Quarto. 154pp. A thesis submitted by the author in partial fulfillment of the requirements for a Master of Fine Arts degree in Graphic Design. Cash travelled to various private presses throughout New England, including the Janus Press, Pennyroyal Press, Warwick Press, Heron Press, and many more, and interviewed the proprietors of those presses to get the history and philosophy of the printers. Illustrated in black & white throughout, depicting pressmarks, sample leaves, etc. from each Press. Includes selective bibliographies for each, as well. Fine in Mylar binding with plastic backing.

Octavo. 28pp., frenchfold. One of an edition of 130 copies. Printed on Japon vellum. This exquisite book contains eight color wood engraved illustrations of Chinese ladies by Lucien Pissarro, within circular borders hand-illuminated in gold. Four or five gold initials per page begin each selection of Chinese poetry. One pictorial initial in gold and colors, and eleven colored floral woodcuts, ornament the text. Title lettering, both Chinese and Roman, also in gold. Stab-bound with silk thread into limp grey-green leather wrappers, with titling and floral ornament in gilt. A superb copy with the original glassine, which has a few tears, and the original slipcase, which is broken. T.e.g. With a signed autograph letter from Lucien Pissarro, dated July 3, 1920, to the noted private press collector Laurence Hodson. In the letter, Pissarro writes that nine copies of the Livre du Jade are still available, and that Hodson can have them at the publication price. Pissarro reflects on the decline of English collecting and of commercial interest in wood engravings, and on the difficulties that the Eragny Press had at the start. The letter perfectly captures Pissarro's beliefs about the production of the "book beautiful." He writes, "I have done my two best books for French societies of "Bibliophiles" who had them printed specially for themselves. The advantage of this is that it removes all of the worries of sales and lets the craftsman give all his attention to his work and the security of placing the whole edition at once allows him not to economise and so produce the best work. In that way the book lovers are dealing directly with the artists and have no need of the ignorant booksellers. I wish we had at least one society of this kind in England." The letter is also in fine condition.

Undine.
Motte Fouque, Baron de la

Quarto. 136pp. First edition. One of 1,000 copies signed by the illustrator, Arthur Rackham. With fifteen tipped-in color plates on heavier tan paper and thirty line drawings. An early German romance translated into English, in which Undine, the beautiful water spirit, marries the Knight Huldbrand in order to capture his soul. In publisher's full vellum pictorially stamped in gilt. Ribbon ties laid in, faint spotting to covers and slight darkening to spine, and typical offsetting to preliminary and final leaves and the pages following the plates. Near fine overall. T.e.g.

The Making of the Book of Common Prayer of 1928. Accompanied by an Original Leaf Printed on Vellum at the Merrymount Press.
Hutner, Martin

Folio. 75pp. One of 285 copies printed at A. Colish, Inc., with typography by Jerry Kelly. A handsome and exhaustive account of the publication of what is considered by many to be D. B. Updike's "magnum opus," together with a vellum leaf from the original edition, which was underwritten by J.P. On the verso of the vellum leaf is the opening of "The Form of Solemnization of Matrimony," with the familiar lines of the marriage service. Morgan Jr. As new in linen boards with leather spine label, in linen and paper slipcase.

The Compleat Angler, or the Contemplative Man's Recreation.
Walton, Izaak

Large octavo. 224pp. First edition. One of 775 copies signed by the artist, Arthur Rackham. Illustrated with twelve color plates and numerous line drawings, as well as silhouette endpapers celebrating the joys of fishing. Very slight soiling to binding; otherwise, a fine, unopened copy in gilt-decorated vellum. T.e.g.

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.

W.B. Yeats/Montale.
Yeats, William Butler

Quarto. 26, (4) pp. From an edition of 130 copies, this is one of 100 ad personam copies. Illustrated with three etchings by noted sculptor Fausto Melotti, each of which is signed in graphite. Contains four poems by Yeats: "Sailing to Byzantium", "The Indian to his love", "When you are old", and "After a long silence". These are followed by translations into Italian by Nobel Laureate Eugenio Montale. According to the colophon, Franco Riva completed the design for this book in August, 1981, but died the following month. The task of printing this edition fell to Martino Mardersteig of the Officina Bodoni, and it was completed five years later. This, then, is Riva's last book, and its straightforward elegance and harmony between text and image is a fitting tribute to one of Italy's finest printers. A fine copy, loose as issued in publisher's blue cloth folding case, which show some faint scuffs.

