Search Results: Titles starting with S from Bromer Booksellers

(Ditchling, East Sussex), 1930. Cribb, [Herbert] Joseph. Watercolor over pencil on paper. A devoted image of Saint Gertrude meditating on St. Paul's letter to the Ephesians. Not to be confused with Gertrude the Great, this is Gertrude of Nivelles, seventh-century abbess and founder of the Abbey of Nivelles, who is remembered for her particular kindness of foreigners, especially Irish pilgrims. Gertrude is usually depicted, as here, with a shepherd's crook, occasionally adorned with a mouse or rat in recognition of her assumed protection against the infestation of the Black Plague. Her nomination as rodent-scourge has led in the late 20th-century to an association with cats. Cribb's penchant for religious iconography stemmed from his early connection to and education by Eric Gill, with whom he converted to Catholicism. Trace motes of foxing, but safely matted and framed. (Frame measures 16 1/4 by 12 3/4 in.).

Philadelphia: Fisher & Bro, 1865. 192pp. Illustrated with frontispiece and seven engravings. Addressed to parents and Sunday School teachers, this instructive miniature was meant to "teach children important lessons of religious, historical, and political truth," describing the establishment of the Hebrew people as a nation with an essentially Republican political system. Slight wear to extremities and fading to spine; else fine in embossed, red cloth-covered boards. (Welsh 6098). (2 3/16 by 2; 56x50mm).

Wellesley, MA: Annis Press, 1980. An archive of materials relating to the production of Four Fables from Aesop, the limited edition from Wellesley College's Annis Press for the year 1980. Included are two pieces of correspondence and many proof sheets in a variety of states with comments in pen, pencil, and type. These have been carefully organized, and prefaced by a table of contents that organizes them according to their main concern (i.e. contents of the page itself, printing issues, labels, sewing, and numbering of copies). The result is a fascinating and digestible account of collegiate small-press printing, as instructive as it is nostalgic. Held in a letterpress-printed manila folder. Fine.

Skokie, IL: Black Cat Press. ix, (25)pp. One of 249 copies. A collection of "Wise Words by Discerning Writers of Thirty Centuries," printed in black and green. Near fine with spot of rubbing on back cover in green leatherette. (2 5/8 by 3 1/2; 68x90mm).

Spartanburg, SC: Kitemaug Press, 1967. (10)pp. A spoof on arithmetic with a tipped-in linocut frontispiece. Limited to 500 copies. Interior toning to endpapers, else near fine in printed wrappers. (2 by 1 13/16; 51x45mm).

(Dallas): Somesuch Press, 1987. 143pp. One of 250 copies printed at the Meriden-Stinehour Press, signed by the author, Paul Horgan, and the printer, Stephen Stinehour. Illustrated throughout in sepia, and with a color frontispiece. A southwestern Christmas tale. Extremely fine in gilt-decorated red cloth. (Bradbury, p. 282). (2 5/8 by 3; 67x77mm).

(Paris: Société des Moteurs Salmson, 1934. Neuzerer, H.. Quarto. (8)ff. Catalogue promoting the Salmson S4D, from French automaker Société des Moteurs Salmson, illustrated throughout with black & white photographs depicting the interior, exterior, motor, and chassis of the vehicle. At the center of the booklet are five loose color posters with illustrations in a bold Art Deco style. The posters proclaim the merits of each body style of the S4D: for example, the "Précision" of the Cabriolet roadster, which is depicted alongside a jet engine, and the "Élégance" of the Demi-Berline sedan. Bound in bright violet printed wrappers bearing the name "Salmson S4D" in tall letters and a depiction of the sleek "Faux-Cabriolet." Advertising postcard and price list bearing dealership stamp laid in. Founded as a manufacturer of heavy-duty components for the military and railway, Salmson did not enter into automobile production until after World War One. Technically innovative, the models promoted in this… Read More

Milan: Editrice Vecchi, 1950. Prudencia, A.. Octavo. (12)pp. Color illustrations throughout depict the story of Little Black Sambo, Helen Bannerman's popular folk tale. The narrative is told in Italian verse at the bottom of each page. The illustrations depart slightly from Bannerman's original depictions of the characters, though some still employ classically racist motifs, and the whole is a rather belittling vision of people of color. A shape-book, bound in brightly colored pictorial wrappers cut in the silhouette of Sambo, who carries a three-dimensional toy pan flute. This gimmick was the hallmark of Editrice Vecchi's "Piccolo Fiore" series. As new, including original printed glassine bag, as issued. A bright, sliver of midcentury Italian children's publishing.

(N.p., 1930. Oblong octavo. (24)ff. bearing 241 specimens of decorated papers, which are mounted into preprinted grids. The header of each page bears a Sorte number and the name of the particular paper style. The forty-eight different styles sport a variety of colors and patterns, ranging from highly textured gradients to metallic geometric designs. Others are rather reptilian or leather-like, suggested the equal care devoted to the styles' feel and look. Bound in a leathery wrapper with floral paste-downs. Some bumps to corners, trace instances of small tears to foreedge, else near fine.

