Rare books from Bromer Booksellers

Boston: Bromer Booksellers, 1996. Gorey, Edward. Small quarto. 26 pp. From an edition of 2,000 copies, this is one of 200 copies signed and numbered by Edward Gorey. Bromer special holiday catalog with previously unpublished, full-color cover design by Gorey, who created the artwork originally for a Nieman Marcus holiday catalogue. When the retailer rejected Gorey's work, choosing that of another artist instead, Bromer Booksellers happily acquired the illustration, which features frolicking bears around a wreath, set against a starry blue background. A nice example of the artist's whimsical touch. Fine.

NY: Dodd, Mead, 1899. Three quarto volumes. xxvi, 330pp. From an edition of 268, this is one of thirty copies on Imperial Japon. In addition, this is a unique copy with an extra set of the 126 color photogravure plates printed on white satin and backed in celadon silk. The colors of the blue and white pottery, as well as some sepia and multi-colored ware, seem to glow and take on a three-dimensional quality. Bound in a full blue morocco "Adams Mosaique" binding, with an oak-leaf and acorn pattern within a rococo oval frame, inlaid in cream and teal morocco. The oak garland motif is repeated in gilt in the six spine compartments. Gilt turn-ins, with satin doublures illustrated with blue-and-white Harvard dishes, and moiré silk endleaves complete the binding. A fore-edge painting represents a blue-and-white Staffordshire pitcher. The extra suite on satin is laid into two blue morocco drop-back boxes bound with spines to match the book, with oak garlands on front and back, and with doublures and… Read More

London: Ernest Benn, 1932. 16ff. First edition of this selection. Binding A, in wrappers with the title page as the front cover. Together with a copy in the second binding, in which a simulated red linen paper is pasted over the wrappers, with a rectangular cut-out in the front which shows only the "Robert Frost" portion of the original wrappers. Crane notes that leaves on examined copies measure 219 x 134 mm: the present copy of binding A measures 219 x 138 mm, and the second binding is 209 x 134 mm. Both copies are fine. (Crane A16).

1935. Kent, Rockwell. Watercolor on paper measuring 13 by 9 1/4 inches, signed by Kent in the lower right margin, along with the inscription, "to his friend Charly Mortensen, 1935." Mortensen was the telegraph operator aboard the Hans Egede, the ship on which Kent made two of his three celebrated voyages to Igdlorssuit, Greenland, where he would live off and on between 1929 and 1935. His life and work among the native Greenlanders during these years resulted in two of his greatest books: Greenland Journal and Salamina. The present painting, a moving, somber work executed in the artist's typically realistic style, depicts a European sailor, presumably preparing to depart Greenland for home, comforting a native Greenlander who is weeping into her hands at the prospect of their parting. The watercolor is accompanied by Mortensen's autograph book, which contains numerous drawings and inscriptions by friends and Hans Egede passengers, including two drawings by Kent, both signed. One drawing, a charming,… Read More

N.p., 1943. Snyder, Lorain R. "Doc. Four octavo volumes. Standard issue blank books printed by the Government Printing Office that were owned by Lorain R. Snyder, who served as a Gunner's Mate aboard the U.S.S. Richmond from 1941 to 1943. The first two volumes contain Snyder's notes and assignments on such matters as wrecking mines, depth charges, and ammunition, as well as his basic duties. These notes are enhanced by Snyder's draftsman-like color illustrations, which detail the structure and functioning of the various weaponry with which he would have been familiar. These include mines, the .45 caliber automatic pistol, and roller-bearing gun mounts. In addition, Snyder -- whose nickname was "Doc" -- provides illustrated charts of semaphore, alphabet, naval and weather flags, map cross-hatching legends, and military insignia for various countries. In the other two volumes, Snyder switches from theory to practice as he begins a tour aboard the Richmond, and the blank books become a daily logbook.… Read More

