The VEATCHS ARTS of the BOOK Catalogue 87

The VEATCHS ARTS of the BOOK

Catalogue 87 Item 46. Kelmscott.

cover: Item 8. Barbat (detail) THE VEATCHS ARTS OF THE BOOK 6145 McKinley Parkway, No. 9, Hamburg, New York 14075 [email protected] www.veatchs.com phone 716-648-0361

catalogue 87 Fall 2017

ordering information Your satisfaction is guaranteed. All books are returnable, with ad- vance notice. Payment is accepted by check, Visa, Mastercard, and wire transfer. Libraries may request deferred billing. New York State residents must add 8¾% sales tax. Shipping charges are additional. Please make checks payable to “The Veatchs.”

we are happy to send images upon request. 1. Alexeieff. Genbach, Jean. L’ABBÉ DE L’ABBAYE. POÈMES SUPERNATURALISTES. Paris: La Tour D’Ivoire, 927. 7½ × 0. xii, 0 pages plus 6 surreal wood engravings by Alexander Alexeieff. Printed wraps, small stain on spine, some darkening at spine extremities. Very good. No. 240 of 350 copies printed on velin de Rives. $450

2. Alexeieff. Maurois, André.VOYAGE AU PAYS DE ARTICOLES. Eaux- fortes et bois en couleurs par Alexandre Alexeieff. Paris: Éditions de la Pléiade, (927). 7 × 9½. 22 pages plus 4 color aquatints. 9 wood engravings in the text—most in color—as chapter heads and tailpieces. Printed wraps, Small chips at spine base, light soil; slight separation between a few pages. Near very good, in custom chemise and slipcase. No. 299 of 300 copies printed by Couluma in Deberny et Peignot’s Garamond type—its first use in France. $800

Colors with a Delicacy of Execution and Technical Brilliance Never Before Achieved in the United States 3. Allen, John Fisk. VICTORIA REGIA; OR THE GREAT WATER LILY OF AMERICA. With a brief account of its Discovery and Introduction into Cultivation: with Illustrations by William Sharp, from Specimens Grown at Salem, Massachusetts, U. S. A. Boston: Printed and published for the author, 854. 20½ × 26½. 6 pages plus one-page index plus 6 full size color plates. One chromolithograph is from a drawing by Allen; the other 5 are from drawings by Sharp. Modern boards with linen spine; facsimile of original title label on upper cover. The contents have been completely restored with the paper de-acidified and each leaf hinged on linen. Most fore edges have been strengthened (almost impercep- tibly) with tissue. Two closed tears have been repaired. There is a date

the veatchs arts of the book (Dec 96) stamped in the gutter of the dedication page. Very good copy of a brilliant and important book. A cornerstone of American color printing. These images were drawn on stone and printed by Sharp, America’s first chromolithographic printer. This was the earliest example of large scale color printing in the United States. William Sharp emigrated to Boston from England in the late 1830s and produced the first chromolithograph in the States in 1840. His career culminated in this work which Reese describes as “printed colors with a delicacy of execution and technical brilliance never before achieved in the United States.” The success of Sharp’s work is due in part to the fact that the five plates he designed were specifically intended to be printed by chromolithography. Most other practitioners of that time were just reproducing existing works of art. This large format reflects the extraordinary size of the lily. Leaves grow several inches a day until they reach up to 6 feet long, and are strong enough to support the weight of a child. The flowers are 12 to 17 inches in diameter. Allen’s text provides a history of the cultivation of the lily which was introduced into England, after being discovered on the Amazon in the 1830s. Victoria had recently become queen and the lily was named in her honor. Allen’s lily was given to him by Caleb Cope, to whom the book is dedicated. Cope, president of the Pennsylvania Horticultural Society, was the first American to cultivate this lily. Reese 19, Bennett p. 2, Marzio Democratic Art pp. 18, 215, 279–80. $55,000

4. Allen Press. Aeschylus. THE ORESTIAN TRILOGY. Greenbrae, 983. Two volumes. 6¼ × 0. 67 leaves; 74 leaves. Cloth, slipcase. Fine set. One of 140 sets hand printed on dampened handmade paper, in Menhart Unciala and Solemnis types. Text printed in brown and “flame” (orange). Title pages flame and 23 carat gold. Translated by E. D. A. Morshead. Greek calligraphy by Mark Livingston. $700

catalogue 87 5. Antiphonal Leaf. Manuscript antiphonal leaf on vellum. Fifteenth century. Approximately 8 × 22. Handsomely framed & double glazed (glass on both sides). Large initial “P” painted in yellow, red, orange, and green with large marginal acanthus leaf; rubric and other initials in red. Staves are in red, notes are in black. Text in Latin. Very good condition. $700

Victor Hammer “Leaf Book” 6. Anvil Press. CHAPTERS ON WRITING AND PRINTING. Lexington, 963. 6 × 0. 70 pages plus a 4-page specimen of Hammer’s American Uncial and Andromache types, and original leaves ( an 8-page gathering & a 4-page gathering) from Victor Hammer’s Stamperia del San- tuccio books in Pindar and Sampson types. Buff boards, paper spine label, spine very slightly darker, a few touches of foxing; booklabel inside front cover. Near fine.with : 6 additional leaves (most double). No. 87 of 134 copies, impeccably printed by Carolyn Hammer in black & red. The leaves include an engraved initial letter in red. The four chapters are “Calligraphy for the Printer” (Paul Standard), “Digressions on the Roman Letter” (Victor Hammer, “Printing from the Blocks of Bewick” (R. Hunter Middleton), and “Notes on the Stamperia del Santuccio” (Carolyn Hammer). With two Bewick illustrations printed from the blocks. $650

