Bromer Bookseller has always held the aesthetic of letterpress printing as the finest technique in which to present the written word. We offer many fine examples of printing from the eighteenth to the twentieth centuries, as well as earlier printed items. On our shelves, you will the find traditional, restrained typography of Bruce Rogers and John Baskerville, as well as more experimental work from such modern practitioners as Gunnar Kaldewey. Other leading printers represented in our stock include ...
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Guildford: Circle Press, 1986. Small folio. (36)pp., french-fold. From an edition of 80 copies, this is one of 65 comprising the regular edition. Signed by the illustrator, Ronald King, and the poet, Roy Fisher. Illustrated in color with numerous photo-collage vignettes, seven tableaux from drawings, and twelve movable puppet designs... More
(Berkeley, CA): John Henry Nash, 1931. Four-page folio broadside, with a half-sheet laid in. This broadside is an invitation to the blessing of John Henry Nash's new home in the Contra Costa Hills of Berkeley, California. The first page is illustrated with an image of the entry to a house... More
Soho: Nonesuch Press, 1923. Small quarto. xxiii, 91, (7)pp. From an edition of 1,200 copies, this is one of twenty ad personam copies, specially bound. This is the first book of Francis Meynall’s Nonesuch Press. Meynall, along with his wife, Vera, who selected and edited Donne’s text for this production... More
Bloomsbury: Nonesuch Press, 1935. Quarto. 778 pp. One of 675 copies printed at the Nonesuch Press. Illustrated throughout with woodcuts by V. Le Campion, including a section of maps at the end by T. Poulton. Designed by Francis Meynall, and set in Nonesuch Plantin, which was specially designed for this... More
NY: Nonesuch Press, 1929-1933. Seven octavo volumes. x, 590; 646; 849; 777; 804; 517; 563pp. One of 1,600 copies. A handsome set printed at the Cambridge University Press and bound in full tan niger morocco by A.W. Bain. Spines in six compartments with titles gilt-stamped, covers with double gilt rules... More
(Montagnola: Officina Bodoni, 1925). Small folio. 28pp. One of 275 copies printed on Fabriano handmade paper. This edition prints the original Latin text of the pact on which the Swiss Confederation is based, as well as translations of the pact into languages recognized in Switzerland: German, French, Italian, Latin, and... More
Verona: Officina Bodoni, 1944. Quarto. 354pp. One of 165 copies. Contains the original Italian text of 150 sonnets, with German translations by Rudolf Freiherr von Simolin, Hans Rheinfelder, and Otto Freiherr von Taube, printed on the facing pages. Mint in linen-backed decorated boards and cardboard slipcase. (Mardersteig 64). More
(Milan): Officina Bodoni, 1968. Oblong 12mo. (14)ff. From an edition of 80 copies, this is one of forty printed for André Jammes, the French antiquarian bookseller. With a New Year's greeting inscribed on the first free endpaper from Jammes and his family. A beautifully printed Christmas alphabet book with red... More
Verona: Officina Bodoni, 1968. Octavo. (31)pp. One of 200 copies. Printed for Gallery 303 as a keepsake to remember a lecture given at New York by G. Mardersteig at the Morgan Library on 25 November, 1968. A handsome and selective collection of Bodoni typefaces. In green wrappers. Minor bumps to corners, else fine. More
Verona: Officina Bodoni, 1974. Octavo. 49pp. One of 300 copies. Printed in two colors on handmade Magnani paper. Contains twenty-three songs, plus "The Phoenix and the Turtle," which was published separately. Attractively bound in morocco-backed green patterned cloth. T.e.g. Fine, in gray silk slipcase. Prospectus and offset of prospectus laid... More
Verona: Officina Bodoni, 1974. Octavo. 49pp. One of 300 copies. Printed in two colors on handmade Magnani paper. Contains twenty-three songs, plus "The Phoenix and the Turtle," which was published separately. Attractively bound in morocco-backed green patterned cloth. T.e.g. Fine, in gray silk slipcase. Prospectus and offset of prospectus laid... More