East Aurora, NY: Roycrofters, 1934. Small quarto. (iii), iv, (2), 64, (2)pp. Pagination begins at 21. Sole copy printed. Signed by O. L. Moore, then-president of the Sales Book Manufacturers Association, which commissioned the book. At the signatory page are spots for other Association members to add their signatures, but these are empty. Frontispiece portrait of Moore, who here is the subject of much commendation by the writer. The essay also serves as historical record of the sales book industry in the late nineteenth and early twentieth centuries. Bound in suede wrappers with yapp edges, ribbon bookmark. Fine.

San Fernando, CA: Junípero Serra Press, 1991. 14pp. One of 200 copies. Frontispiece postage stamp advocating for freedom of the press. Bound in green leatherette over boards, gilt-stamped. Fine. A.e.g. (2 5/8 by 1 7/8; 67x47mm).

Edinburgh & London: William Blackwood and Sons, 1926. Two octavo volumes. First edition of the Scottish poet Hugh M'Diarmid's first collection of poetry, in the second binding, together with a first edition of his second book. Hugh M'Diarmid, or MacDiarmid, as it is more commonly written, was the pen name of Christopher Murray Grieve. MacDiarmid was the leading light of the Scottish Literary Renaissance that occurred in the first half of the twentieth century. He developed and wrote in a synthetic Scots vernacular that incorporated elements of many regional dialects and integrated archaic words and phrases used by Scotland's late medieval poets. Scots was fading from common and literary use and was most often only used in poetry to evoke a sense of the past; instead, MacDiarmid sought to update and revolutionize the language, making it relevant to the modern era. He also believed that the Scottish psyche could not be expressed in English alone, and as a result, he wanted to create a national voice.… Read More

San Francisco: Book Club of California, 1931. Quarto. (x), 272pp. One of 300 copies printed by the Grabhorn Press. Illustrated with folding frontispiece, two folding maps, and three additional folding illustrations. In publisher's morocco-backed tan buckram boards, which show two minor abrasions at spine extremities. Overall, a fine copy of one of the three major publications of the Grabhorn Press. Book Club of California announcement leaf tipped into front pastedown, letterpress leaf laid in announcing the Grabhorn selections for the AIGA "Fifty Books of the Year" for 1932. (Grabhorn Bibliography 158; Howes P525).

Skokie, IL: Black Cat Press, 1951. Nichols, Dale. 46pp. One of 249 copies. Illustrated with a frontispiece in black & red. Trace exterior rubbing, else near fine in gilt-stamped red cloth. (2 3/8 by 1 3/4; 63x47mm).

Skokie, IL: Black Cat Press, 1977. Bennett, Rainey. 54pp. One of 249 copies. Illustrated throughout in black & red. Fine in gilt-stamped red leather. (2 3/4 by 2 1/4; 71x57mm).

Barcelona: Editorial Balmes, 1950. 31pp. Passages from the four Gospels printed in Latin and Spanish. Each page printed within a red border. Fine in watered silk. A.e.g. (1 1/4 by 15/16; 33x24mm).

Santa Cruz: Peter & Donna Thomas, 1991. Thomas, Peter and Donna. (ii), (4)ff. One of 150 copies. Title page bears a postage stamp portrait of Saroyan, and what follows, shown through watermarks backed in salmon paper, is a quote from him declaiming the significance of fine paper. Bound in full mauve paper with title stamped to upper cover. Fine. (2 15/16 by 2 5/16; 74x57mm).

Frankfort, KY: Whippoorwill Press, 1983. (19)pp. One of 125 copies. An anthology of aphoistic excerpts, with snippets of wisdom such as "That wildlife is merely something to shoot at or look at is the grossest of fallacies." Bound in taupe buckram over boards with paper label to upper cover. Mild splay to boards, else fine. (2 7/8 by 2 5/16; 73x58mm).

Skokie, IL: Black Cat Press, 1984. 110pp. One of 249 copies designed by Norman W. Forgue. Titles in orange. Fine in brown leatherette with vignette portrait of Sherlock Holmes on cover in gilt within a brown oval background. Title on spine in gilt. Bookplate. (2 3/8 by 1 3/4; 59x44mm).

NY: Press of the Woolly Whale, 1938. Kredel, Fritz. Square 16mo. (30)ff., frenchfold. Illustrated throughout with line drawings by Fritz Kredel, whose straightforward and cartoonish style lends itself well to the lyrics of the "Schnitzelbank" song. The song itself is of the sort in which each set of lyrics builds upon the previous ones, resulting in a long rhyming list that the singer must remember as they go. Here printed as a small Christmas edition, the song's music is by Harry A. Groesbeck, Jr., the arrangement by Coenraad V. Bos, and the printing by George W. Van Vechten. The editors have taken the song at its traditional face, but altered some of the lyrics to match their interests. Bound in full red cloth over boards, with stamping in silver to upper cover and spine. Slight bumps to corners else near fine, and held in rare publisher's dropback box.