A Vision of Order.
Anderson, Andrew

Folio. One of thirty-five deluxe copies signed by the author/artist, Andrew Anderson, with an additional portfolio containing a signed proof of "Apple Girl," and a print of "The Rock of Cashel," comprised of nine sheets joined together to form an architectural rendering of the medieval cathedral measuring 4 ½ x 3 feet. A monumental collection of thirty-five linocuts of cathedrals and medieval structures by Anderson, presented full-size, with the artist's commentary on each of the illustrations. Anderson has been a practicing architect for most of his career, and began making wood-engravings and linocuts in 1956, when he was nineteen years old. Early on, he became deeply influenced by Eric Gill, but eventually discovered his own voice as an artist by referencing architectural elements and mixing images with lettering and symbolism. Bound in boards printed with one of Anderson's illustrations in red, backed in violet. The additional prints are in a matching portfolio, and both book and portfolio are housed in a gray solander box. Extremely fine.

The Waste Land.
Eliot, T. S.

Square quarto. 66pp. One of 300 copies. A deluxe edition of T. S. Eliot's poem, illustrated throughout with fragments of a painting by R. B. Kitaj. At the end of the poem, all of the pieces of the painting come together to reveal the entire dream-like image in a full-page color plate. With an essay on the poem by Helen Vendler and an essay on the painting by Marco Livingstone. Very fine in tan buckram with the title printed in brown to the front cover and spine. Prospectus laid in.

Portrait of Basho.
Basho

(1)ff., accordionfold. One of thirty copies, signed by the artist, Kelly M. Houle. The book is comprised of a fold-out illustration of a banana plant, printed in black on yellow parchment-textured paper. Below the illustration is a haiku by the seventeenth-century Japanese poet Matsuo Bashô, who is often regarded as the master of that poetic form. The poem reads: "A banana plant in the autumn gale& / I listen to the dripping of rain / into a basin at night." Inside the book's cover, opposite the illustration, is a mylar mirror. When viewed reflected in the curved mirror, the banana plant's leaves become an anamorphic portrait of the poet Bashô. Bound in gilt-patterned paper-covered boards with a black cloth spine. An attached ribbon wraps around the book, securing it closed. Extremely fine. (1 3/8 by 1; 35x27mm).

Pointe Shoes.
Someck, Ronny

Quarto. 8ff., + one frenchfold leaf. One of 88 copies. With two hand-colored linear etchings by Someck. Contains five poems on ballet dancing printed in English and Hebrew. Ido Agassi is a book artist and bookbinder from Israel. He teaches his craft, while also operating Even Hoshen, a fine press founded with his father, Uzi, who is a book designer. This book is in a clever non-adhesive binding of Ido Agassi's creation, which carries the theme of ballet to the exterior of the book: in the lower right corner of the black cloth boards, a pair of ballet slippers has been formed from sections of pink ribbon. In matching black cloth slipcase. Very fine.

[Xavier Press] Angels All Around.
Bellas, P. H.

27pp. One of 160 copies. Illustrated with six tipped-in US Postage stamps depicting angels. Very fine in gilt-stamped white cloth. With a miniature Xavier Press bookmark laid in. (2 3/4 by 2 1/8; 72x54mm).

The Nightingale.
Andersen, Hans Christian

67pp. One of 350 copies. With four black and white illustrations. Very fine in peach cloth with an illustration printed in black to the front cover. (2 5/16 by 1 7/8; 59x49mm).

Papermaking in Korea.
Shimura, Asao

9, (8)ff. A near-miniature book on Korean papermaking, in English, printed on soft rice paper. Illustrated with a map of Korea and samples of five Korean papers. Stab-bound in off-white rice paper wrappers. Very fine. (3 1/4 by 2; 81x51mm).

