Folio. 100pp. Signed by Valenti Angelo. One of 400 copies printed by Andrew Hoyem. Decorated and hand-illuminated by Valenti Angelo. With contributions by Sherwood Anderson, Oscar Lewis, Robert Grabhorn, and others, and with a bibliographical checklist. Lavishly illustrated with examples from Angelo's books and broadsides. Prospectus and invitation to an Open House at the press laid in. Fine in orange boards backed in red cloth, with a plain dustwrapper that has a few chips to the bottom edge.

Small quarto. (4)ff., folded. From an edition of 500 copies of this commemorative keepsake, this is one of 50 copies on Dard Hunter's own handmade paper and signed by the author, Dard Hunter II. This copy is additionally inscribed by the author to the front cover. Includes a near full-page wood-engraved portrait of the papermaker by Barry Moser, and signed by the artist in pencil. A very fine copy of this short, but sweet encapsulation of Hunter's achievements.

Poems of Life.
Dickinson, Emily

35pp. One of 125 copies signed by the printers, William and Raquel Ferguson. Handsomely printed on handmade Hayle paper in Bruce Rogers Arrighi and Centaur types. A red initial begins each of the nine selections. The second miniature book to be published by the Bromers, this volume has become quite scarce. Bound by Gray Parrot in vellum-backed red Fabriano paper over boards. Extremely fine. (3/8 by 1 5/8; 60x41mm).

Venus & Adonis, by William Shakespeare. Together With Sources for the Poem in Ovid's Metamorphoses.
Shakespeare, William

Quarto. 93pp. From an edition of 190, this is one of "a few copies" that were bound in full leather, according to the prospectus. Illustrated with seven nudes, printed in mauve, which are cleverly composed entirely of type foundry ornaments. This is the third book produced by Andrew Hoyem's press. An elegant volume in mauve morocco, stamped in silver on the lower front cover, with silk doublures, and a morocco and silk slipcase. Spine of book slightly sunned, a few scuffs to the front cover, else about fine.

[St. Onge, Achille J.] Henry David Thoreau: Quotations from his Writings, selected by Amy W. Smith.
Thoreau, Henry David

33, (3)pp. One of 750 copies printed at the Merrymount Press. St. Onge's sixth miniature book. Fine in gilt-stamped green cloth. A.e.g. (3 1/8 by 2 3/16; 80x55mm).

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.

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.

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.

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.

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.

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.

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.

The Minerva Press, 1790-1820.
Blakey, Dorothy

Small quarto. (viii), 339pp. A history and bibliography of the Minerva Press. Two water spots on the spine, tanning to edges and spine, else a near fine copy bound in sand cloth-backed gray boards. Previous owners name on first free endpaper.

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.

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.

Bibliography of the Grabhorn Press 1915-1940; Bibliography of the Grabhorn Press 1940-1956; Bibliography of the Grabhorn Press 1957-1966 & Grabhorn-Hoyem 1966-1973.
Heller, Elinor Raas & Dorothy & David Magee

Three folio volumes. xx, 195; xxxii, 120; xxx, 121pp. The three volumes are limited to 210, 225, and 225 copies respectively. Volume I has a preface by the compilers, several short essays on the history of the Press, and reprints Frederic Goudy's essay "The Craft of the Printer." Volume II has a preface by Magee and an introduction by Elmer Adler. Volume III has a preface by Harlan and an introduction by Sherwood Grover. Each of the volumes presents a complete and detailed bibliography of all of the non-ephemeral productions of the presses, as well as a checklist of the same. Few private presses have produced their own bibliography, and only the Ashendene Press Bibliography is in the same class as these three impressive volumes. Volume I contains a letter from a previous owner to Robert Grabhorn requesting that the volume, bought as sheets, be bound uniform with Volume II. This was completed by Jane Grabhorn, and Volumes I and II are bound in patterned paper with red morocco spines. Both have plain wrappers and are housed in a black cloth slipcase. Volume III is in paterned cloth with a green morocco spine, and contains a prospectus laid in. Dust wrappers on Volumes I and II tanned and chipped, with some loss at edges; Volume III slightly faded at spine. Othewise the set is in fine condition.

