist Jane Maru: a collection of her short films and his accompanying scores, entitled Jane 1-11. It was, however, her batik paintings on silk that he first encountered, and it is these batiks that form the vibrant visual core for Aurora Teardrops. Heavenly Monkey publisher Rollin Milroy worked with Harold and Jane for over two years on the book’s content and design, experimenting with (and discarding) a variety of ideas before settling on what all three felt was the right combination of materials, methods and presentation. Like all Heavenly Monkey books, Aurora Teardrops is printed letterpress. While letterpress is not uncommon among the today’s small- and fine-press publishers, Heavenly Monkey is one of just a handful of studios that print from a traditional handpress – nothing is automated: everything, including inking the type, is done by hand. This is not a token exercise in antiquarianism: we use a handpress because only it offers the flexibility to achieve the best possible results. The poems and introductory texts have been set in Cancelleresca Bastarda, a widely-admired face designed by Jan van Krimpen in the 1930s and briefly available in metal from the renowned Enschede foundry. It has not, however, been cast in many decades, and what few old fonts remain usually are worn and lacking the many alternate characters van Krimpen created. Aurora Teardrops Is set in the first digital version of Cancelleresca Bastarda, created by typographer Pablo Impallari, and printed from polymer plates (i.e. , rather than metal type, it is printed from polymer type; the letterpress process is otherwise exactly the same). Interleaved throughout the book are six of Jane Maru’s batik paintings, reproduced in full color on traditional drafting vellum, a semi-transparent sheet that creates a visual effect similar to the original works on silk. Being semi-transparent, these prints both interrupt and overlay Harold’s poems, creating an interaction between the two artists similar to their live musical performances of the Aurora Teardrops poems .



    Escape from the Terror: The Journal of Madame de la Tour du Pin by de la Tour du Pin, Madame; Harcourt, Felice [ed.]

    London: The Folio Society. VG: in very good condition with faded mauve slipcase. 1979. First FS Edition. Purple/gilt decorated hardback cloth cover. 250mm x 160mm (10" x 6"). 345pp. .



    Circus The Artist As Saltimbanque by Bachinski, Walter [; Artist]

    [Shanty Bay, ON Canada]: Shanty Bay Press. Fine+. 2011. First Edition; First Printing; Signed by Author. Cloth. The book is hand-set using Deepdene on 200 gsm Arches cover, it is quarter bound in cloth and Somegami paper and is housed in a cloth-covered slipcase. It has been designed jointly by Janis Butler and Walter Bachinski. Four fill page pochoirs and eight multi-colored linocuts created and executed by Walter Bachinski. printing on a Vandercook Universal 1 and binding were done by Janis Butler. There were 55 copies published. This one, number 30, signed by Walter Bachinski and Janis Butler on the Colophon page. With the original prospectus laid in; Many artists, writers, dancers, and musicians of the late 19th and early 20th centuries were drawn to the theme of the circus, often exploring the notion of the artist as a performer. Picasso & Cezanne, both of whom have influenced Bachinski, have made great circus paintings. He, himself, has used circus imaginery in many of his pastels and the circus has fascinated him ever since he was a little boy. The book contains a variety of writings from this area loosely based on the idea of the artist and the circus. The authors include Apollinaire, Beaumont, Baudelaire, Miller, Rilke and Twain. The excerpts are different in both style and content; they are funny, surreal, serious and poignant. Together with the illustrations the hope of ths artist was to evoke the richness of the circus experience, where there are three rings of simultaneous activity, within something different happening in each one ; Color Illustrations .



    Where Eagles Dare (Easton Press) by MacLean, Alistair

    Norwalk, Connecticut: The Easton Press. Fine with No dust jacket as issued. 2015. Hardcover. Hardcover. Easton Press Leatherbound. 2015. Leather Binding is in FINE condition. Gold gilt lettering on spine. Gold gilt design on front and rear covers. Hubbed spine. All page edges in gilt. Bound in ribbon marker and silk moire endpapers. 312 pages. ; 8vo 8" - 9" tall; 312 pages .