Türkische Ebru-Muster. Turkish Ebru Patterns.
Sönmez, Nedim

Quarto. (13), (45)ff. One of 85 copies signed by the authors, Nedim Sönmez and Dr. Nuran Sönmez. This is the second of four books in a series on the art of paper marbling. The text is bilingual, in German and English. With forty-five original tipped-in samples of marbled papers by Nedim Sönmez. The marbled papers are done in the traditional Turkish style of ebru, the history of which is described in Sönmez's introductory text. According to Sönmez, ebru, which is a Persian word meaning "cloudy," "stands for the refined, pastel veil of clouds of the paper." Ebru originated in Asia in the early 16th century, and here Sönmez has compiled a collection of designs ranging from the earliest examples to the present day. First used as a background for calligraphy, artists in Turkey continued to experiment with the marbling techniques in order to create increasingly complex designs, which became works of art in their own right. Some of the designs are intricate combed patterns of feathers and fan shapes, while others form flowers and leaves within the swirls of color. Whenever possible, the authors used the original pigments and techniques to re-create the designs. Loose in a blue cloth and marbled paper-covered portfolio with ribbon ties. In fine condition.

Peace.
St. Francis

(4)pp., accordionfold. One of 100 copies. A fold-out holiday greeting from the Press, illustrated with two hand-colored engravings by Sandy Connors. The text is a quote from St. Francis: "Lord, make me an instrument of thy peace." Fine in tan paper-covered wrappers printed with a design of birds and holly. (2 by 1 3/4; 51x44mm).

Joseph Kearns & Wurlitzer's Opus 2022.
Lewis, James

36pp. One of fifteen copies. Printed by Scott Vile at the Ascensius Press for James Lewis. Illustrated with a frontispiece photograph of Joseph Kearns, a Hollywood actor who purchased Wurlitzer's Opus 2022 in 1955. The theater organ was previously installed in the Warner Brothers Hollywood Vitaphone Studios, where it was used for radio broadcasts and soundtracks during the silent movie era. Kearns designed a new home for himself with the organ as its central feature, which was recognized by many as the finest residential installation of a theater organ in America. Extremely fine in navy blue cloth with a printed title label. (3 by 2 1/4; 80x57mm).

Tenure.
Parry, Marian

(10)ff. One of thirty copies signed by the artist, Marian Parry. Eight 2 by 3-inch cards show tenured professors and tenure committes from the past to present, satirically illustrated. The drawings were xeroxed and then hand-colored by Parry, a well-known artist who has illustrated books for children and the Limited Editions Club. Fine in a cloth-backed portfolio of marbled boards, with ribbon ties. (3 3/16 by 2 3/8; 82x60mm).

Drawn to Enchant: Original Children's Book Art in the Betsy Beinecke Shirley Collection.
Young, Timothy G

Quarto. A mint copy with a mint wrapper.

Maps of Stones.
Stahlecker, Bonnie

(1)ff., leporello. One of thirty copies signed by the artist, Bonnie Stahlecker. On one side of the sculptural, pop-up page is a map of the stars surrounded by words referring to the seasons and phases of the moon, printed in white and red on a blue background. On the other side is a circular map and words referring to ancient sacred places thought to be aligned with the heavens, such as Chaco Canyon and the Egyptian pyramids, as well as the words "Life, Death, Birth, and Rebirth." Stahlecker is a renowned book artist recognized for her three-dimensional and moveable creations. Ink-jet printed on Mohawk paper. Bound in paper-covered boards. The book fits into a triangular wooden slipcase decorated with matching paper. Very fine. (1 1/4 by 1 1/4; 32x32mm).

The Drunken Boat.
Rimbaud, Arthur

(13)ff. One of twenty copies, signed by Jan & Jarmila Sobota, who designed, published, and bound the book. An English translation of Arthur Rimbaud's famous poem, artistically bound. The covers are comprised of three layers: two layers are covered in blue goatskin, with a layer of silver leather between them that is revealed on the edges. The front cover has a cut-out window, in which hangs an undulating, sculptural piece of metal representing a sail. The flyleaf behind the window is silvery metallic paper, reflecting the shape of the sail. A silver spine label bears the title. Housed in a box covered with blue paper evocative of waves, with a label printed in silver to the spine. As new. (2 1/8 by 2 1/8; 54x54mm).

Creating Miniature Knights.
Peter Greenhill

Tall quarto. As new, with dust jacket.