Casa Rossa.
Grosse, Ernst

Folio. 56pp. One of 220 copies. Illustrated with seven black & white plates, which reproduce a painting by the Swiss artist Niklaus Stoecklin and six of its details. Stoecklin was influenced by Late Gothic art, as well as by his contemporaries, the Expressionists and Futurists. The text accompanying the images is a fantasy tale written by Ernst Grosse, the noted German ethnologist, inspired by elements of the painting. Privately printed by the press's proprietor, Hans Mardersteig, for his close friend, the art collector Georg Reinhart. Reinhart purchased the painting from Stoecklin and, in turn, helped launch the artist's career. In a binding of full vellum with gilt title and rules. Fine in slipcase. T.e.g.

A Typographical Masterpiece.
Dreyfus, John

Quarto. xiv,106pp. One of an edition of 450 copies printed at the Meriden-Stinehour Press. An Account by John Dreyfus of Eric Gill's collaboration with Robert Gibbings in producing the Golden Cockerel Press edition of "The Four Gospels" in 1931. Contains many black & white illustrations. Extremely fine in gilt-stamped tan cloth and original unprinted dust wrapper.

The Tragedie of Hamlet, Prince of Denmark.
Shakespeare, William

Folio. 186, 35pp. One of fifteen copies on Imperial Japanese paper, with an extra suite of fifty-three loose proofs initialed in pencil by the artist, Edward Gordon Craig. Illustrated throughout with wood engravings designed and cut by Craig, and printed by Count Harry Kessler and Max Goertz. The text is printed in red and black, with the title cut by Eric Gill. The type pays tribute to early printed books, being modeled on that used by Fust and Schoeffer in the Mainz Psalter of 1457. Beautifully designed, with the wood engravings incorporated into the layout and interacting with the text. The Hamlet stories from Saxo Grammaticus and Belleforest, with their English translations, are printed in the wide margins, surrounding the text. The text is followed by J. Dover Wilson's "Notes on The Tragedie of Hamlet," bound in. This magnificent book is bound in full tan crushed levant morocco by O. Dorfner, with raised bands to spine and gilt rules to borders, spine, and turn-ins. Gilt-titled to spine in the Fust and Schoeffer typeface. In publisher's slipcase. Extra plates housed in separate vellum-backed portfolio. A very fine copy of this masterpiece of 20th-century book production in a rare, deluxe Imperial Japanese paper copy.

Chanticleer; Pertelote; Cockalorum; Cock-A-Hoop.
Sandford, Christopher

Four small-quarto volumes. (23), 52, 112, 126pp. Each volume one of 300 or fewer numbered copies signed by Christopher Sandford and variously signed by contributors to the bibliographies: Owen Rutter and David Chambers. A bibliography encompassing the entire forty-year history of a press whose books private press bibliographer Will Ransom described as "amongst the most popular and desirable press items" for their artful designs and beautiful illustrations by the likes of Gill, Gibbings, Ravilious, Nash, and Buckland-Wright. All four volumes in decorative cloth boards backed in gilt-stamped morocco. T.e.g. Some toning to spines of all but Cockalorum, else fine, with prospectuses laid into all but Cock-A-Hoop. Pertelote is from the library of Will Ransom, with his personal library bookplate on the rear endpaper; the other three volumes bear the bookplate of BBC radio producer D. G. Bridson.

The Inland Voyage. Along the Escaut River, the Willebroek, the Sambre and the Oise.
Stevenson, Robert Louis

Quarto. 138pp. One of 150 copies. Jean Hugo's brilliantly colored gouaches, which begin each chapter, are here reproduced by pochoir by Jean Saude in Paris. The Inland Voyage was considered by Frank Altschul, the printer, to be one of the most ambitious projects of his Press. Among the finest of American pochoir books, it was selected by the American Institute of Graphic Arts as one of the Fifty Books of the Year. A very fine, bright copy in a leather-backed turquoise cloth binding, showing just a trace of toning to the spine. Housed in publisher's cloth-covered slipcase with leather lettering piece.

