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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Fullerton, CA: Stone & Lorson, 1988. Folio. iv, 9ff. One of 50 copies designed and bound by Joseph D'Ambrosio, and signed by him, Carolyn Johnson, and Carmen Voss, the hand-colorist. This twentieth-century leaf book contains an original leaf from a portfolio edition of John R. Wise's poem "The First of... More
Venezia: Antonio Zatta, 1757-1758. Four quarto volumes: L’Inferno, Il Purgatorio, Il Paradiso, Prose & Rime Liriche. (16), xlviii, ccccviii; ccccxiii, (3); cccclii, (4), 104; xii, 408, (4), 264, lxxxiv, (2)pp. Illustrated throughout with 114 engraved plates, by F. Giampiccoli, J. Magnini, F. Rizzi, and B. Crivelli, after works by Italian... More
(Den Haag: De Zilverdistel, 1918). Small octavo. 18ff. From an edition of 70 copies, this is one of twenty Roman numeral copies reserved for owners of the Press. This copy was designated for Nelly van Eyck-Benjamin, the wife of Dutch poet Pieter Nicolaas van Eyck, who was one of the... More
(Paris: Didot, Firmin, c. 1870). Folio. 72ff., consisting of the first 24 gatherings repeated three times. With fine steel engravings by Jules Jean Marie Joseph Huyot. Printed on vellum in red and black. It appears this work, a late collaboration between Ambroise Firmin Didot and Huyot, was never published and... More
Antwerp: J.E. Buschmann, 1896. Octavo. 61pp. From an edition of 112, this is one of twelve copies for private circulation, and signed by the printer, Buschmann. Illustrated throughout by with eight fine full-page woodcut plates, several text figures, head- and tailpieces, and decorated initial letters printed in black and brown... More
(Hammersmith: Doves Press, 1910). Octavo. 202 pp. One of 250 copies. Printed in red and black. A collection of Browning's dramatic poems and monologues, and the second Browning title published by the Doves Press. Minor cockling to pastedowns, spine imperceptibly faded, else fine in full limp vellum by the Doves Bindery. (Tidcombe DP22). More
(Hammersmith: Doves Press), 1912. Octavo. (112)pp. One of 200 copies. Cobden-Sanderson's typography had a profound impact on the aesthetic of the German fine press movement that flourished prior to the outbreak of the first World War. As a result, the Doves Press Goethe titles were highly sought-after and sold well... More
(Hammersmith): Doves Press, 1914. Large octavo. 203pp. One of 200 copies. Printed in red and black. This collection was first mentioned as a tentative future project along with the collection by Shelley in March 1913, with a publication date eventually set for October of the following year. However, T. J.... More
Hammersmith: Doves Press, 1914. Octavo. (168)pp. One of 200 copies printed on paper. Two initials in typical Doves Press style: a red five-line "C" on the half title, and a black four-line "B" on page 7. Stage directions, names, and scene indicators from The Tragedy of Coriolanus printed in red... More
(Hammersmith): Doves Press, 1914. Large octavo. 181pp. One of 200 copies. Printed in red and black. This collection was first mentioned as a tentative future project along with the collection by Keats in March 1913, with a publication date set for June 1914. After T. J. Cobden-Sanderson's long illness, he... More
Harper Woods: Adagio Press, 1969. Folio. 54pp. With a Preface by Strouse and a Note by the Printer, Leonard F. Bahr. From an edition of 329, this is one of ten copies made up of leftover sheets from the original printing. It contains three leaves: and octavo sheet from Tasso... More
(N.p.): Paul Hayden Duensing, (1969). One of 300 copies. Broadside measuring 31 1/2 x 25 1/2 inches (800x317mm), printed by offset. A selection of typefaces offered by the Typefoundry, including borders, ornaments, Hieroglyphics, and Greek, Russian, Japanese, Chinese, Hebrew, and Cherokee alphabets. One faint spot, else fine. More
(Hingham, MA: Püterschein-Hingham, 1952). One of 100 copies. A woodcut in four colors cut by W. A. Dwiggins in 1921 and printed for the first time by Dorothy Abbe in 1952 from the original blocks. The lovely woodcut, in blue, yellow, orange, and black, illustrates Stravinsky's ballet Petrouchka, which tells... More
NY: Limited Editions Club, 1932. Quarto. 23pp.,(4)ff. One of 452 copies signed by Dwiggins. Dwiggins facetiously discusses the atrocities of the present design of currency and postage stamps, proposing new ones based on those issued by the fictional country of the Antipodes. Includes plates of Antipodean stamps, and a currency... More
NY: Elston Press, 1901. Small quarto. (xv), 68pp. One of 485 copies on Holland hand-made paper, in boards with vellum spine. Unopened. Decorated with initials by H. M. O'Kane, floral devices, and a printer's device on the title page. The text is a 1345 treatise on book collecting written by... More
(Leipzig: Ernst Ludwig Presse, 1925-1931). Seven volumes, a complete set as published. One of 250 copies. Only 200 copies of the seventh volume were printed. The dedication notes that this edition was produced as an homage to T.J. Cobden-Sanderson and the German editions of Goëthe printed at the Doves Press..... More
London: Guild & School of Handcraft, Essex House, 1896. 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... More
(London: Essex House Press, 1901). 16mo. 400pp. One of 250 copies printed under the care of C.R. Ashbee. With a wood-engraved pictorial frontispiece by Reginald Savage, and numerous initials surrounded by flowers called "pinks," designed by Ashbee. Woolman, an eighteenth-century New Jersey Quaker, advocated the simple and unostentatious life, and... More
California: Ettan Press, 1978. Octavo. 17pp. One of 90 copies. Six color engravings by von Mengershausen, all numbered and signed with the artist's monogram. These illustrations, with earthy colors washed over classical imagery - a bas-relief, an amphitheater, statuary, and geological outcroppings - emphasize Holderlin's belief in the connection between... More
(Oakland: Eucalyptus Press, 1989). Folio. (6)ff. One of seventeen copies. Illustrated throughout with linoleum block prints altered so that the images in each book are slightly different. One two-page spread depicts the foolish villagers peeking over the edge of the soup pot with surprised expressions on their faces. Printed, illustrated... More
(Santa Cruz): Lime Kiln Press, 1981. 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, and printed in black with red and blue initials on paper specially made... More
(N.p. Ferguson, William, n.d.). Print measuring 10 1/4 by 13 inches. One of 76 copies. A windmill design in green and brown, with the words "arena," "monte," "cielo," and "nieve" on the four blades. SIgned by the artist. Fine. More
(Hammersmith: Kelmscott Press, 1896). Folio. (556)pp. One of 425 copies. Contains 87 wood-engraved illustrations designed by Sir Edward Burne-Jones. William Morris, in addition to the "Chaucer" type designed expressly for this book, provided 26 nineteen-line initials, and numerous foliate and floral borders and initials. Burne-Jones called the book "a pocket... More
(Newton): Gregynog Press, 1938. Large octavo. Binder's dummy, with all pages blank. The edition was limited to 175 copies, translated from the Spanish by Henry Thomas. Gregynog Press books were created under one roof, from design to printing, all the way to binding. George Fisher, who started at Gregynog Press... More
(Northampton, MA): Cheloniidae Press, 1986. 12mo. (34)pp., accordion-fold. From an edition of 200 copies, this is one of five unnumbered artist proofs. Calligraphic letters, designed by Suzanne Moore, are blind-stamped one to a page of this lovely panorama, which folds out to over seven feet long. Bound by Claudia Cohen... More