Five Bucks: A Wallet Anthology.
Booth, Philip

(14)pp. One of 75 copies. A near-miniature anthology of poems by Philip Booth, John Haines, Donald Hall, Henry Taylor, and Wendell Berry. Bound in cream printed wrappers. (2 3/4 by 3 5/8; 69x93mm).

Sound Blocks.

One of thirty copies. Oblong cherry wood box with sliding glass lid measuring 8 1/2 by 1/78 by 2 inches (215 x 48 x 50mm). The box is divided into five compartments, which hold colored paper blocks that have been laser-cut into the shapes of the five vowels -- the "building blocks" of language. Small accordion-fold colophon laid in underneath the "A". Heibert and her collaborators -- designer Shu-Ju Wang, Joe Freedman, and printer Diane Jacobs -- have produced a very clever take on the traditional alphabet, giving letters a sculptural third dimension and allowing one to "play" with language. Extremely fine.

Corrugations; Some speculations on Australian Tin.
Bell, Anne

Two oblong quarto volumes. (22); (22)pp., accordionfold. One of thirty-five copies. The two volumes are meant to be opened in tandem: the first volume contains a poem by Anne Bell printed in grey ink, illustrated with color linocuts, including five pop-ups, by the Australian-born painter and printmaker Katie Clemson. Depicted are sheds, silos, water towers, factories, and other buildings made from corrugated iron. Clemson captures the look of buildings in the haze of heat, using pale yellows, blues, and shades of green. The other volume contains a long, continuous linocut depicting graffiti on the side of a corrugated iron fence. A celebration of the cheap, durable, and lightweight building material that has become an iconic part of Australia's architectural landscape. Both volumes are bound in metallic pastepaper and housed together in a red cloth drop-back box, which has a small silver corrugated strip inlaid to the lid. With a color linocut of a corrugated iron shack laid in, captioned "If houses could talk" in pencil and signed and numbered by Clemson. Also laid in is a broadside of the entire poem. Designed, printed, and bound by Claire Bolton. Extremely fine.

Joe Average.
Gibney, Jennifer

Square 32mo. (14)pp., accordionfold, decorated on both sides of the page. An original artist's book by Jennifer Gibney, with hand-drawn text and pen illustrations in black, sepia, and sanguine ink, housed within a hand-painted and decorated wooden box. The story concerns a jester-like character who is overwhelmed by the pressures of life until he opens a book and "opens a dream," escaping into the endless possibilities of his imagination. On the lid of the box is a painting of Joe Average with the word "ordinary" repeated over and over on his clothing and hat, trapped beneath a lattice of textured brass strips. A porcelain sculpture of Joe Average, in the same pose as on the illustration on the lid of the box, is laid into the box on top of the book. Gibney is both a painter and a sculptor, with a background in graphics and book illustration, and she drew on all of these areas of expertise to create this unusual book. With a colophon card laid in, signed by the author. Extremely fine.

The Smallest Violin in the World.
Carrera, John M.

(26)ff. Signed by the author, illustrator, and printer, John M. Carrera. The tale of a luthier who creates and plays the smallest violin in the world, illustrated in black & white. Bound in mauve leather, blind-stamped with the design of a violin F-hole on both covers. T.e.g. (1 7/8 by 1 3/8; 46x35mm).

An Old Fable / A New Fable.

One of 50 copies, signed by Weintraub. Two volumes of fables, bound dos-a-dos. Fine in boards covered with gray and tan handmade paper. (3 by 2 3/8; 75x60mm).

If It Were Up to Me.
Wheeler, Cheryl

(1)ff. One of 75 copies. A scroll in a wooden frame, housed between two covers. Anti-gun lyrics by songwriter Cheryl Wheeler are arranged on a long sheet of paper with an illustration at the top. Fine in gray paper-covered boards. (2 by 3; 50x76mm).

A Year at the Sorbonne: A Poustian Life.
Pollak, Oliver B.

Octavo. xii, 127pp. One of 150 copies. Illustrated with four pages of black & white photographs. Extremely fine in patterned-paper covers, with a cloth spine. Housed in a matching slip-case. Prospectus and original invoice from the Press laid in.