[Miniature] La Gerusalemme Liberata.
Tasso, Torquato

Two volumes. 405pp. An early title in Pickering's famous Diamond Classics series. The first volume contains an engraved frontispiece designed by R. Grave after R. Morghen, and an engraved title page. Printed in Corral's 4 1/2-point Diamond type. Bound in full contemporary polished green calf by William Richardson with central cartouche framed by a blind-stamped inner border and a large outer foliate border. Housed in a cloth slipcase. A handsome binding in fine condition, which is slightly shorter than the copy described by Spielmann. (Keynes, p. 91; Mikrobiblion 225; Spielmann 473). (3 1/4 by 1 3/4; 82x 48mm).

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.

[Halcyon Press] Hand and Soul.
Rossetti, Dante Gabriel

16mo. 36pp. One of thirty copies on imperial Japanese paper. Printed in black in a fifteenth-century Roman type thought to be made by Peter Schoeffer, with initials in red by Jan van Krimpen. The text is a short story by Dante Gabriel Rossetti set in early Renaissance Italy, which first appeared in the first issue of the Pre-Raphaelite publication The Germ. Bound in deep blue morocco, gilt-titled to spine, with gilt dentelles inside the covers and marbled endpapers. Spine faded, else fine in a marbled paper-covered slipcase.

C:O:L:O:N.
Soll, Ivan

Small quarto. (17)pp. One of 75 copies. With four illustrations, and endpapers printed with a map design. A playful book that ponders Christopher Columbus's exploration and colonization of the Americas through puns, etymology, and wordplay. The book considers the meanings of Columbus's name when translated into various languages, since the Italian explorer Cristóforo Colombo was also known as Crístobal Colón in Spanish, and then later as Christopher Columbus in English. Designed in collaboration by Ivan Soll and Marta Gomez, who together run the Tiramisu Press. Soll wrote the text and designed the composite illustrations, while Gomez printed and bound the book. Originally inspired by the 500th anniversary of Columbus's arrival, Soll writes in the colophon (or "Colon : phon") that "...the book's completion was delayed further by occurrences of the very phenomenon it discusses -- long voyages of discovery to other continents, explorations of terra incognita." Very fine in dark red paper-covered boards blind-stamped with a globe design, and backed in green raw silk. Housed in a solander case covered with deep red raw silk and lined with handmade paper.

Tryangulations.
Soll, Ivan

Triangular octavo. (38)pp. One of 90 copies signed by Ivan Soll, the author/designer, and by Marta Gomez, the printer/binder/designer. A cleverly designed book, coupling meaning with presentation, the text being concerned with geometric triangles and triangular personal relationships. Two of the pages fold-out to form rectangular pages, the whole being printed on handmade paper in tones of gray and mauve. Bound in boards, laid-into a specially designed box.

Graffiti, Designed and Illustrated by Debra Weier.
Belitt, Ben

Quarto. 26pp. One of 64 copies signed by the author and the artist. A dramatic and very visual presentation of Belitt's poems, using a number of illustrating techniques: color intaglios, pop-ups, silkscreen, offset and rubber stamps. Many of the illustrations incorporate spray paint "graffiti," and use fluorescent green. Bound in printed black boards, head and tail in neon green leather. Housed in original black cloth clamshell box. A visual treat from the talented and creative artist, Debra Weier. A fine copy.

Selection of Books from the Library of the Late John Williams White, Formerly Professor of Greek in Harvard University.

Octavo. 12pp. Inscribed by the publisher, Maurice Firuski, on the colophon page. This bibliography was designed by Bruce Rogers at the printing house of William Edwin Rudge. Tiny tear to front cover and small chip to head of spine, else fine in printed wrappers.