    If I Were Four-and-Twenty by Yeats, William Butler

    Dublin: Cuala Press, 1940. Octavo. (viii), (72)pp. First edition, limited to 450 copies. Illustrated with a unicorn device by Edmund Dulac on the title page. An essay which first appeared in "The Irish Statesman" in 1919, along with a second essay, "Swedenborg, Mediums, and the Desolate Places," written in 1914 and first published in Lady Gregory's Visions and Beliefs in the West of Ireland (1920). Fine in cloth-backed boards and the original numbered glassine wrapper. Postcard with recently published titles laid in. (Miller 65).



    Valenti Angelo: Author, Illustrator, Printer by [Angelo, Valenti]

    San Francisco: Book Club of California, 1976. Number 154 of the Club's Publications. One of 400 copies. Signed by the artist with a note in his hand "This copy has been hand colored by the artist." on the colophon page. Illustrated by Valenti Angelo who has added colours and gold by hand. 97, [3] pp. Text printed in 18 point Centaur. Printed by Andrew Hoyem. 1 vols. 8vo. Half red cloth, label and boards. Fine. With prospectus. Number 154 of the Club's Publications. One of 400 copies. Signed by the artist with a note in his hand "This copy has been hand colored by the artist." on the colophon page. Illustrated by Valenti Angelo who has added colours and gold by hand. 97, [3] pp. Text printed in 18 point Centaur. Printed by Andrew Hoyem. 1 vols. 8vo. Includes essays by Oscar Lewis, Annis Duff and Robert Grabhorn, a Letter from Sherwood Anderson, An Autobiographical Story by Valenti Angelo and a Bibliographical Checklist edited by Anne Englund.



    Norfolk Isle & The Chola Widow by Melville, Herman

    Santa Rosa, CA: Nawakum Press. Fine. 2011. Signed by Illustrator. Cloth. Letterpress printed on Rives Heavyweight with engravings printed from original wood blocks. Artist designed patterned paper over boards, quarter bound in Japanese book cloth and housed in a slipcase. The books are numbered and signed by the artist. This book is numberered 85 of 95 numbered copies, the first twenty formed the deluxe edition, 5 lettered copies were reserved for the Press; A cherished assumption among those who love Moby Dick is that this masterwork is all that Melville wrote, or needed to write. But postwar readers, especially since the 1960s, have truly dispensed with such assumptions. They have come to learn that this writer of America's greatest sea-epic could write quite impressively on a small scale. Norfolk Isle and the Chola Widow first appeared in the May, 1854 issue of Putnam's Magazine, as the eighth of a ten-sketch work, set in the Galapagos Islands and titled The Encantadas, or Enchanted Isles. It is the longest by far of the ten Encantadan sketches, and it is the work's climax and heart. It has been described as an ignored gem for its sparse narration, feminist focus, and complex position on faith. Published with an Introduction written by leading Melville scholar and professor of English at Hofstra University, John Bryant. He is the author of five published books on Melville and the general editor of The Melville Society, one of the oldest and largest single author societies in America. He is currently at work on a soon to be published new biography of Herman Melville. Published with original, commissioned wood engravings by Rik Olson, California illustrator and fine artist. He is acknowledged as a living master of wood engraving and studied under such artists as Barry Moser, John DePol, Richard McLean, and Ralph Borge. He has lived, studied, and exhibited in Italy, Germany, and the United States; Wood engravings .



    Philip Stanhope - Letters to his Son by Stanhope, Philip (edited by James Harding)

    Folio Society, 1973 Book. Very Good. Hardcover. hardback, 8vo, black cloth backstrip lettered gilt, paper covered marbled sides, a very good copy in a very slightly marked slipcase, no jacket issued, 201pp.