The Mookse and the Gripes. From Two Tales of Shem and Shaun.
Joyce, James

Octavo. (30)ff. From an edition of 75 copies signed by the artist and by the printer, Elmore Mundell, this is one of twenty-five with an extra signed serigraph and deluxe binding. Joyce's take on Aesop's "Fox and Grapes." Title on three block-print illustrated pages, each signed by D'Ambrosio. Also contains three color serigraphs signed by both D'Ambrosio and Mundell, serigraph initials and text ornaments. Binding in the form of a red velvet clamshell box, with an inset relief serigraph covered in gold leaf. The "papal" red velvet and gold allude to Pope Adrian IV, whom Joyce satirizes here. Very fine in box and folio-size slipcase. Prospectus laid in.

American Bard. Being the Preface to the First Edition of Leaves of Grass Now Restored to its Native Verse Rhythms and Presented as a Living Poem.
Whitman, Walt

Folio. 37pp. One of 115 copies printed, illustrated, and signed by William Everson. This book was Everson's final offering as Master Printer of the Lime Kiln Press. Illustrated with two woodcuts, it is the only book that he both printed and illustrated. Bound in three-quarter gray pigskin and raw India silk-over-boards. An extremely fine, crisp copy. Prospectus laid in.

The Stone Beloved. Six Poems from Dante Alighieri. Translated by Harry Duncan. Lithographs by Peter Nickel.
Dante Alighieri

Folio. (28)pp.,(7)ff. From an edition of 150, this is one of 25 copies signed by the artist, and with the lithographs subtly tinted. Out of those 25 this is one of eight copies in the deluxe binding by Sylvia Rennie. Illustrated with seven original monochrome lithographs, one of which is double-page. The prints form a sequence reflecting the progression of the poems, from the sensual woman portrayed in the opening spread to the cold stone statue of the final image. This is the first book of this Press, the private imprint of W. Thomas Taylor. In the publisher's binding of vellum-backed gray boards. A very fine copy in slipcase with very minimal wear to extremities. Prospectus laid in. At the publication price.

Sight and Touch.
Paz, Octavio

Folio. 12ff. One of 300 numbered copies signed by the author and Balthus, the illustrator. Text in Spanish, French, and English. Designed by Dan Carr and printed at the Wild Carrot Press in Hadley, Mass., this trilingual edition of Octavio Paz's poem is illustrated with three full-page color woodcuts designed by Balthus, to whom the poem was dedicated. Balthus's paintings, from which the illustrations were cut into wood by Keiji Shinohara of Malden, Mass., measure nearly two feet in length and depict a rural landscape, a female nude, and a still life of vegetables. The poem was originally published in Spanish and English translation by New Directions in 1987 and, as Paz states, is about light, which "is time thinking about itself." The text for this edition was set by Julia Ferrari and Dan Carr at the Golgonooza Letter Foundry in Ashuelot, New Hampshire and printed on handmade Kozo Uwazen paper. Bound in linen boards with a goatskin spine, and housed in a tan cloth-covered clamshell box with a leather label to the front cover. LEC newsletter laid in. A fine New England production by a celebrated poet.

Daniel Berkeley Updike and the Merrymount Press.

Quarto. Note by H. W. Kent; contains several addresses, along with a checklist by Karl Kup. Fine in gilt-stamped terra cotta cloth.

In the Little Things. An Act of Worship for Radio, by Alec Robertson. With a Tribute by Gerald Moore.
Robertson, Alec

Small octavo. 20pp., frenchfold. From an edition of 300, this is one of 40 copies intended for private circulation only. Inscribed by the author, the musician Alec Robertson, in ink on the half-title page. Printed in three colors on Japanese handmade paper with decorative borders by Margaret Adams at the top of each page. This tribute was published by the Press in celebration of the author's 77th birthday. Bound in green Japanese Shiki silk by George Percival with a gilt floral device to the front cover, gilt-titled to spine. Spine slightly faded, else a very fine copy.