The Noble and Joyous Book Entytled Le Morte Darthur.
Malory, Sir Thomas

Folio. (4), xxiv, 502pp. One of 145 copies. Printed in Subiaco type. The text is from Caxton's edition of 1485. Illustrated with two full-page woodcuts at the beginning and end of the book and twenty-seven smaller woodcuts in the text, drawn by Charles M. and Margaret Gere. Graily Hewitt designed "two or three alphabets of fine initials" (as described in Hornby's bibliography) for this book, and they are printed alternately in red and blue. The largest book of the Press, and the first in three colors. Sydney Cockerell called it "a glorious piece of printing... The presswork is miraculous." Emery Walker called it "magnificent... it shows that England is still ahead of the world in fine printing." In the original binding of full brown cowhide. Spine in six compartments, with titling in gilt on the spine and a single gilt edge rule. Very light foxing along edge of text block, else a fine copy, uncommon thus in the publisher's binding. Housed in chemise and cloth slipcase.

[Whittington Press / Acorn Press] Ruins: A Picture Anthology of Human Genius, Aggression, Neglect & Folly.
Weissenborn, Hellmuth

Oblong folio. (43)pp. One of 60 copies. Illustrated with twenty-one hand-colored linocuts on the rectos of each page, and quotations about the ruins on the facing versos. The ruins depicted are both ancient and modern, including the Great Wall of China, the Egyptian pyramids, Easter Island, Mycenae, Stonehenge, and Hiroshima. Hand-set and printed at the Whittington Press. Stab-bound in blue paper-covered boards, in a matching slipcase with an illustrated label. One corner of book and slipcase bumped, else fine.

Aura.
Carruth, Hayden

Folio portfolio. One of fifty copies. This copy is press-numbered and bears an additional inscription by Claire Van Vliet to a well-known American collector. Carruth's poem "describes the light and space created by the evening sun on a Vermont mountain landscape at dusk." The double-sided, foldout paperwork by Van Vliet and Kathryn and Howard Clark of Twinrocker Handmade Paper Mill "creates the same atmosphere" as the poem. Opening the paper fold by fold, "the sensation of walking at sunset up to the crest of a Vermont hill and suddenly viewing the wide horizon" is captured. The October 1977 issue of Fine Print describes in detail the making of this beautiful and colorful paperwork, the first of its kind in book form. Aura has become the scarcest and most sought after of all Janus Press printings. This is a mint copy in linen clamshell box with handmade paper label.

Steeple Bush.
Frost, Robert

First edition. One of 751 copies signed by Frost. Title page decoration by Loren MacIver. In a review in the June 1, 1947 issue of the New York Times, Randall Jarrell singles out "Directive," an early poem in Frost's penultimate collection, for possessing "so much longing, tenderness, and passive sadness." For Jarrell, the dirgeful majesty of "Directive" was a reminder of Frost's greatness as a poet who has "written so well about the actions of ordinary men." Very fine in cloth-backed boards with glassine wrapper and publisher's slipcase.

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.

Poe: Master of Macabre.
Bellas, P. H.

25pp. One of 200 copies, signed by the printer, Francis X. Harrigan, and the author, Patricia H. Bellas. This remarkable little biography is illustrated with a postage stamp and tipped-in photographs of Poe's two gravestones, his home, and himself. In addition, a pocket in the back cover holds a blade of grass from the original grave site. Mint in gilt-stamped navy blue cloth. Bookplate. (Bradbury, p. 327). (2 3/4 by 2 1/8; 70x55mm).

Paper Samples.
Dawson, Glen

iv, 53pp. One of approximately 150 copies. A collection of twenty-six half-inch by half-inch paper samples collected by Glen Dawson on a European tour in 1966. Although not explicitly stated, the samples are of toilet paper. Samples are tipped-in on the rectos, with information on their source locations on the opposite page. Locations range from the Flughafen Hotel, Berlin, to a cricket field in Elsted, England, and include bookstores, museums, restaurants, and the better sort of shops. Fine in gilt-stamped black leatherette by Bela Blau. (Bradbury p. 62). (1 3/8 by 1 3/16; 35x31mm).

