Search Results: Titles starting with R from Bromer Booksellers

(New Britain, CT: Art Press, 1984. (8)ff. One of 150 copies. A keepsake for the Miniature Book Society Conclave in Los Angeles, 1985. Lists and describes five REM miniatures about papermaker and historian Dard Hunter. With a tipped-in sample of Dard Hunter handmade paper. Fine in yellow wrappers and paper sleeve, with printed labels. (1 3/16 by 2 5/8; 30x66mm).

(Concord, MA: Sign of the Vine, 1903. Bradley, Will. Four volumes: two 16mo. and two 32mo. (8)ff.; 19pp.; (8)ff.; (5)ff. Printed in black and red. Each volume, with the exception of Rabbi Ben Ezra, has a wood-engraved frontispiece and title page. The title page of Rabbi Ben Ezra features a geometric design of rules and roses, reminiscent of Charles Rennie Mackintosh. Bound in paper-covered boards, with black lettering on a white cover label. A fine set of these charming American Arts & Crafts volumes by Will Bradley, seldom offered as a complete set. (Bambace 61-64).

(Wales), 1980. Jones, Shirley. Print measuring 20 by 17 inches. One of 50 copies. A luminous print in green and violet of a hyacinth, signed by the artist. The flower blooms against layers of overlapping leaves, which lighten into transparency as they extend upwards. A renowned Welsh book artist, Jones has dedicated herself to the arts of printing both words and images. In a violet mat, measuring 26 by 22 inches. A couple of the faintest spots of soiling, else very fine.

Middletown, CT: Price, Robin, 1998. Shinohara, Keiji. Quarto. (36)pp. One of 150 copies. Signed by the illustrator, Keiji Shinohara, below the colophon. Decorated throughout with woodcuts in soft grays, greens, browns, and reds. The woodcuts interplay with the text itself, recreating in a visual way the experience of sitting in person for the poet's reading. Binding co-designed with Daniel Kelm. The text is hand-sewn into decorative brown paper-covered boards. Audio compact disc of the original 1975 reading inset into verso of upper cover, and a 12pp. pamphlet, The Experience of an Everson Reading, inset into the back. Fine, housed in gray slipcase. Prospectus laid in.

(Vienna, 1810. Single folio sheet, on which is printed twenty rebus cards, to be cut out. Each card has a very fine hand-colored stipple engraving. A few examples are: a man bowing before a statue of Cupid, a sunset, three children sledding, and Napoleon sitting on an upper-case "B." The sheet measures about 9 1/2 by 15 inches, and each card 2 by 2 3/4 inches. Extremely fine.

Montreal: Roger Huet, (n.d.). (28)pp. One of 199 copies signed by Roger Huet, the publisher. With floral headpiece to each page. Fine in gilt-ornamented white leather, with burgundy silk endleaves. (7/8 by 3/4; 23x19mm.).

N.p.: Garcia de Fuentes Press, n.d.. 12ff. One of 200 copies. Illustrated with color images throughout. Bound in printed mylar over wrappers. Fine. (2 3/4 by 2; 70x51mm).

Boston: Phillips, Sampson & Co, 1856. Small quarto. 67pp., printed one side only. A collection of verse, accompanied by lively silhouette engravings. This is one of several children's books published as a partnership between Phillips, Sampson & Co. and translator "Cousin Fannie" in the 1850s. In advertising Red Beard's Stories for Children, the publishers called it "novel and comic, and will set the little ones in a roar." Another review describes the book as "quite unique, with ebony engravings. Many a bright eye will sparkle, and many plump cheek dimple over these comicalities." This copy is inscribed: "Willie Bigelow from his friend Fanny Forbes. Christmas." The names on the inscription are especially apropos; Fanny Forbes, the giver, shares a name with the translator Cousin Fannie, and the recipient, Willie Bigelow, shares the name of the protagonist in one of the longest pieces in the book, "History of Willie and His Horse Robin." Illustrated yellow boards with brown cloth spine. Expected wear… Read More

London: Faber and Faber, 1995. Octavo. (xviii), 213pp. A series of lectures given by Heaney while Professor of Poetry at Oxford; the first, and titular lecture, was his inaugural address, and later appeared, abridged, in the Times Literary Supplement (1989). bound in gray cloth over boards. Trace rubs, else near fine in near fine dust wrapper. Together with the American edition issued by Farrar, Straus and Giroux in that same year. Bound in quarter brown cloth with white paper over boards. Minimal soiling, else near fine in near fine dust wrapper.

Vancouver, BC: Heavenly Monkey, 2003. Octavo. Single sheet folded in thirds, with samples of Kozo and Gampi papers inserted. On these, which serve as exemplars of Lissel's work, are the printer's devices for A Lone Press (Kozo) and Heavenly Monkey (Gampi). Bound in to trifold handmade paper wrapper. Fine.

London: Faber and Faber, 1989. First edition. Winner of the Booker Prize for Fiction in 1989, Ishiguro's novel situates the reader in the reflective consciousness of an English butler in the twlight of his career. Minimal bumps to corners, else near fine in a fine dust wrapper. Together with a copy of the first American edition. This mildly toned at edges of boards, else likewise near fine in a fine dust wrapper.

Watertown, Mass: Bromer, Anne & David, 1979. Hobbs, Janet. (20)pp. From an edition of 85 copies, only 50 of which were for sale, this is the publisher's copy. Printed by Darrell Hyder. This is the text of the first edition (1840), printed as a micro-miniature with a pictorial opening initial hand-calligraphed by Janet Hobbs. Bound by C. Allan Carpenter in marbled-paper boards with a paper label to the front cover. Fine. (Bradbury, p. 38; Bromer, pp. 28-35). (1 3/8 by 1; 34x25mm).