    The Disappeared and Other Poems by Pinter, Harold

    London: Enitharmon Press. Fine+. 2002. Limited Edition; First Printing; Signed by Author & Illustrator. Cloth. 1900564041 . A most handsome Limited edition in Very Fine condition. This book is number 152 of 175 signed copies in the Regular and deluxe editions (plus 45 hors commerce copies). This copy is SIGNED by author Harold Pinter and artist Tony Bevan. Printed on fine Arches Vélin paper and specially bound in attractive rust colored cloth; This selection of The Disappeared and 28 other poems was made by Harold Pinter and Stephen Stuart-Smith from Pinter's previously published works. The accompanying color plates are reproductions of paintings by Tony Bevan made between 1986 and 2002. Poems include God, It is Here, Joseph Brearley 1909-1977, I Know the Place, Daylight, The Second Visit, Book of Mirrors and others; Color Illustrations .




    New York: Limited Editions Club, 1980. Revised Edition. Hardcover. Fine in glassine and a close to Fine slipcase, with the original shipping container still present. Alfred Eisenstaedt. Large octavo (6-3/4" x 9-3/8") bound in full blue buckram with an overall design stamped in blind and the spine titling in gold; 284 pages. Introduction by Maitland Edey. Copy #457 of 2000 numbered copies illustrated with 3 two-page color photograph spreads, including the endpapers, and a beautiful frontispiece portrait of Carson in her natural habitat by Alfred Eisenstaedt. SIGNED by the photographer on the colophon page. Monthly Letter laid in.



    A Widely Cast Net by Lewis, Oscar

    San Francisco: The Book Club of California. Fine. 1997. First Edition. Original Wraps. First edition in fine condition with original plain paper wrapper. This volume was designed and printed by Susan Acker at the Feathered Serpent Press and Anchor & Acorn Press in two colors on archival deckle-edged paper. It was bound by Cardoza-James in cream paper on boards and quarter navy cloth. The title is silver stamped on spine. One of four hundred copies. Also included are both the prospectus & a note from BCC explaining the later date of publication (had anticipated 1996 but true copyright is 1997); Edited by Wayne Bonnet, this book includes the best of Oscar Lewis' short stories, commentary, travel writing, book excerpts, and more. There is a tipped in photograph of Oscar Lewis as the frontispiece as well as thirty five vintage illustrations reproduced from books and periodicals. .



    The Story Of The Glittering Plain. Which Has Also Been Called The Land Of Living Men Or The Acre Of The Undying by Morris, William

    Hammersmith: Kelmscott Press. 1891. First Edition. Vellum. One of 200 copies printed on handmade paper, bound in the original vellum, yapp fore-edge and leather ties. In close to fine condition, minor bowing to vellum cover. Pictorial title page with ornamental borders. Wood cut initials. First edition, with Morris' ornaments rather than the later illustrations by Walter Crane, Peterson A 1. A rather exceptional copy; Morris' famed fantasy novel, inspiration for many great writers to follow, e.g., J. R. R. Tolkien. The first book published by the Kelmscott Press by William Morris, finished printing in April 1891 .



    The Lost Tales by Dunsany, Lord

    Olympia, WA: Pegana Press. Fine. 2013. Cloth. Fine letter press, deluxe, hardbound edition. Teal cotton cloth cover with inset paste down cover title. Tiger end papers in black from Nepal. This first volume of Lost Tales was printed on Hahnemühle german paper using Centaur and Goudy types and the type then distributed. Hand set and printed, sewn and bound by Mike and Rita Tortorello at Pegana Press 2011-2012 ; Previously uncollected tales from 1909 to 1915. Introduction by Michael Swanwick. These 10 stories were retrieved from their original magazine printing and are now published together for the first time with the approval of Lady Dunsany and the Dunsany Estate. None of these stories have been reprinted since their magazine appearance; Lost Tales .



