(London/Andoversford): Acorn Press/Whittington Press, 1975. Oblong quarto. (28)ff., frenchfold. One of 60 copies signed by the artist, Hellmuth Weissenborn. Illustrated with twenty-seven linocuts printed in two colors. Weissenborn's colorful alphabet is accompanied by quotations about various aspects of printing from philosophical and literary luminaries, such as Byron, Nietschze, and Southey... More

Lexington, KY: Anvil Press, 1956. Tall octavo. (86)pp. One of 240 copies printed by Jacob Hammer at the Anvil Press. Set into American Uncial by Victor Hammer. Text follows the Praetorius facsimile edition from the copy of the First Quarto of 1609 in the British Library. Bound in brown cloth-covered... More

San Francisco: Arion Press, 1999. Folio. (164) pp. One of 200 copies signed by the artist. Illustrated with twelve images by Wayne Thiebaud reproduced on transparent mylar sheets using different ink colors. The ink colors are matched to the sheet underneath it so that the images are revealed only when... More

San Francisco: Arion Press, 1983. Octavo. x, 291pp., + (44)ff. One of 400 copies. This edition of Hammet's classic murder mystery, first published in 1938, is illustrated with 46 photographs of Sam Spade's San Francisco. Photographer Edmund Shea searched the photo-archives of the twenties for specific locations. Where none were... More

Paris: Gumuchian, (c. 1930s). Quarto. (181)pp. + 135ff. of plates. One of 1000 copies. A catalogue of fine bindings from this famed Parisian bookseller, profusely illustrated with full-page black and white illustrations including XX color plates. In original dust wrapper, with the English titling: "Fine Bindings." This title also appears... More

Newtown, PA: Bird & Bull Press, 1986. Octavo. 124pp. One of 325 copies. With a Preface by Elaine Koretsky. Contains 40 paper samples of great variety and interest, collected by McClure, a botanist who lived in China from 1919 to 1941. These include brilliant dyed papers for ceremonial use, rough... More

(NY): Center for the Book Arts, (2007). Octavo. 18ff. One of thirty-nine copies. A collection of thirteen poems from Blake’s Songs of Innocence and Experience, beautifully printed by nine compositor-printers at the Center for the Book Arts. Each printer’s work occupies a single bifolium sheet, forming nine loose signatures. All... More

London: Harding & Lepard, 1827. Two octavo volumes. xiii, 562; 579pp. Fourth edition, greatly enlarged and corrected. Inscribed by the book collector and businessman Albert M. Todd of Kalamazoo, Michigan, to noted librarian William Warner Bishop, who was head of the Bentley Historical Library at the University of Michigan from... More

San Francisco: Lawton Kennedy, 1958. Small quarto pamphlet. (6)ff. One of 175 copies. A tongue-in-cheek guide to the lexicon of the rare book trade. For example, the entry for "Fore-Edge Painting" states "These are always 'exquisitely executed' even when done by someone's Aunt Esmerelda on a wet Sunday afternoon." Fine... More

San Francisco: Lantern Press, 1929. Octavo. 32pp. One of 500 copies. Inscribed by the author to the binder, Caroline Weir Ely. Printed at the Grabhorn Press, with a woodcut frontispiece by Ray Boynton. A collection of poems by Wood, celebrating the spiritual and rustic beauty of the wilderness. Wood is... More

Bromer Booksellers. (96) pp. Our most ambitious catalogue to date, featuring fifty exemplary works in literature, illustration, miniature and children's books, fine printing and artistic bindings. Includes many rare, unique, and autographed items from the 16th century to the present. More

Canton, NY: Caliban Press, 2001. Quarto. 117pp. One of 125 copies. Printed on handmade papers by Velma Bolyard, La Papeterie St-Armand, and Barcham Green, along with Arches, Frankfurt, and Mexican amate papers. Set in fourteen-point Dante type by M & W Bixler, and rain cut by Greg Lago. The book... More

Vashon Island, WA: Springtide Press, 2015. Folio. (20)pp. One of twenty-six copies, signed by the artist, Suzanne Moore. A contemplation of the letter "A," with each page presenting an original composition capable of standing on its own. Moore's conceptions of "A" reflect the letter's historic and cultural forms, resulting in... More