Blue Water, Yellow Balls.
Blinn, Carol

Quarto. (4)pp., accordion-fold. One of twenty copies signed by Carol Blinn, who wrote, illustrated, and printed this book. A poem by Blinn is accompanied by a watercolor illustration that extends across the central page spread, depicting three yellow balls floating on a cerulean pool surrounded by evergreen trees. The image is an homage to David Hockney, who made a series of paintings of swimming pools using vibrant shades of acrylic paint. The title page is accented with blue and yellow watercolor, and on the page following the poem is a palette of the watercolors that Blinn used in her illustration. Created by Blinn in the summer of 1987, the book is an ode to the season, bringing alive the bright colors, heat, and slower pace. Bound in tan cloth with a watercolor label evoking the undulation of water. Housed in a matching box backed in light green morocco. Laid in is a portfolio of materials describing the artist's process of imagining, writing, and designing the book. These include diagrams depicting ideas for the book's binding and eleven drafts of the text, evolving from prose to poetry, showing the author's changes. A lovely, scarce book produced in a very small limitation.

Artists and Writers Protest Against the War in Viet Nam: Poems.
Sonenberg, Jack, ed.

Folio. (28)pp. One of 100 deluxe copies. A collection of eighteen poems by writers who contributed their work as a form of opposition to the Vietnam War. The collection was edited by the artist Jack Sonenberg and contains works by Denise Levertov, Robert Creeley, Anthony Hecht, Robert Duncan, and others. The work was intended to raise money for Artists & Writers Protest Inc., an organization of artists who opposed the Vietnam War and who felt that their work should be a vehicle for political commentary and change. The group grew out of the Greenwich Village Peace Center & War Resisters' League, and they staged protest demonstrations and events throughout New York City. This portfolio was published during their first year, in 1967. Printed in black with red titles and rules. Fine in tan wrappers.

[Essex House Press] The Trinity Hospital in Mile End; An Object Lesson in National History.
Ashbee, C. R.

Quarto. 36pp. First edition. Illustrated with thirteen plates, several of which are fold-outs. The book was created in an attempt to prevent the demolition of the seventeenth-century Trinity Hospital; in the end, the campaign was successful, and the building was saved. Ashbee's text explains the historic and architectural significance of the building. The illustrations depict architectural details, and two of the plates have hand-colored illustrations of stained glass window designs. Others show a map of the grounds, an aerial view, elevation drawings, and depictions of statues. Charles Robert Ashbee, an architect, designer, and the founder of the Essex House Press, founded the Guild & School of Handcraft in 1888 in order to protect the status of craftsmen and to promote a high standard of work. This book demonstrates the attention to design, type, and detail that would characterize the work of the Essex House Press. Bound in tan wrappers with yapped edges, printed with Ashbee's flower insignia to the front cover. Edges of covers show some fraying, as usual, else a near fine copy of a fragile book. An early and uncommon work by Ashbee.

[Type Specimen] ImpPress Typebook: Being a Complete Showing of Typefaces, Borders, Dingbats, Miscellanea Available at the Aforementioned.
Stermer, Dugald

Small octavo. (12)ff. One of 150 copies, signed by the artist and printer, Dugald Stermer. A quirky type specimen book printed on various colors of paper, in many colors of ink. With full-page illustrations, including a cartoonish frontispiece of a man with a printing press in the top of his head, as well as typographic ornaments and engravings that include the headings from 19th-century almanacs. The ImpPress Typebook is characterized by Stermer's sense of humor: Stermer writes in the colophon that this type sample book was "...primarily intended as a means by which the Prop is cutting down smoking. It is almost impossible to set type and smoke simultaneously." Although best known as a San Francisco-based illustrator, designer, and art director who worked for such influential magazines as Ramparts and Mother Jones, Dugald Stermer started the ImpPress while living in Houston, Texas during the 1960s. He became inspired to print after he was given a small printing press and some assorted type by his wife for Christmas. From the library of Ben and Bernarda Shahn, with a label laid in designed by their son, Jonathan Shahn. A small library label to front cover, else fine in black printed wrappers. A scarce book: no copies are recorded in OCLC.