Oddballs.
Westergard, Jim

Quarto. 96pp. One of thirty copies, signed by the author/illustrator, Jim Westergard. Illustrated with forty wood engravings immortalizing infamous people, ranging from well-known oddballs such as Lizzie Borden and Hunter Thompson, to more obscure characters, including the tenth-century Icelandic poet Gunnlaug Wormtongue, who was known for his offensive and unpopular poetry, and the Gentleman Bandit Bill Miner, who is said to be the originator of the phrase "Hands up!" Westergard includes himself in the group, with a self-portrait as the frontispiece. Each illustration is accompanied by a short biographical sketch on the facing page. The expressive, often darkly-humorous illustrations and cheeky descriptions of each character make this book a quirky delight. With an Introduction by Barry Moser and an Afterword by publisher Rollin Milroy. Bound in blue cloth with a spiderweb-patterned glassine dust wrapper. As new.

Culinaria.
Davidson, Laura

24mo. (10)ff. One of ten copies, signed by the artist. Illustrated with eleven drypoint etchings, colored with ink washes, depicting kitchen utensils ranging from spatulas to salt shakers. Each is labeled with the name of the item. Checkered pink and peach endpapers bear illustrations of measuring cups and cutlery. Bound in brushed metal covers with a removable brass-colored metal spatula, which is attached to the front with three small rare earth magnets. The spine is in a cheerful pink floral feedsack-print cloth. Extremely fine.

[DELUXE]. Aun Aprendo: A Comprehensive Bibliography of the Writings of Aldous Leonard Huxley.
Bromer, David J.

Octavo. 408pp. One of 50 deluxe copies signed by the bibliographer, of which 40 are available for sale. The deluxe edition includes a previously unpublished poem by Huxley dedicated to his first wife Maria. Aun Aprendo: A Comprehensive Bibliography of the Writings of Aldous Leonard Huxley is the culmination of over twenty years of research, fact-finding, and detective work undertaken by David J. Bromer. "Aun Aprendo," which means "Still Learning" in Spanish, was the title of a commencement speech that Huxley gave at the progressive Happy Valley School in California in 1951. Bromer's experience as a collector and bibliographer of Huxley's work has sparked a life-long process of education and discovery. With over 2,000 entries, Aun Aprendo is the most current and comprehensive descriptive bibliography of Aldous Huxley's works ever produced. It describes the first appearances of Huxley's works in the English language and identifies many previously unrecorded contributions to books, pamphlets, and periodicals. As a result, Aun Aprendo is an essential tool for librarians, scholars, book collectors, and interested Huxleyans, offering insight into the labyrinthine mind of one of the foremost thinkers of the twentieth century. Bound in the manner of the British deluxe edition of Brave New World, with bright yellow cloth and a gilt-titled blue leather spine label. A blue cloth slipcase protects the book. As new.

Aun Aprendo: A Comprehensive Bibliography of the Writings of Aldous Leonard Huxley [TRADE].
Bromer, David J.

Octavo. 408pp. First trade edition. Aun Aprendo: A Comprehensive Bibliography of the Writings of Aldous Leonard Huxley is the culmination of over twenty years of research, fact-finding, and detective work undertaken by David J. Bromer. With over 2,000 entries, Aun Aprendo is the most current and comprehensive descriptive bibliography of Aldous Huxley's works ever produced. It describes the first appearances of Huxley's works in the English language and identifies many previously unrecorded contributions to books, pamphlets, and periodicals. As a result, Aun Aprendo is an essential tool to the labyrinthine mind of one of the foremost thinkers of the twentieth century for librarians, scholars, book collectors, and interested Huxleyans. The trade edition was printed in 400 copies. It is clothbound with a dust wrapper simulating the patterned-paper boards for Huxley's Selected Poems.