1860. Single leaf measuring 5 by 7 3/4 inches. A drawing of a young man and woman glancing shyly at each other, with their noses drawn in an angular fashion so as to point at each other. Below the figures is penned words "i cant [sic] stop long this time." A Feb. 25, 1861 inscription on the verso says "Valentine - Mr. Willis E. Marden." The young man wears simple clothing, a blue hat with a red band, a red shirt, and blue pants. His hair is long and curly. The woman's costume is more elaborate; she wears red shoes and a beaded necklace with her blue dress, and her uncovered hair is curled. The sheet of paper was once folded into quarters. Until postal rates became standardized, early valentines were typically folded, sealed, and hand-delivered to a beloved's doorstep. Pennsylvania-German or Dutch handmade valentines gained recognition for their fine workmanship, with detailed pinprick and cutout designs. This example is no less remarkable for its simplicity. Some faint discoloration, primarily to… Read More

(Japan: Sûzan Shobô, 1816. Bôsai, Kameda. Small quarto. (19)ff. A Japanese book of color woodblock prints by Kameda Bôsai (1754-1826), one of the leading painters of the Nanga or Bunjinga (literati) schools of painting. The seventeen full-page illustrations, five of which extend across the page spread, are landscapes depicting mountainous terrain, comprised of strong, black calligraphic lines with soft colors. Each includes descriptive text printed along the margins and the artist's stamp in red. The images are simple but poetic, expressing the artist's love of the natural world, with descriptions that translate as: "The refreshing sound of a mountain waterfall," "The intoxicating effect of river and mountains," "Solitary fisher on a wintry river," and "Jeweled mountains like sapphires and water like emerald," among others. With a preface and two closing notes. Working during the Edo period, Bôsai was recognized for his paintings, calligraphy, and book illustrations. In her book Block Printing… Read More

London: Dean & Son, 1910. Hall, Gladys. Tall quarto. 12ff. First edition. Illustrated throughout in color and black & white by Gladys Hall and Eugenie Richards. A series of poems that follow the activities of the cherubic Peggy and Teddy. The artwork by Hall and Richards is dramatically similar to that of Grace Drayton, who created the Campbell's Soup kids. Hall worked primarily for Dean, and not much is known about her or Richards. Either because of its size or construction, this book is quite rare, with no copies known to be held at any institution. In publisher's pictorial dark blue cloth over beveled boards, which show some faint edgewear. Archival repairs to wrinkles and tears along margins, text block likely recased. Overall, a very good copy.

North Hills: Bird & Bull Press, 1964. Octavo. 91pp. One of 200 copies. A biography on the life and work of Thomas Bird Mosher, the remarkable New England publisher and literary pirate. The Passionate Pirate is one of Henry Morris's earlier titles. In making it, he was plagued with both papermaking and printing problems, since he had recently acquired a new papermaking beater and a new printing press. The first bindings on the books were disastrous, and the entire edition had to be rebound. This copy is inscribed by Morris "For my good friend Remy Green" and dated 11/15/64. Remy John Barcham Green worked for, and later ran, J. Barcham Green Ltd., which operated the Hayle Mill in Kent, England. Morris was in frequent contact with Remy and his father Jack (John Barcham Green II) when he first began his papermaking journey in the 1950s. Morris says of his initial correspondence with Jack Green: "I really sent a barrage of questions and I must say that Mr. Green was extremely kind as he not only answered… Read More

Florence, Italy: Michael Angelino Press, 1930. Blaine, Mahlon. Small quarto. 264pp. With woodcut cover illustration and five erotic, half-tone reproductions of paintings by Mahlon Blaine. This book is part of the swelling trend in the 1930s for "privately printed" erotic books, which would often be published by anonymous or pseudonymous authors and illustrators and printed with fake publication information in order to protect the creators from public backlash. This erotic tale, supposedly taken from a diary of an Amish woman telling of the scandalous sexual exploits of her mother, is one such work. Blaine's stirring illustrations bring life to the text, combining sensual lines with cunning details. Both the cover, in Blaine's bold woodcut style, and the illustrations, with their broad washes over sketched lines, have a raw quality to them, a sense of hurried energy that echoes the excitement of the reader. Near fine in wrappers, with spotting, crease to front cover, and scratch to back. Blaine, whose… Read More