ABC Nach zeichnungen.
Dr. Owlglass (Hans Erich Blaich)

Octavo. (26)ff. An elegant and charming alphabet, designed and illustrated by Harwerth, a member of Rudolf Koch's workshop in Offenbach a.M. Known primarily as an illustrator, Harwerth here presents scenes of animals and plants surrounding his letters. The letters and illustrations have been beautifully hand-colored, showing painstaking detail, below which are the four-line verses by Owlglass printed in Gavotte, the only typeface designed by Rudo Spemann. Laid in is a T.L.s from Klingspor, dated December, 1950, presenting this copy. Extremely fine in pictorial boards, and housed in publisher's slipcase, which is beginning to split along the corners of the opening.

The Circus of Doctor Lao.
Finney, Charles G

Quarto. 123pp. One of 150 copies signed by the author and by the printer/illustrator, Claire Van Vliet. The illustrations are a combination of relief etchings and pochoir done in a glossy black and brilliant pastel shades. Some of the images leap out at the reader and others seem to dance across the page. Pages 7-16 fold out to form double panoramas. Truly the most breathtaking production from this remarkable Press, and one of the finest modern American private press books. A very fine copy bound in cloth that was colored on the etching press, with a vellum and string spine, and housed in a clamshell box covered in a similar material with a different landscape design. Spine of slipcase very slightly sunned.

Sixteen Poems in Verse and Wood.
Bockes, Bernard

Square quarto. (16)ff. One of 150 copies, signed on the colophon page by the poet, Bernard Bockes, and the illustrator, George Lockwood. Illustrated with fifteen fanciful woodcuts by Lockwood depicting insects, bats, dragons, and mythical beasts. Some are monochromatic prints, but others incorporate many different layers of colors. Lockwood, who studied under Joseph Albers at Yale, and then worked with Leonard Baskin in the late 1950s, co-founded Impressions Workshop with his wife, Margaret in 1960. Bockes drew on the illustrations for inspiration in composing his poems. The final illustration of the book is a portrait of the two men, printed in orange, black, and white. Accompanied by a record of the poet reading his poems, housed in a pocket in the back of the book. Bound in stab-sewn brown paper-covered boards with a printed label. Fne in a matching slipcase.

American Buffalo.
Mamet, David

Quarto. 117pp. One of 400 copies signed by the author and the artist. Illustrated with five wood engravings, four of them full page, by Michael McCurdy. A fine copy in blue-green cloth with a ring of silver foil surrounding an actual buffalo-head nickel.

The Wandering Tattler.
Wakoski, Diane

Tall quarto. (26)pp. First edition. One of 130 copies signed by the author. Printed on handmade papers of various subtle colors. Poems about birds, with fanciful drawings of them by Ellen Lanyon, printed with inks in the colors of the species in nature. A camel carries the birds at the beginning and the end of the book. The colphon tells us that the Press could make fifty sheets of paper a day and used 1,400, that a purple finch spontaneously posed next to the ink slab, and that a gynecologist did the proofreading. A major production of the Press. Nearly imperceptible toning to spine, else fine in blue morocco-backed black cloth in fine slipcase.

The Fabulist. Number Three. Autumn, 1921.
DWIGGINS, W. A

Octavo. 11pp. One of 500 copies, printed at the Yale University Press. On the colophon page, the Fabulist is described as being "published as often as appropriate material presents itself." A collection of poems by John French Wilson, elegantly printed and illustrated with two vignettes and a larger paisley ornament. Short, closed tear to fore-edge of cover, else fine in brown pictorial wrappers with an engraving by Dwiggins of an archer on the front cover.

A Technique for Dealing with Artists.
Dwiggins, W. A.

12mo. (25)pp. One of 954 copies. Designed by Dwiggins, this tongue-in-cheek text offers tips on how the businessman can understand and work with artists. Fine in original printed wrappers.

A Bakers' Dozen of Emblems. Drawings by W. A. Dwiggins, and Verses by William Rose Benét. Collected from Various numbers of The Saturday Review of Literature issued in 1927 and 1928. And Electra, a New Linotype Face from the Hand of the Said W. A. D.
Benét, William Rose

Octavo. (36)pp. Dwiggins' illustrations are printed in several colors and accompany the verses by Benét. Following these is the advertisement for the new Electra typeface, written with Dwiggins's characteristic wit. Spine slightly sunned, small dampstain to bottom edge of front cover, some slight fraying to edges and corners lightly bumped, else near fine in red printed wrappers.