Boys: An Alphabet Book Inspired by Sons.
DeForest, Cathy

Square octavo. (15)ff., frenchfold. One of 100 copies. This brightly-colored abecedarium is a celebration boys' creative, youthful spirits. Each letter is illustrated and surrounded by phrases and words beginning with the letter: the letter "I" shows a child ice skating with his teddy bear, and the text describes boys as being "imaginative, inquisitive imps." Bound by Sabina Nies using DeForest's collection of children's blue jeans long outgrown: this particular binding utilized a pair of carpenter jeans, which have a ruler and wrench embroidered onto the side tool pocket. The pocket is positioned on the front cover with a small toy racecar stuffed inside. Extremely fine.

The Word.
Paz, Octavio

Quarto. 10ff. Original calligraphic manuscript by Ingmire of the text from a section of Paz's poem "Blanco." This poem, which was published in 1967, has been linked to Paz's time in India, and it can be read as a figurative exploration of Indian religious philosophy. "The spirit is an invention of the body/ The body is an invention of the world/ The world is an invention of the spirit", all of which is rooted in the Word, which also harkens back to the Logos at the beginning of the Gospel of John. In treating this text, Ingmire has envisioned the first section of the poem as a text that is revealed from an abstract drawing on the facing page, as if emerging from the blotting of the drying ink. This treatment reaches its climax in the center spread, where the text is written in alternating lines of black and raised gold against a marbled background, and what appeared as strange and jarring is suddenly transformed into something harmonious and striking. A bold interpretation by Ingmire, whose work has balanced traditional calligraphy with modern, innovative techniques and an astounding ability in his use of gold script. Bound in heavy handmade paper wrappers with the title in vertical blocks on the front cover. Housed in a complimentary folding case by the Foolscap Press. Extremely fine.

28 Characters, 4 Men, 10 Women, 5 Boys and 8 Girls.
Flynn, Danny

Small quarto. 32ff. One of five copies, signed by the artists. An artistic collaboration between noted bookbinder, typographer, and illustrator Eri Funazaki and Danny Flynn, a fellow typographer who also wrote the text. Each letter was printed using different wood and metal types, many of which were altered by the artists or specially created for the project. In this unusual alphabet book, tiny line drawings of people are scattered throughout the text, interacting with the large, colorful letters. Accenting designs are occasionally hand-tooled in gold and blind. Playing on the dual meaning of "characters," Flynn and Funazaki created personalities for all twenty-six letters of the alphabet and two punctuation marks: a female ampersand and a full stop "of undetermined gender." The characters are described in short, witty, often rhyming "living eulogies" that reveal their quirks and neuroses. In a playful, unconventional binding of navy blue, tan, and orange Harmatan goatskin that resembles a giant door hinge, with covers that rotate around a tube. The covers have inlays shaped to resemble the tops of screws. One hole is left open in the center of the front cover, revealing the gold tooling on the first page. Together with a bronze figure of Funazaki's "little man" character, which has appeared in several of her artists' books, done in the style of the figures in the text. The "little man" is seated and holds the missing screw from the binding across his lap. The figure is intended to be set on the edge of the book as an integral part of the binding design. Extremely fine.

[Miniature] El Autobus Azul.
Milroy, Rollin

20ff.,+ 4 tipped-in paper samples. Second edition. From an edition of 50 copies, this is one of only six copies with a dust wrapper hand-painted and titled by Martin Jackson, who also signed the colophon. Printed to mark the tenth anniversary of its original publication, El Autobus Azul was the first book printed by Rollin Milroy, and this new edition adds a Foreword by him. The deluxe issue of the book was printed to raise funds for the Fine Arts program at the elementary school attended by Milroy's daughter and Jackson's grandson, and the special limitation sheet was printed with the assistance of the second graders in that program. As new in stiff paper wrappers, and housed in publisher's slipcase. (2 7/8 by 2 1/4 inches; 72x66mm).

The Nachman Stories.
Michaels, Leonard

Small quarto. 163pp. One of 300 copies. Illustrated with nine tipped-in publicity photos of Michaels. One of the stories, "Nachman and Meg," is published here for the first time. Bound in blue cloth with a diagonal strip of yellow paper bearing the title and author. Prospectus laid in. Offered below publication price.