Montagnola: Officina Bodoni, 1924. Quarto. 151pp. One of 224 copies. Shakespeare's late, iconic comedy, printed in Catania, an original Bodoni type, on Fabriano handmade paper. Book designed by G. Mardersteig. Bound in green-dyed vellum over boards, with the Press's device stamped in gilt on the front cover. Upper board slightly... More
Verona: Officina Bodoni, 1968. Folio. (96) (iv) pp. From an edition of 114 copies, this is one of 105 on Magnani paper, signed by the artist, Giacomo Manzù, on the colophon page. This copy also bears a contemporary inscription from Manzù on the front endpaper. Illustrated with seven full-page etchings... More
(Verona: Officina Bodoni, 1963). Quarto. (350)pp. One of 275 copies printed in Italian. Wood-engraved title page by Reynolds Stone and 114 woodcuts from the Epistole et Evangelii (1495), newly cut by Bruno Bramanti and Italo Zetti. Mardersteig conjectured that the series of woodcuts that graced one of the "rarest and... More
Verona: Officina Bodoni, 1976. Octavo. 88pp. One of 160 copies. Text in both Greek and English. With a note on the text and on the Greek characters by Giovanni Mardersteig. Seven "Delphic" maxims, one from each sage, are printed in black on a decorated terracotta background. The letters are copied... More
Paris: Officina Bodoni for the Pegasus Press, 1929. Quarto. 30pp., (51)ff. One of 175 copies printed at the Officina Bodoni. With an Introduction by Henry Thomas and descriptive notes by Stanley Morison. Following these are forty-nine facsimile leaves in collotype reproducing the surviving text and plates of Brun's two writing... More
Monmouthshire, UK: Old Stile Press, 2007. Oblong quarto. 46pp. Signed by the artist. Each poem illustrated with a color woodcut or linocut by Cazalet. Cazalet's images visually complement the topography of Hardy's experience and the sensations evoked by his poetry. Cazalet himself arranged the poems to suggest Hardy's gradual reconciliation... More
Cornwall, CT: Robert Andrew Parker, 2011. 12mo. 28ff. From an edition of ten copies, this is an artist's proof, signed by the artist and printer, Robert Andrew Parker, and with twenty-eight illustrations hand-colored by him. This unsettling book depicts often strange examples of German words for each letter of the... More
Flansham: Greenleaf Press, 1917. (9)ff. Small quarto. A portfolio of eight wood engravings in black & white, with the title page printed in copper ink. The publication and illustrations were done by Stuart, Robin, and John Guthrie, the sons of James Guthrie of the Pear Tree Press. The Greenleaf Press... More
Auckland: Pear Tree Press - Auckland, 1996. Small oblong quarto. (24)pp. One of thirty copies. A typographic interpretation of names taken from an 1850 British Admiralty chart of the Southern Sounds area of New Zealand's South Island. The bold, multi-colored text was printed letterpress from wood and metal type and... More
(London: James Guthrie), 1902-3. Four small octavo volumes. 26pp. each, printed rectos only, with the exception of the last volume, Winter, in which the colophon was printed on the verso of the final page. Each volume is one of 250 copies, written, illustrated, and designed by James Guthrie of the... More
Flansham: Greenleaf Press, (1915). 16mo. (16)pp. Inscribed, "With best wishes from the folk at Flansham. Xmas 1915," and illustrated with nine tipped-in engravings. The publication and illustrations were done by Stuart, Robin, and John Guthrie, the sons of James Guthrie of the Pear Tree Press. This is the first book... More
(Flansham): Pear Tree Press, (1920). Octavo. 25pp. This collection of short children's poems is heavily illustrated with wood engravings by Stuart Guthrie, son of Pear Tree Press founder James Guthrie. The six full-page illustrations and fourteen smaller images used as head- and tailpieces are printed in four colors: blue, green... More
Mt. Horeb: Perishable Press, 1977. Small quarto. (28)ff. One of only twenty-five copies. A collection of twelve hand-colored etchings by John Wilde. The twelve images in sequence tell of the relationship between Jane, Joan, and the Great Dog. The primitive innocence of the two nude figures, who seem like Adam... More
Minor Confluence, WI: Perishable Press, 1976. 12 1/2 by 20 inches. One of an edition of 50 copies. A black & white drawing by Sarah Freckelton of a sock thrown over the back of a chair on the seat of which sits a flowerpot of crocuses illustrates a journal entry... More