Gulliver's Travels.
Swift, Jonathan

Three quarto volumes. From an edition of 205 copies, this is one of ten printed on Roman vellum. With twelve hand-colored copper-engraved illustrations by Rex Whistler, nine engraved head- and tailpieces, and five maps. Also with an extra suite of all the engravings laid into a single volume, each signed by Whistler and individually matted. Whistler's skills as a theater designer and as a muralist align in this work, which is widely regarded as his masterpiece, as well as a highspot of 20th century fine printing. Viewing these finely detailed engravings on vellum lends them a dimensionality that cannot be found in the issue on paper. Bound in original full tan morocco by the Wood bindery. Some natural tonal variations to the vellum internally. A fine set of Whistler's most important illustrated text in the rare vellum issue. Housed in two brown, morocco-backed folding cases.

A Pleiades of Poetry.
Graves, Robert, et. al.

Small quarto. (4)ff. A booklet of seven poems: "To Lucia at Birth," by Robert Graves; "White in the Moon," by A. E. Housman; "Ship Islands Trees," by Lawrence Durrell; "Do Not Go Gentle Into That Good Night," by Dylan Thomas; "New Hampshire," by T. S. Eliot; "People and a Heron," by Robinson Jeffers; and "The Apple Barrel of Johnny Appleseed," by Vachel Lindsay. Accompanied by a three-page autograph letter, signed, from the publisher, David Godine, to the typographer and book designer Carl Zahn. In the letter, Godine discusses the establishment of his fine press and a recent visit to the Museum of Fine Arts in Boston (where Zahn worked designing exhibition catalogues). He goes on to offer his criticism of the catalogue for a recent exhibition of Emil Nolde's watercolors. The booklet is bound in olive wrappers, with the title printed in black and typographic ornaments in brown. Both letter and booklet are in fine condition.

Michelagniolo Buonarroti Poesie.
Buonarroti, Michelagniolo

Quarto. 124pp. One of 175 copies printed on handmade paper. A collection of 100 sonnets, epigrams, and madrigals in the original Italian as prepared for publication by Michelangelo and printed in Bodoni Catania sixteen-point roman and italic. Bound in yellow-dyed vellum with the press's device stamped in gilt to the front cover. Gilt-lettered spine label has a small chip, some slight rubbing to spine ends, and a tiny split starting to top of spine, else a near fine copy of the second book of the press. With the bookplates of noted collectors Doris L. Benz and Norman J. Sondheim.

Heart's Desire.
Von Dansdorf, Chrysilla (Christopher Sandford)

Octavo. 43pp., + (7)ff. One of 70 copies printed for private circulation at the Tintern Press under the direction of Christopher Sandford of the Golden Cockerel Press. With a title-page illustration and seven erotic copper engravings by John Buckland Wright. The book was written by Sandford under a pseudonym due to its erotic content. A card from British Bookseller G. F. Sims is laid in, dated June, 1962, which states, "It is a rare book but I bought a handful of copies from the author (C. Sandford of the G. C. P.): it has been little circulated." Fine in quarter vellum and blue buckram. A scarce work.

Sunrise is Coming After While.
Hughes, Langston

Folio. (i), 23ff. One of 300 copies. Signed by Maya Angelou and the artist, Phoebe Beasley. Illustrated with silkscreens of six collages by Beasley. This collection of poems by Langston Hughes was selected by Angelou, who also wrote the Introduction and Afterword. Although Hughes was a fairly controversial poet in his time, often criticized for the deceptive simplicity of his verses, he "succeeded in his lifetime aim: to create a body of work that would epitomize the beauty and variety of African-American experiences, as well as the diversity of emotions, thoughts, and dreams that he saw common to all human beings." Beasley's collages were chosen by Angelou to perfectly compliment Hughes's eloquent poems. According to Angelou, "She sees human beings, our foibles, frailties and strengths, and she cares about what she sees." Beasley's work is influenced by two of the forerunners of African-American art, Romare Bearden and Jacob Lawrence, and her artwork was twice awarded the Presidential Seal. Extremely fine in purple cloth with a black morocco lettering piece bearing the title in gilt. Housed in a matching purple cloth-covered box. Prospectus and Limited Editions Club Newsletter laid in.