Les Prélivres.
Munari, Bruno

Small folio case containing twelve 12mo. books. One of 555 copies. A special twentieth-anniversary edition of the clever "pre-books" that Munari designed for children before they learn to read. The publishers explain that "In 20 years, the materials and techniques have obviously developed and changed. We have decided, therefore, for this new edition to favour the spirit of the artist rather than make slavish copies." A pocket inside the front flap of the folio contains "Book 0," with directions for use in English and French, and Munari's explanation of his concept. The twelve "prélivres" are housed in individual wooden compartments. The folio is made of stiff corrugated blue paper, embossed on the front with the title and publication information. An elastic cord holds the folio closed. A fine, beautifully-designed new edition of this innovative set.

Ebru Paper with Drawing of Beyazit Tower.

Original marbled paper art by Turkey's premier paper marbler, with dusky swirls of pale peach, green, blue, and mauve. Signed and dated by the artist. Emerging from the center of the marbling is a small, detailed drawing in brown ink of the entrance archway to Istanbul University and Beyazit Tower. The tower is located on the university's campus and was originally built in 1824 as a fire watch-tower. Birds fly overhead and disappear amidst the soft clouds of a marbled sky. Paper marbling, or Ebru, is one of the oldest arts in Turkey. In addition to being employed in book binding and decoration, it was often used as a background for calligraphy and is considered high art. Ever since its fifteenth-century beginnings, artists in Turkey (and around the world) have experimented with marbling in order to create increasingly complex designs, which are works of art in their own right. Measuring 28 by 20 inches. One corner slightly bumped, else a fine example of this traditional art form.

Ebru: Turkish Marbled Paper.

Original marbled paper art by Hikmet Barutcugil, Turkey's premier paper marbler, with swirls of golden yellow, green, blue, and violet. Signed and dated by the artist. This expressive design flows gently close to the edges of the paper, but intensifies close to the center of the work as the colors mix and blend. Paper marbling, or Ebru, is one of the oldest arts in Turkey. In addition to being employed in book binding and decoration, it was often used as a background for calligraphy and is considered high art. Ever since its fifteenth-century beginnings, artists in Turkey (and around the world) have experimented with marbling in order to create increasingly complex designs, which are works of art in their own right. Measuring 20 1/2 by 24 inches. An extremely fine example of this traditional art form.

Efsun Çiçegi (Enchanting Beauty Flowers).

Original marbled paper by the premier marbling artist in Turkey, Hikmet Barutcugil. Signed and dated by the artist. Ebru, or marbling, is one of the oldest arts in Turkey. In addition to being used in book binding and design, it was often used as a background for calligraphy. In this way, marbling was elevated to a high art. Ever since its fifteenth-century beginnings, artists in Turkey (and around the world) have experimented with marbling in order to create increasingly complex designs, which are works of art in their own right. Barutcugil has developed his own technique for creating flowers within his marbled patterns, inspired by his wife, Füsun Hanim. In this lovely example, four tulips in lavender and violet bloom against a marbled background in shades of green, pink, blue, and violet. The marbling transitions from delicate washes of green to more bold, defined lines which evoke mountains and sky. Barutcgil's limitless creativity and passion for this traditional art is clear in his work. The paper has been mounted onto a stiff cardboard backing. Measures 18 by 9 inches. A very fine example of Turkish marbling, which is offered with "Efsun Cicergi," Barutcugil's fully illlustrated text on Efsun Flowers.

Blaze, by Richard Bachman.
(King, Stephen)

First edition. Pseudonymously written by Stephen King under his early pen name. King worked on the novel from 1972-1973, and then abandoned it after re-reading the work. More then thirty years later, he revisited the manuscript in the archives of the Folgler Library at the University of Maine and decided to give it a second chance. Very fine, in original dust wrapper.

Allah (God).

Marbled paper with calligraphy measuring 23 3/4 by 32 inches. Ebru, or marbling, is one of the oldest arts in Turkey. In addition to being used in book binding and design, it was often used as a background for calligraphy and is considered high art. In this example, Barutcugil has used a stencil technique so that the calligraphy itself is marbled, in deep blue against a marbled background of blue and green. The original calligrapher of this design was Yusuf Coskun Beneuse (b. 1949). His interpretation of the word "Allah" takes the form of a flower and leaf stretching upwards toward heaven from a curled, grounded base. Bump to the lower left corner margin, which can be easily covered by a mat. Else fine.