Watertown, MA: Bromer, Anne & David, 1979. Hobbs, Janet. 46pp. One of 150 copies, signed by Darrell Hyder, the printer. With pen and ink illustrations by Janet Hobbs and an introduction by Herbert H. Hosmer, Jr. This is the text of the original manuscript, which was later shortened considerably. Bound by C. Allan Carpenter in marbled-paper boards with a paper label to the front cover. Some rubbing to exterior, else fine. (2 5/16 by 1 15/16; 59x50mm).

Watertown, MA: Bromer, Anne & David, 1979. Hobbs, Janet. 46pp. One of 150 copies. Signed by Darrell Hyder, the printer. With pen and ink illustrations by Janet Hobbs and an introduction by Herbert H. Hosmer, Jr. This is the text of the original manuscript, which was later shortened considerably. Bound by C. Allan Carpenter in marbled-paper boards with a paper label to the front cover. Some rubbing to exterior, else fine. (2 5/16 by 1 15/16 in.; 59 x 50 mm).

Watertown, MA: Bromer, Anne & David, 1979. Hobbs, Janet. (20)pp. One of 85 copies, only 50 of which were for sale. Printed by Darrell Hyder. This is the text of the first edition (1840), printed as a micro-miniature with a pictorial opening initial hand-calligraphed by Janet Hobbs. Bound by C. Allan Carpenter in marbled-paper boards with a paper label to the front cover. Fine. (Bradbury, p. 38; Bromer, pp. 28-35). (1 3/8 by 1; 34x25mm).

Worcester: Achille J. St. Onge, 1967. 63pp. One of 1,250 copies, this one signed by St. Onge. With a tipped-in photograph of the author, Archibald MacLeish, as a frontispiece. Front cover faintly rubbed, some sunning to spine, else very good in gilt-stamped blue leather. A.e.g. (Massmann 30; Bradbury, p. 254). (2 7/8 by 2 1/16; 74x52mm).

San Francisco, CA: Hosfelt Gallery, 1997. Wegner, Peter. One of 100 copies, signed by Wegner in the volume titled "Remarks on Color." The other volumes are titled "Remarks" and "Color," and, as the division of names suggests, these first two volumes' disparate parts are combined in the third volume, to great poetic and visual effect. Based on a series of paintings done by Wegner in 1995, the set repurposes paint swatches to represent the values and definitions of terms, and the relationships between them. In "Remarks," these ideas are identified without color; only the names and code numbers of the swatches are available. In "Color," Wegner presents the opposite: only colors, no identification. Wegner's metaphysical and artistic exercise reaches its culmination in "Remarks on Color," in which he makes available all identifiers and values. Printed and produced using waterless offset lithography with foil stamps and blind embossing for the text. The full effect suggests the poetry of existence, of how… Read More

(Melbourne): Masterthief, 2009. Lyssiotis, Peter and Theo Strasser. Folio. (44)pp. One of ten copies, signed by the artists, Peter Lyssiotis and Theo Strasser. An imposing work, monumental in many senses, Remembrance matches Robert Colvin's poetry with hand-painted pages and original screenprints to underscore the consequences of actions, especially those by the military. It demands a closer look at the language and politics of "liberation," questioning who truly benefits from acts of war. Colvin's post-apocalyptic verses and Lyssiotis and Strasser's dark illustrations dispel the rosy nostalgia with which history often urges us to view itself. Those in power present outcomes as successful, consequential suffering as tragic or necessary, but Remembrance challenges what we remember and what we memorialize, asserting that losses—of life, of livelihoods, of rights—far outweigh narrow political gains. Lyssiotis is a Cypriot/Australian photographer and photomonteur who uses original and altered imagery… Read More

1999. Two posters, one featuring an armed young man beneath the Vietnamese flag watching an American fighter plane crash, and the other depicting Ho Chi Minh amidst the flags for North Vietnam and the Viet Cong. Though reproductions, these posters mark a shift in post-war Vietnam, in which propaganda art has taken on commercial value. Essentially knock-offs, being stenciled images, they capitalize on the surge of Western tourists fascinated by "the other," and the resulting ethno-tourism formed at the confluence of neoliberalism and revisionist history. Their imagery—the destroyed American aircraft, the nationalist flags, and the references to the 1954 victory at Dien Bien Phu and to the anthem of provisional government of South Vietnam, "Giai Phon Mien Nam" ("Liberate the South")—play directly into Westerners who viewed communist Vietnam as an exotic destination. Some edgewear, else fine overall. Each poster measures 20 3/4 by 31 in.

Decorah, IA: Solmentes Press, 2022. Esslemont, David. Quarto. (32)pp. One of thirty copies, from which a percentage of the original sales aided Ukraine TrustChain. Signed by the artist, David Esslemont. Devised as an immediate, empathic response to the Russian invasion of Ukraine in late February 2022, the book, in Esslemont's words, aims "to show solidarity with the people of Ukraine and to highlight the recurrent, ubiquitous nature and folly of war." Esslemont is particularly interested in the ways images of the war were disseminated through photographs, news outlets, and political speechmaking. The book intermingles and collages these contemporary images, which bear witness to refugees, tanks, and ruined cities, with archival ones, recalling with intention and precision the thousands of years of similar tragedies left by imperialist oppressors. These latter illustrations reference conflicts in the United States (namely, the Civil War and various campaigns against indigenous peoples), Nazism and… Read More