Kaddish for Naomi Ginsberg, 1894-1956.
Ginsberg, Allen

Large quarto. 63pp. One of 200 numbered copies, each signed by the author, Allen Ginsberg, and the artist, Ronald Brooks Kitaj. Illustrated with lithographic portraits of the poet and his mother by Kitaj. Two other poems, "White Shroud" and "Black Shroud" are also included, as further remembrances of Allen Ginsberg's mother, Naomi, who died in 1956 in a mental institution. A very fine copy in green and black cloth with a fore-edge flap that closes the book. Publisher's note about binding laid in.

[Officina Bodoni] Manuale di Epitteto con Pagine dello Stresso dalle Diatribe.
(Epictetus)

Octavo. 200pp. One of 160 copies. An Italian translation of Epictetus's Handbook by Giacomo Leopardi, together with an excerpt from the Discourses by Vittorio Enzo Alfieri. According to Giovanni Mardersteig, proprietor of the press, in his bibliography, the "appendix contains the little-known but beautiful Latin version of the text of the Handbook which Angelo Poliziano dedicated to Lorenzo di Piero de' Medici." Also with a postscript by Mardersteig. Bound in quarter blue morocco and light blue paper-covered boards, gilt-stamped with the press's device to the front cover and gilt-lettered to spine. Spine shows only the slightest toning, else very fine. Housed in a matching paper-covered slipcase which shows a few spots of soiling. With the bookplate of noted fine press collector Norman J. Sondheim.

Thirty-Four Marbled Papers.
Parrot, Gray

Quarto. (4), (34)ff. One of seven copies, signed by Gray Parrot. The second book of marbled paper examples created by Parrot, with 34 tipped-in samples of marbled papers made over the course of six years, including one large fold-out page. According to the preface in Some Marbled Papers, Parrot first became fascinated with bindings and marbled paper while working at Harvard's Houghton Library as an undergraduate. He is now one of the foremost practitioners of this art form. Title page and colophon handsomely printed in gold and silver ink. Hand-bound by Parrot in green marbled paper, backed in matching green morocco, and gilt-stamped on the spine. Housed in raw silk folding case, which shows just light fading to the spine. T.e.g.

Gedichte, Entwürfe zu Gedichten und Bruchstücke aus den Jahren MDCCXCVI-MDCCCIV.
Hölderlin, Johann Christian Friedrich

Large quarto. 254pp. One of 51 copies. Victor Hammer greatly admired Hölderlin's lyrical poetry. This volume represents a near complete collection of the poet's work between the years 1796 and 1804, printed in the original German as Hammer believed was the proper way to do the poems full justice. Illustrated with a single brass-plate engraving by Hammer showing the poet in the pose of the Seer, a likeness of Hölderlin taken from a 1792 pastel drawing of him by F. C. Hiemer. Known as Hammer's "American masterpiece," Hölderlin's Gedichte is number XI in the printer's "Opus" series of major works and the first book he issued under his old Stamperia del Santuccio imprint after emigrating to the United States from Europe. Being the first major book printed in American Uncial, it is described by Joseph Blumenthal as "a vigorous, full-bodied, sophisticated letter, with an archaic sense of history and culture." Hammer himself said he hoped with Uncial to "fuse Roman and black letter, those two national letter forms, into a new unity." The book is printed on handmade Italian Magnani paper, which came from the same mill that Hammer used when he was in Europe. Initially, he printed fifty copies of the title-page on domestic machine-made paper, but he promptly deemed that paper inferior and went back to what he knew and trusted. The result is a masterfully printed book on sumptuous paper that is a pleasure to behold and to handle; its beauty, as Blumenthal notes, is based on "the rare and subtle elegance of typographic design and proportion, of type on paper, and the perfection of its presswork." Bound in plain, gray boards with a paper label to the spine. Slight soiling to boards, and just a hint of rubbing to spine ends, else a fine copy of one of the most important press books of the twentieth century. With the bookplate of renowned Princeton Germanist Victor Lang. Prospectus laid in. Together with: Hammer, Victor. A Dialogue on the Uncial. Aurora, NY, 1946. One of 350 copies. Inscribed by Hammer to the noted literary scholar, Erich Kahler. All housed in a cloth folding case.