    A Young Printer In San Francisco 1949 by Reid, Robert R

    Vancouver: Heavenly Monkey. Fine+. 2007. Limited Edition; First Printing; Signed by Author. Hardcover. The edition of 50 signed and numbered copies (8vo, 12 pp) was issued in two states. The Majuscule state (numbers 1-15, this copy being #14) has multiple signatures cased in Reg Lissel's transparent vellum paper, lined with a custom-made sheet of paste paper. These copies feature a frontis printed chine colle and signed by Taylor, and include a photo-etching reproduction of a snapshot of Robert Reid taken en route to San Francisco; In 1949 Robert Reid celebrated inclusion of his first limited-edition book (The Fraser Mines Vindicated) in that year's Rounce & Coffin Club annual book show, by driving down the West Coast to see the exhibition. Along the way he stopped in San Francisco, and during just a few days there, managed to meet a number of the city's printing luminaries: the Grabhorn brothers, Col. Carroll Harris, and perhaps most memorable of all, William Everson, then at work on A Privacy of Speech. This brief account of the trip is written in Reid's customary style effusive for all things printed. Set by hand in 18-pt Perpetua and printed in two colors with our handpress on dampened handmade HM Text paper. The frontis is a specially commissioned contemporary linocut portrait of Robert by Andrea Taylor of Cotton Socks Press .



    La Belle O'Morphi by Heriz, Patrick De

    Waltham Saint Lawrence: The Golden Cockerel Press. Very Good. 1947. Limited Edition; Signed by Author. 1/2 Cloth. One of 100 specially bound copies, of which this is number 65. Signed by author. Original light blue slipcase is a bit soiled. Blue morocco binding is bright and clean. The half crimson cloth appears a bit tired in comparison. Pages are very clean. Some yellowing on endpapers with former owner's name written on ffep. Gilt on the spine and boards is quite bright. Garamond type on mould-made paper. Illustrated abundantly. A pleasing copy; The brief biography of Marie-Louise O’Murphy, the model of the celebrated artist, François Boucher, and minor mistress of King Louis XV. Her exciting life began as the impoverished daughter of Irish immigrants, included her time as Boucher’s muse, her rise and fall at Versailles, three marriages, and her travails during the Reign of Terror .



    Carnival - 1st limited edition by Budd, Harold

    Vancouver: Heavenly Monkey. Fine+. 2009. Limited Edition; First Printing; Signed by Author. Five etchings on copper plates etched at New Leaf editions, inked by hand, ensuring all of the lines etched into the plate are fully covered. The plates were then placed on the bed of an etching press, a sheet of paper that has been soaked in water is laid over it, and they are run through the press, which forces the softened paper fibers down into the inked lines of the plate. The text pages were set by hand in Perpetua and printed on dampened Penshurst with a Washington handpress at Heavenly Monkey. The prints were editioned, titled and signed by Harold, who also signed the descriptive colophon included with the suites of which this is number three. The suite of prints is held in a printed Rives paper chemise, slipped into a black cloth-covered slipcase. A title label, printed on gampi proofs of the "Orlando" etching, is laid on to the front board; Harold Budd's debut work in fine printmaking, a series of five etchings continuing his exploration of the potential for improvisation and discovery in his distinctive "arabesque" drawings, each of the etchings is named for a Renaissance composer, and printed in an edition of 15 .



    A una Alondra [To a Skylark] by Shelley, Percy Bysshe

    (Buenos Aires: R. Veroni, 1972. Veroni, Raúl. Small quarto. (28)pp. From an edition of thirty-two copies, this is one of three copies printed on Japan paper. Signed by the translator, Miguel Alfredo Olivera, on the colophon page. Shelley's famous ode, translated into Spanish, is illustrated with colored engravings by Raúl Veroni. A lovely production, this copy is loose, as issued, in printed wrappers and housed within a hand-painted chemise and slipcase, on which the skylark theme is presented in an almost Impressionistic style. Very fine.

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