Thoreau, from his Books and Reading.
Thoreau, Henry David

16mo. (8)ff. One of 30 copies. A pamphlet of bibliophilic quotations from Thoreau, printed one-per-page in a Gothic-style type on laid paper. According to one of Thoreau's quotations, "A written word is the choicest of relics." Edwin B. Hill was the first Texas printer to be recognized for his fine typography, and he printed around 200 items during his career. His works often centered on literary passages by English and American authors of the nineteenth and twentieth centuries. Few people at the time knew about Hill's passion for printing: in his public life, he worked as a tax collector and assessor. Bound in white printed wrappers. A few small, faint spots to front cover, else a very fine copy of this rare imprint.

A Soul Cake.
Ashford, Faith

Octavo. (viii), 53pp. One of 240 copies. A collection of religious verses, elegantly printed on laid paper by Douglas Pepler. With Eric Gill's Press device printed in red on the title page. Ashford's wrote three other books published by the Press: Christ, Things Unseen, and Poor Man's Pence. Bound in brown paper wrappers, printed with the title, price, and a bold cross. Spine ends slightly chipped, else about fine.

A Plague on Your House. A Eulogy & Necrological Etchings of the Frog.
Kuch, Michael

Square octavo. (xiv)pp., + 28ff. plates. One of 60 numbered copies of this, the first book produced by the Double Elephant Press. The text, about the decline of frog populations around the world, gives a humorous spin to this serious topic. Kuch writes, "More for its restraint than for flamboyance is the frog renowned. It out Buddhas Buddha with its stoic reserve, its patient anticipation, with its leap of faith, its enlightened vacuum." Yet, "naked & vulnerable, the frog is too sweet, too trusting--victim of its own lack of protection" and is dying. The text is accompanied by twenty-eight etchings by Kuch showing frogs in various poses, including a couple dancing and one frog standing with its arms crossed. The etchings were printed either with variously colored inks or on colored paper, except for a double fold-out etching that is printed in black. The whole was printed by Arthur Larson in Hadley, Massachusetts on paper handmade by the Velke Losiny Mill in the Czech Republic. Bound by the Three Bear Trap Bindery of Northampton, Mass. in marbled paper-covered boards, with red leather French corners and spine label, and housed in a raw silk-covered slipcase lined in suede. A very fine copy of a rare New England press book.

Adults Alphabets. Examples of English Press Alphabet Books from the last hundred years with an Alphabetical description, copious illustrations and a checklist of Press Alphabet Books.
Blamires, David

Quarto. 45, (3)pp. From an edition of 170, this is one of twenty-five copies hand-colored by Sylvia Stokeld and signed by the author. The colophon states that 85 copies were to be Pochoir colored, but in a letter to noted Irish collector Alan Clodd laid in, the publisher, Dennis Hall, explains, "My wife who was doing the hand coloring had a small mutiny with the thought of hand coloring 85 'Adult Alphabets' and 85 'Haslewood Books' as it took much longer than envisaged - so compromise was reached and we decided to do only 25 each..." He goes on to write that the remaining 60 copies would be sold as "Intermediates", with only the three woodcuts from William Nicholson's "An Alphabet" colored and the book in a slipcase. This copy is Pochoir colored throughout, to every letter that was originally published in color. Fine in patterned cloth-covered boards with a hand-colored paper label to top board and a spine label. Small smudge left during coloring process to one page. Housed in hand-colored slipcase, which is slightly worn at edges and very lightly soiled.

Poem on his Birthday: In the Mustardseed Sun.
Thomas, Dylan

Square small octavo. (14)ff. One of 85 copies signed by the printer and illustrator, Nicholas Parry. Illustrated throughout with prints by Parry in shades of orange and green. This copy features a designer binding by master English bookbinder Paul Delrue, whose many accolades include two bronze medals from the prestigious Prix Paul Bonet in 1992. Executed in 1983, this binding employs many inlays and onlays of morocco in shades of teal, orange, gray, red, and black depicting a shoreline landscape. A red sun shines down on a hillside and stone wall, black-and-red plants, and suggestions of a river and the sea. On the back cover, a seagull flies overhead, and a tall red cross is seen on the horizon. Signed and dated by Delrue on the colophon page. Minor toning to spine, else fine in a protective blue cloth slipcase.