Set of Four Bibliographies of Christmas Books.
Klinefelter, Walter; Brooke Crutchley

Four octavo volumes. 24; 114; 77; 42pp. Fine in printed boards. With three autograph letters laid in from Wilbur Macey Stone, noted collector of children's and miniature books, dated 1935, 1937, and 1938. The set is comprised of three books by Walter Klinefelter: Christmas Books, A Bibliographical Check-List of Christmas Books, and More Christmas Books, to which WIlbur Macey Stone contributed the Introduction. Each has a presentation card laid in, signed by the printer, Fred Anthoenson. Together with A Printer's Christmas Books by Brooke Crutchley. Christmas Books is in the original box, which is lightly soiled and has a few splits to the lid. More Christmas Books is in the original glassine dust wrapper and has a two-color fold-out of a rare early broadside of "The Visit of St. Nicholas." A bibliographical Check-list of Christmas Books shows some slight wear to spine ends, else a fine set.

The Diary of Philip Leget Edwards: The Great Cattle Drive From California to Oregon in 1837.
Edwards, Philip Leget

Small quarto. 47pp. Number four in the Rare Americana series. Illustrated with a color frontispiece of Yerba Buena harbor, California, in 1837. With an Introduction by Douglas S. Watson. Some light foxing to endpapers, else fine in tan and blue marbled paper-covered boards backed in green cloth. Engraved bookplate of Robert Ernest Cowan to front pastedown.

Folio 50: A Bibliography of the Folio Society 1947-1996.
Nash, Paul W.

331pp. Small quarto. Illustrated with 32 color plates and numerous black & white illustrations throughout. A collection of essays about the Folio Society precedes the bibliography. Two pages slightly creased to top corners, else very fine in gilt-stamped gray cloth and the original slipcase.

Themes in Aquatint.
Franklin, Colin

Small folio. 103pp. One of 500 copies, printed at the Cambridge University Press for the Book Club of California. Illustrated with 16 color plates, each place reproduced in the size of the original, with a sample plate also accompanying the prospectus, laid in. Very fine in quarter burgundy cloth and marbled paper-covered boards. In original plain dust wrapper that shows some wear and soiling.

Visits to Ireland: Travel-Diaries of Una Jeffers.
Jeffers, Una

Small quarto. 56pp. One of 300 copies, designed by Ward Ritchie and with wood engravings by Paul Landacre. An account of the Jeffers family trip to Ireland, with entries by Una Jeffers and, because she insisted they contribute, her husband, Robinson Jeffers, and their two sons. Includes a Foreword by Robinson Jeffers. Fine in decorative paper-covered boards backed in black cloth, with a paper spine label. Housed in black paper slipcase that has some edgewear and a spot where the surface of the paper has been pulled off.

Last Adventure: San Francisco in 1851.
Russailh, Albert Benard de

Small quarto. xviii, 94pp. One of 475 copies printed at the Grabhorn Press. Translated from the original journal of Albert Benard de Russailh by Clarkson Crane. Illustrated with six fold-out plates, printed on blue paper, and a facsimile of the Prologue to The Spirit of California, by Benard and performed at the Jenny Lind Theatre in San Francisco on April 10, 1851. Fine in marbled paper-covered boards backed in green suede, with a paper spine label.

Les Liaisons Dangereuses.
De Laclos, Choderlos

Two quarto volumes. 276; 262pp. One of 1,000 copies printed by Harry Crosby in several colors. Illustrated with fourteen full-page illustrations by Alastair. Translated into English by Ernest Dowson. Bound in printed wrappers, covered in glassine. Very good and unopened, with light foxing to edges and chipped glassine on both volumes. Volume Two is split along spine, with minor loss to foot of spine. Lacking slipcases.

We the People: Two Hundred Years of the Constitution.
Bellas, R.C.

20pp. One of 250 copies. With three U.S. stamps tipped in, including one as the frontispiece. Fine in gilt-stamped blue cloth. Bookplate. (Bradbury p. 327). (2 1/2 by 1 15/16; 64x50mm).