Search Results: Titles starting with F from Bromer Booksellers

Bradenton, FL: Opuscula Press, 1991. 28pp. One of 150 copies. Frontispiece postage stamp showing FDR. A fine, miniature production devoted to a fine, miniature hobby. Bound in full gray cloth over boards, gilt-titled. (2 113/16 by 2 3/8 in.; 70x58mm).

(Los Angeles): Turkey Press, 1988. Wiley, William T.. Small quarto. (60)pp. One of 125 copies, signed by the poet and the illustrator. William T. Wiley's drawings, which face each of Hannon's poems, encapsulate chaos through discordant lines and endow their paired verses with a sense of foreboding. Bound in black cloth with brown kakishibu paper over the covers. Fine. Housed in a clamshell box, which shows some general rubbing. Bookplate of James Strohn Copley on underside of box lid.

London: A. Bettesworth, C. Hitch, et. al, 1738. Octavo. 548; 266pp. Eighth edition. Frontispiece portrait of L'Estrange. The aesthetic of this edition matches that of the bound-in Fables and Stories, which states that it is a second volume, following up the preceding Fables of Aesop, and is the fourth edition, printed in 1730. Set bound in brown calf, rebacked to match. Green ribbon bookmark. Edgwear, tepid foxing throughout, else very good. Bookplate of former owner on front paste-down, another on front flyleaf.

Jamaica, NY: Minia Press, 1943. Wood, Edmund S.. (35)ff. Liberally and lightheartedly illustrated throughout in black & white. Bound in red cloth with a turtle stamped in gold on the front cover. Includes scarce original red cardboard slipcase. A fine copy, slipcase only slightly rubbed. (2 by 1 5/8; 51x42mm).

NY: William Heinemann Ltd, 1931. Gooden, Stephen. Two large octavo vols. lxxii, 235; xxii, 336pp. One of 525 copies, signed by the illustrator and the translator below the limitation statement. Gooden's twenty-six copper engravings punctuate this pleasing pair of volumes with fantastic weight and imagination. Both volumes bound in full vellum with gilt titling to spines. Vellum on second volume spotted, mild cracking along front joint of first volume, else a near fine set.

Moscow: Goznak, 1969. Mavrina, T[atyana]. Oblong octavo. (40)pp. Mavrina's illustrations for this lush Cyrillic alphabet are at once delightfully couched in folklore and technically skilled in color and composition. The occasional letter receives a double-page spread, or highlight in metallic ink, and all suggest the drama and abundance of a stage production of the frog prince, the fire-bird, and other familiar stories. In 1976 Mavrina received the Hans Christian Andersen Award, and remains the only Russian to do so. Bound in red wrappers with a gold paper jacket, both of which reflect motifs from the text. Mild general edgewear, some nicks to jacket, faint sunning to covers. Very good.

NY: Gotham Book Mart & Gallery, 1976. Octavo. 26pp. Inscribed on the front cover by Gorey to William Targ, who, as editor-in-chief at Putnam, handled Gorey's work and is most famous for publishing Mario Puzo's The Godfather. Illustration on front cover a sketched portrait of Gorey by Tom B. Loom. An ephemeral catalogue, bound in self-wrappers, showing toning else near fine.

Evanston, IL: Press of Ward Schori, 1990. Armstrong, George. (20)ff. Signed by Ward Schori. A classic French story with a twist. Fine in black velvet boards, with a gilt design and a jewel in the center. (2 9/16 by 2 1/4; 66x57mm).

Evanston, IL: Press of Ward Schori, 1990. Armstrong, George. (20)ff. Signed by Ward Schori. A classic French story with a twist. Fine in black velvet boards, with a gilt design and a jewel in the center. (2 9/16 by 2 1/4; 66x57mm).

Franklin, NH: Hillside Press, 1966. Konewka, Paul. xvii, 42pp. One of 375 copies. Various texts by Shakespeare with twelve silhouettes by Paul Konewka. Fine in burgundy cloth over boards, faintly rubbed. (2 5/16 by 1 15/16; 60x50mm).

London: Faber and Faber Limited, 1939. First edition. Eliot's living-room drama, written partly in blank verse and partly in prose, and emulating both Greek drama and pulp detective plays. Bound in gray cloth with red lettering to spine. Covers and endpapers noticeably toned, dust wrapper minorly chipped and with discoloration to spine. Very good overall.

NY: Thomas Seltzer, 1922. First edition. Follow-up to Psychoanalysis and the Unconscious, this was the book that was partially responsible for rekindling the friendship between Lawrence and John Middleton Murry. The American edition of this work contains an Epilogue that was omitted from the English edition. Spine gilt dulled, as is common, toned at head and tail of spine, stain to lower rear endpaper and paste-down, also affecting rear panel and flap of dust jacket. Overall, a very good copy in the scarce dust jacket, which is a bit chipped and soiled, with fading to spine. (Roberts A22).