Das ABC-Büchlein.
Koch, Rudolf

Oblong octavo. (26)ff. Twenty-four alphabets by Koch and Berthold Wolpe, cut in wood and metal by Fritz Kredel and Gustav Eichenauer. The calligraphic alphabets display the great variety of Koch's skill and are strongly inked with deep impressions. About fine in gray paper-covered boards, with lightly tanned spine and board edges and slight wear to top and bottom of spine.

The Floure and the Leafe, & the Boke of Cupide, God of Love, or the Cuckow and the Nightingale.
Clanvowe, Sir Thomas

Octavo. (ii), 47pp. One of 310 copies. Edited by F. S. Ellis, the London publisher and scholar who was closely associated with William Morris, having published a number of Morris's own works, such as The Earthly Paradise and Völsung Saga. Both early fifteenth-century poems had originally been attributed to Chaucer. A beautiful book, with titles printed in red and two half-page floral initials, used first in the Kelmscott Chaucer. Lower corners very lightly bumped, else fine in original cloth-backed printed blue-gray boards.

Holiday Memory.
Thomas, Dylan

30pp. First separate edition. One of 100 copies printed by Gabriel Seymour, signed by the printer and the binder, David Bourbeau. This was the first miniature book published by this family-run press. Extremely fine in tan buckram with a brown morocco lettering piece. (Bradbury p.132). (2 3/8 by 2 1/8; 60x53mm).

The Garden Party and Other Stories.
Mansfield, Katherine

Quarto, (x), 315pp. One of 1200 copies designed by Hans Mardersteig and printed at the Officina Bodoni. Illustrated with sixteen original color lithographs by Marie Laurencin. Bound in paste-paper boards with gilt-stamped cloth label on spine. Faintest scattered foxing, minimally affecting a couple of the plates, small booklabel inside front cover, else about fine in printed dust wrapper, which is slightly toned to spine and has a slight. outward crease. Housed in a numbered slipcase, which is cracked at the head and foot of spine.

Two Private Presses: The Four Winds Press & The Stone House Press on Long Island.
Digby, Joan

Octavo. 38pp. One of 200 copies. Histories and bibliographies of the private presses of Henry Schniewind and Morris Gelfand: the Four Winds Press and the Stone House Press, respectively. Illustrated with photographs and pressmarks. As new in three-quarter cloth over decorated boards, with prospectus laid in.

Wooings.
Gill, Brendan

Quarto. 7, (1)pp. One of 155 copies signed by the author. Inscribed by the author to the distinguished New York antiquarian bookseller John Fleming in 1981: "For John Fleming, who is no more in need of instruction in the art of wooing than was J. Pierpont Morgan, upon whose shelves this little book may someday rest." This collection of passionate poems includes two that were written especially for this edition: "Ferragosto" and "Norfolk." Fine in tan paper-covered boards, printed with a leaf-and-berry pattern in brown and yellow and bearing a label with the Press's device.

Lament for Ignacio Sanchez Mejias.
Garcia Lorca, Federico

Quarto. (24)pp. One of thirty-five copies, warmly inscribed by the illustrator, Mary Alice Taylor, in pencil on the colophon page. Translated by Stephen Spender and J. L. Gili. This is the sixth book issued by the Apiary Press. This scarce item was printed by Taylor, who studied under Leonard Baskin at Smith College, and is illustrated with seven wood-engravings by her, including a frontispiece portrait in color. Her expressive illustrations capture the glory and tragedy of a bullfighter slain in the ring. Some offsetting from the frontispiece to the title-page, slight toning to spine and top margin of covers, else about fine in blue-gray wrappers over stiff pasteboard.