El Kasibu Habibullah.

Marbled paper measuring 23 3/4 by 32 inches, with elegant marbled calligraphy in Arabic. The script translates to say "One who conducts business in a Halal fashion is the beloved servant of Allah." This superb example of Ebru, the ancient Turkish art of paper marbling, has a bold simplicity. Ebru was traditionally used as a background for calligraphy and is considered high art. This paper was marbled twice using a stencil technique and resists. The result is that the calligraphy and the background have different colors and patterns: the background of this piece is decorated with bubbles of pink, peach, and white, while the contrasting calligraphy is swirled with black and gray. The calligrapher who created the design was A. Hulusi Efendi (1869-1940), who belonged to a long line of Turkish marbling artists and calligraphers. Signed Hikmet Heida, which means "wisdom of god." Top right corner is slightly bumped, else a very fine example of Ebru art.

Efsun Çiçegi (Enchanting Beauty Flowers).

Original marbled paper by the premier marbling artist in Turkey, Hikmet Barutcugil. Signed by the artist. Barutcugil has developed his own technique for creating flowers within his marbled patterns, inspired by his wife, Füsun Hanim. In this delicate example, two carnations grow from the same root, branching off and blossoming in red and yellow. The flower is set against a speckled marbled background of pale blue, violet, and green. Barutcugil's unusual speckling technique gives the effect of pointillistic clouds.Ebru, or marbling, is one of the oldest arts in Turkey. In addition to being used in book binding and design, it was often used as a background for calligraphy and is considered high art. Ever since its fifteenth-century beginnings, artists in Turkey (and around the world) have experimented with marbling in order to create increasingly complex designs, which are works of art in their own right. The paper, measuring 14 1/2 by 10 3/8 inches, is mounted behind a dark green mat. The whole measures 17 1/5 by 14 inches. A very fine example of Turkish marbled art.

I'll Die Tomorrow.
Spillane, Mickey

Square octavo. (48)pp. One of 45 copies. Printed by Peter Koch and illustrated with digital pigment prints of seven photographs by Karen Filter. The photographs depict scenes that could have been taken straight from film noir, with gun-wielding men wearing fedoras and women in slinky dresses. Filter's photographs have a vintage aesthetic, and were originally printed using a unique color technique that she created based on Carbro prints from 1930s and 1940s, and technicolor from the 1950s. Fitting to accompany Spillane's work, the photos were selected from Filter's "B-Movie Series" and "Detective Series." Filter made her name on the Los Angeles music scene in the 1980s, photographing everyone from jazz greats like Dizzy Gillespie to Devo and the Go-Go's. As new in boards printed with a six-color letterpress take on the pulp style, with the title in bold red and yellow. The back cover features a black and white print of the side of a gun. Listed at publication price.

The Yellow Barn Press: A History and Bibliography.
Walsdorf, Jack

Quarto. (xvii), 122pp., plus 12ff. plates. One of 175 copies. Illustrated throughout with engravings, including many by the artist John DePol, who worked closely with the Press. Also includes a leaf of photographs, twenty-two color reproductions of works by the Press, and various photographs and examples either bound or tipped in. This authoritative bibliography is annotated with comments by the printer, Neil Shaver, on the creation and production of each work. Accompanied by three loose prospectuses, each with two tipped-in photographs: one showing bindings from the press, and a portrait of Neil Shaver and John DePol. An order form, envelope, and promotional bookmark are also included. Very fine in patterned paper boards by John DePol with a repeating design of haystacks against a cloudy Iowa sky. Housed in a black silk clamshell box. At the publication price.

You Can't Choose Your Progeny.
Milroy, Rollin

Quarto. 13pp. One of twenty-three copies. With an original vellum leaf from the Doves Press edition of poems by Percy Bysshe Shelley. Hand-set and printed on dampened paper by Milroy. Bound and tooled by Claudia Cohen in a limp paper vellum case with gilt rules. This is the final chapter from the author's book, Elements in Correlation-- Printing on the Handpress at Heavenly Monkey. Extremely fine.