(San Francisco: Juniper von Phitzer Press, 1991. Hiemstra, Marvin. (83)pp. One of 110 copies designed, handset, letterpress printed and hand-tinted by "Juniper von Phitzer", and signed by him. The book begins with "The Three Typeface Proposals for the Title Page of the Literary Tome", followed by the accepted typeface. The tongue-tying text is illustrated with woodcuts of decorative initials, animals, and other items that the reader must guess in accordance with the letter being featured. The "Key to the Gordian Knot" follows at the end. A.e.g. Fine in purple leather with double gilt rules intersecting on the covers, titling in gilt. (3 by 2 1/4; 76x57mm).

Philadelphia and Minneapolis: Dargonet Press (i.e. Dagonet Press), (n.d.). Anderson, Verne. Large octavo. (24)pp. One of sixteen copies. Signed by Anderson after the title page, and by the designer and printer, James Engelbart, at the colophon. Anderson's nine woodcuts of chickens appear opposite nine original fables. Each of these is followed by a tongue-in-cheek moral statement, such as "Handsome is admirable, but fear keeps you from getting pecked on" and "You should always know who your friends are and how to make a good chicken soup" (a recipe for chicken soup concludes the volume). The name of the press has been misspelt on the title page. Bound in full green silk with a woodcut inset to upper cover. Handsomely housed in a matching drop-back box lined in paper decorated with a repeating pattern of woodcut chicks, and protected in a four-flap card chemise. Unrecorded in OCLC.

NY: Ivan Obolensky, 1960. Gorey, Edward. First edition. A twisted alphabet of Gorey characters, in which "the Magnate waits upon the pavement... and ponders further child-enslavement." Light rubbing to extremities of blue pictorial wrappers, some pale foxing to flyleaves, edge toning, else good. Together with: The Gorey Alphabet. Constable: London, 1960. First British edition. An alternate title, with alternate cover image, for The Fatal Lozenge. Spine toned, rubbing to corners and joints, else good. Also with: the May 1963 issue of Rogue Magazine, in which the text and illustrations also appear. Some soiling to covers, else very good. (Toledano A6a).

(N.p.): Fatima Cigarettes, 1914. A marketing flipbook, one in a series depicting "the latest accepted dances"—this one shows, in color, the Aeroplane Steps of the Hesitation Waltz, and the scene is followed by brief written instructions. Bound in pictorial wrappers. Some exterior rubbing and staining, expected creasing, else good. (2 by 2 1/2; 51x65mm).

Fullerton, CA: Lorson's Books & Prints, 1987. Murray, Gordon. (12)ff., frenchfold. One of 32 copies with seven original watercolors of pastoral scenes in winter. Signed by the artist, Gordon Murray, who also calligraphed the text of John Clare's poem. Very fine in tan cloth with a watercolor winter landscape set into the front cover. Black cardboard slipcase with paper labels. (2 3/4 by 2 1/2; 70x63mm).

London: Guild and School of Handicraft, Essex House, 1894. Octavo. 166pp. Ornaments on the prefatory material and the final page evince Ashbee's skills Art Nouveau style, and bring illustrative care and craftsmanship to Ashbee's treatise on what makes for good citizenship in an increasingly industrial state. Bound in full red cloth with design stamped in black to upper cover and titling in black to spine. Exterior fairly shabby but structurally sound. Interior toned, as usual. Edges untrimmed. Very good. Gift inscription of former owner on front flyleaf.

(Bern, Switzerland, 1974. Scapa (a.k.a. Ted Schaap). Fifteen original illustrations of perhaps gouache, each on a separate sheet of heavy paper. Mainly concerned with the meteoric rise of computing, and particularly that of IBM, Schaap's illustrations depict with snide humor the new computer worker, the techno-bureaucrat, at work pinning (literally) IBM all over the globe, sitting in traffic, dictating to his secretary the way he might write computer code, and still yet relying on paper. The illustrations apparently never reached publication, though their thematic link to the 1974 portfolio Schaap produced through his publishing firm, Benteli, suggests that Schaap was engaged in some sort of cohesive project on IBM and computing. It is possible that he had IBM in mind as the ultimate outlet for the work—he contributed freelance designs to Swatch, among other corporations—though it is unclear whether the company would have been game for Schaap's tongue-in-cheek style. Regardless, the illustrations… Read More

London: Harcourt Brace Jovanovich, 1983. Canaletto. Elephant folio. xvi, 44pp., + 50 facsimile drawings. One of 500 copies. A keen catalogue and academic exposition on Canaletto's corpus, cleverly blending biography and art criticism. Booklet bound in full brown cloth, gilt stamped. With portfolio housed in brown Solander box backed in brown morocco. Fine.