The Stanbrook Abbey Press 1956-1990.
Butcher, David

Quarto. 227 pp. From an edition of 350 copies, this is one of thirty-five bound in full Oasis goatskin, with an extra portfolio of leaves and complete publications of the Stanbrook Abbey Press, and signed by the author and by the Abbess of Stanbrook. A complete bibliography, beautifully printed on cream paper, with numerous illustrations, and tipped-in leaves and prints from the original plates. The accompanying quarter leather portfolio contains thirty pieces of Press ephemera. Housed together in a morocco-backed cloth clamshell box, which shows a small scuff at spine foot.

The Man of Sorrows.
Hubbard, Elbert

Octavo. (iv), 111pp. One of 100 copies on Imperial Japon, signed by Hubbard. The title page is hand-decorated with a thistle design, and the colophon device and opening initials are hand-colored. An account of the life of Christ written by the enterprising founder of the Roycrofters, Elbert Hubbard himself, in a lovely binding, probably by Louis H. Kinder. Hubbard brought Kinder, an expert bookbinder, to East Aurora in 1897 in order to set up a bindery. Kinder became responsible for the training and supervision of other bookbinders, and, by 1900, the Roycrofters were offering deluxe, hand-tooled editions of their books. Bound in full blue levant with an elegant, Art Nouveau-style motif on the front cover framing the title, featuring flowers created with tan morocco onlays and gilt-tooled leaves. The spine is gilt-titled and decorated with a foliate design. Wide morocco turn-ins have gilt-tooled flowers slightly larger than those on the front cover and leaves in each corner, framing marbled endpapers. In a felt-lined box with the title printed on the spine. Box shows some soiling and wear, else very fine.

Full Archive of the Artist's Book Still.
Burgess, Molly (Mali)

A collection of five unique artist's books handmade by Mali Burgess that led up to the creation of her book Still, which was published in a limited edition. The five books contain concrete poetry composed by Burgess on her Smith Corona electric typewriter, during her time as a student at Princeton. Includes: copy number one from the limited edition of Still. One of twenty-five copies, signed by the author/artist. Square octavo. (86)ff. Letterpress printed from zinc plates, which were produced from a typewritten text. This is Burgess's only published book, and it is beautifully conceived on over forty varieties of Japanese papers, including leaf papers with clover and ferns. This unusual and striking book was written by the artist in response to her study of Eastern philosophy and religion. The text is a series of meditations delicately integrated with the typography and papers, which lead to a peaceful calm for the reader, a motionless "still." The book is stab-bound in Japanese style with gold threads, and housed in a black folding box, each side of which is lined in red, blue, yellow, white, and green Chinese silk. On the cover is a gold painted circle, the symbol of eternal light. The box's clasps are made from mother-of-pearl. Together with a booklet explaining the philosophies and process behind Still's creation, as well as Burgess's first handmade book, Silence, her third book, Time, and the three untitled handmade artist's books from which Burgess selected poems to create Still. Burgess created Silence during a student-initiated seminar on poetry and printing at Princeton. This was the beginning of her exploration of concrete poetry: Burgess rotated and re-inserted the pages into her typewriter in various directions to create the complex shapes and patterns of the poems. The loose sheets have Lucite covers and are housed in a quarto chemise made from two sheets of gold-colored metal, united at the spine with a Lucite rod. Her third book, Time, was made during a subsequent course with Victor Preller that involved the study of the Upanishads. With a square of thick smoked glass cut to the size of the loose sheets, which serves as a cover, and housed in a square Lucite chemise. The three untitled books were made in response to Burgess's study of Zen, Mahayana, Theravada, and Tibetan Buddhism with William LaFleur. All three feature different concrete poems typed directly onto a wide variety of Japanese papers. The first two untitled books are similar: loose sheets with matted geometric etchings forming the front and rear covers, housed in Lucite chemises. One includes some etchings of circles in addition to the text. For the third untitled book, the loose sheets are contained within a wooden box layered with white, black, red, yellow, blue, and green cloths. The cloths unfold to reveal the book at the bottom of the box. One can see how the process of unfolding the cloths and the effect of the colors translated into the folding box for the limited edition of Still. This corresponds with the artist's intention for the work: in the pamphlet, she writes, "The heart of this book is the interlocking of intuition, in the deepest sense of the word." 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.