A Memoir of Book Design, 1969-2000.
D'Ambrosio, Joseph

Quarto. 212pp. One of 350 copies written and designed by Joseph D'Ambrosio. Following the path of D'Ambrosio's life through his works from 1969 to 2000, this memoir and bibliography describes 92 books and is illustrated with 173 color photographs. Each entry provides a description of the book as well as anecdotes by the author/designer. Fine in a binding that features patterned paper designed by D'Ambrosio over the front board, with black linen covering the back cover, spine, and one-quarter of the front board. Original mylar dust jacket present along with book prospectus.

Airs and Angels, by Peter Fallon.

Quarto. xv, (21)pp. One of 60 copies. A book of thirteen poems by Irish poet Peter Fallon, with three color illustrations by Carol Blinn, title-page calligraphy by Jerry Kelly, and a foreword by Wendell Berry. Bound by Priscilla Spitler in marbled-paper boards backed in blue cloth, with a title label to the spine. Letterpress printed on tan paper. A lovely production by a veritable Who's Who of book artists, not to mention two major contemporary authors. Very fine.

Matrix: A Review for Printers and Bibliophiles, Numbers 1 through 30. A complete run of the deluxe issues.

Thirty volumes, plus the reprints of numbers one and two, as well as two index volumes (1-5 and 1-21). Limitation varies between 30 copies (number one) and 80 copies (number 26). A complete set of the deluxe issues of this invaluable periodical, printed at the Whittington Press. Illustrated profusely, including many printing samples and with the extra information, illustrations, and samples that typically accompany the deluxe issue. Matrix has become by far the finest periodical of the book arts of the twentieth century, surpassing even the seven-volume Fleuron issued in the 1920s. The contents include both retrospective material (Eric Gill, et al.) and information about presses active today. Issues I and II, far more limited than the later issues, have become very rare indeed. Bound in morocco-backed patterned papers. All volumes have slipcases, except for I and II, as issued. A few volumes show light sunning, else very fine.

Miniature Leaf Books.
Thomas, Peter

23pp. One of 126 copies. A brief history of leaf books by Peter Thomas, with three tipped-in leaves from miniature books, one each from a Thumb Bible, a Bryce Shakespeare, and an American Tract Society title. Frontispiece also tipped-in. Beautifully printed on handmade paper and hand bound in tan boards with a printed label pasted over what apparently is another specimen leaf. Mint. (2 15/16 by 2 1/8; 74x55mm).

The Simple Line.
van Sandwyk, Charles

Quarto. (5)ff. One of fifty copies signed by the artist. With six tipped-in illustrations, including photo-etchings and intaglio prints, by the contemporary Canadian artist Charles van Sandwyk. A brief essay, also by van Sandwyk, accompanies the artwork. Printed on sumptuous cream-colored paper and bound in full tan buckram. Paper label to the spine. A beautifully executed work. Mint.

Raggedy Ann and Johnny Gruelle: A Bibliography of Published Works.
Hall, Patricia

Quarto. A very fine copy in a very fine dust jacket. This copy is signed by the auther.

John DePol: A Catalogue Raisonné of His Graphic Work 1935-1998.
Brody, Catherine Tyler

Quarto. 162 pp. One of 400 copies signed by the artist. Copiously illustrated with both black and white and color reproductions of DePol's work. Renowned for his exquisite wood engravings, DePol's long career and vast output actually comprise the entire range of printmaking, including aquatint and drypoint, etching, lithography, watercolor, and oil paintings. His work has illustrated hundreds of books and other publications, and is held in numerous institutions including the Library of Congress, the New York Public Library, and the Bodleian Library at Oxford. The Catalogue includes a biographical essay by Catherine Tyler Brody, a brief Preface by John Dreyfus, and an index. Bound in quarter black cloth and illustrated red paper, spine lettered in white. Decorative endpapers bearing DePol's signature are adapted from a pattern engraved by the artist. Small red stain to outer margin of index title-page not affecting text, else fine. Housed in a paper-covered slipcase with a black paper label to the spine, lettered in white. Prospectus laid in.