Colombes, France: Collectif Génération, 1990. Rousseau, Florent. Square octavo. (15)ff. One of 60 copies, signed by the author, Marcelin Pleynet, and the illustrator, Bertrand Dorny. With imaginative engraved and blind-stamped illustrations throughout, to accompany Pleynet's modernist text. Many of the pages fold out to give the reader the feeling of discovery and thorough study. Bound in 2015 by Florent Rousseau, one of the few European binders with consistent mastery of unique materials. The volume is bound with a metallic fabric spine and glittering covers of industrial plastic, resembling chrome, with dozens of die-cut squares through which are seen all manner of colors. Eight overlays, four on each cover, of the same plastic mimic Dorny's illustrations; two extend to the paste-downs, on which Rousseau has signed and dated the work. Finished with suede free endleaves and a yellow chemise and slipcase. Fine.

Houston, TX: Ganzeer, 2020. Ganzeer. Original illustration, signed by the artist, Ganzeer. Produced for his op-ed, "The Fate of Egypt," which ran in Middle East Eye in February 2020, the illustration shows a diverse array of Egyptians protesting the dictatorial regime of President Abdel Fattah el-Sisi, who rose to power in 2014 after the removal of Hosni Mubarak. It is a reminder that protesting is an often ceaseless effort, that reform does not occur simply by change of leadership, and that the voice of the people is strongest in unison. Ganzeer is a street artist who has championed reform in Egypt for over a decade. Pencil, ink, and watercolor on paper. Preliminary figure sketch on verso. Fine. Framed. (14 by 14 in.).

1928. Holtz, Johann. Small octavo. (5)ff. An illuminated manuscript on vellum of the Apostle Paul's famous discourse on love, as written in his epistle to the Corinthians. Holtz's hand evinces calligraphic sharpness via his Gothic letterforms and the outlines of his initials, and his eye for color and illumination shows careful study, as displayed through his creative use of blue, teal, orange, yellow, and burgundy. Each page receives a lush floral border, at the head of which is a small heart. The design of the initials owes to medieval customs, heralded by the opening "W," which is four lines tall and boasts a long vine-like descender. Bound in full orange calf over boards with gilt decoration to both covers and embroidered silk doublures. Protected by an orange paper wrapper and matching slipcase. Trace instances of wear to exterior and silk, else near fine.

NY: Random House, 1939. Seuss, Dr. (Theodore Geisel). First edition. Inscribed by Seuss "For Lulu Godiva, II / with lots of thanks for / nice things done." Illustrated throughout in red and black, with one three-color page. In this version of an old tale, the seven Godiva sisters (Arabella, Dorcas, Mitzi et al.), "who were simply themselves and chose not to disguise it," are betrothed to the seven Peeping bothers (Peeping Tom, Peeping Jack, Peeping Frelinghuysen, et al.). As to the genre, the publisher states "Dr. Seuss is the author of two tremendously successful juveniles... We hope it is unnecessary to point out to you that The Seven Lady Godivas belongs in a very different category." Some soiling to cloth-covered boards, else very good in a shabby original dust wrapper.

West Hatfield: Pennyroyal Press, 1982. Moser, Barry. Two folio volumes. 150pp.; xxv, 160pp. Each one of 350 copies signed by Barry Moser. Alice is illustrated with 75 wood engravings by Moser, and Through the Looking-Glass contains 95 engravings by Moser. Some of the engravings are full-page plates, while others are beautifully integrated into the layout. Alice bears a presentation inscription on the colophon to a patron, and Moser has added a characteristically detailed pencil drawing of a key. Every illustration in Looking Glass is pencil signed by Moser. Both volumes also come with an additional suite of the wood engravings, each print signed by Moser, in a linen-covered chemise. Both volumes are printed in five colors on a paper specially made for the Press by Strathmore Mills, with calligraphy by G. G. Laurens. The type is Bembo, in blue, black, and red. Bound by Gray Parrot in quarter purple morocco and crimson morocco and marbled boards, respectively. Each is housed in its own morocco-backed… Read More