7. Ashmead, Henry B. “Henry B. Ashmead, Plain and Ornamental Book and Job Printer.” (Philadelphia, 857). 5¾ × 8½. Broadside advertise- ment printed in black on blue paper, mounted inside rear cover of Colton’s Advertising Atlas of America. ONLY the book’s cover is present here; not the book itself. The broadside is rubbed along the edges where it met the book’s front cover; lighter rubbing on the text; tips worn away. A striking piece of ephemera because of its size. Ashmead was a distinguished printing house, established by Isaac Ashmead in 1821. $200

Scintillating 844 Chromolithography 8. Barbat, Louis. ÉVANGILES DE DIMANCHES ET FÉTES. Illustrés par Barbat père et fils. Chalons-S-Marne: Imprimerie Lithographique Barbat, 844. 8¼ × . 39 pages. Collation: (2), –07, (3), 3–48, (4), 49–35, (2) pages. A few preliminary pages appear shuffled in

the veatchs arts of the book Item 5. Antiphonal Leaf. Item 7. Ashmead.

Item 8. Barbat. order—despite being in the original binding. Entirely lithographed in colors, silver, and gold on glazed white paper. These Gospels for Sun- days and holidays are set within elaborate ornate frames or cartouches and presented as double spreads. Each dazzling spread has a different frame, which are very varied in design. Some frames are rococo. Some of the cruciform borders in the Passion section approach Art Deco. Some are iridescent, changing color. There is a great deal of silver & gold printing; the text is also printed in various single colors or gold. Publisher’s thin enameled card covers printed lithographically in gold from transferred type. Some light foxing on preliminary leaves, very slight separation between some leaves, light cover soil, a very good copy of a truly stunning work. Scarce in the original wraps. To describe Louis Barbat ( 1795–1870) as the inventor of chromolithography (Lhote, p. 217) may be a reach too far. But it is certain that he experimented with and developed techniques of his own. Having studied drawing under the engraver Charles-Nicolas Varin, Barbat began experimenting with lithography in 1825, collecting ancient drawings, maps, and views of Chalon for his subjects. He and his son Pierre-Michael opened their shop in 1833. On January 3, 1834 Barbat received a patent to adapt a printing press to print several colors at once, with only one impression. Barbat’s series of lithographed calendars began in 1834. In 1838 Barbat began producing, in a great number of designs, elaborate and richly colored & metallic wine labels and trade cards for the Champagne merchants. (The Sorbonne dictionary describes these in some detail.) The labels and cards were printed on white “porcelaine” paper in the Belgian manner. Barbat’s entry for the 1839 Paris exposition, which included some of the title pages for the Evangiles were praised for the brilliance of the colors and the gold. Following on this success, after patient researches and a number of tries, according to Lhote, Barbat was able to produce the most varied colors in a full range of tones from the most vigorous to the sweetest, and by “d’ingenieux procêdees” achieved fused shades. At the 1844 Paris exposition Barbat was awarded the silver medal for Évangiles. This copy of Évangiles is printed entirely upon enameled or “porcelaine” paper. Coated papers, which absorb less moisture during printing, give greater richness to printed colors. They were preferred for powdered bronze, silver, & gold as it was easier to brush powder away from unwanted areas. Unusual for the time, Barbat’s paper was coated on both sides, allow-

the veatchs arts of the book Item 8. Barbat. ing the beautiful double spreads. (Midolle also used coated paper, but on one side only; his plates are printed on the rectos only.) Twyman discusses at length this “notable” and “extravagant quarto,” which was said to rival the productions of Curmer. “All the text was transferred from modern-face types and printed lithographically with almost miraculous consistency. This in itself was a major technical achieve- ment....” (p. 181) Twyman compares this to Didot’s attempt a few years earlier with Champollion’s Egyptian grammar, finding the transferring very variable in quality. In fact, half way through production Didot gave up the effort and reverted to letterpress.

catalogue 87 Histoire de l’imprimerie à Chalons-sur-Marne: notices biographiques et bibliographiques sur les imprimeurs, libraires, relieurs et lithographes (488–894) avec marques typographiques et illustrations. 1894. pp. 217–219. Twyman, A History of Chromolithography pp. 166, 180–81, 191, 275–77, 432, 521; plates 136 & 355. Sorbonne on-line Dictionnaire des Imprimeurs- lithographes du XIXe siècle. http://elec.enc.sorbonne.fr/imprimeurs/node /25137. OCLC locates five copies in the US, two at the British Library, one at BN. $3,250

Item 9. Baskin. 9. Baskin, Leonard. “The Lovers.”948. Original wood engraving in black. Image size is 5 × 4 inches on a sheet approximately  × . Glazed, in an antiqued wood frame, non-archival cardboard backing. Appears fine, but not examined out of frame. Signed “Baskin, 949.” Edition size is unknown, but probably quite limited, as this was created as a New Year’s greeting. Fern 7. $250

10. Baskin, Leonard. “In Celebration of the Opening of Thistle Bindery...David Bourbeau Bookbinder.” Spring 975. Broadside 4 × 0. Printed letterpress in black & red on tan paper, with large wood engraving of a thistle by Baskin, who has signed above his printed name. Matted. Fine. Probably printed at the Gehenna Press. The thistle was engraved in 1957 for a Spiral Press Christmas card. Fern 314. $85

the veatchs arts of the book 11. Bauer Type Foundry. “Ein Stammbaum der Schrift.” (A Tree of Fonts). Frankfurt, 962. Broadside/Poster. 34 × 27. Matted, glazed, in a handsome cherry frame. The visible portion measures 33 × 24 inches. A stylized black tree on a soft green background, displaying the development of Bauer type faces, printed in various colors. With about 60 faces, those on the trunk are the fore-runners (Roman capitals, Uncials, etc.). Branches (miniscules, gothics, cursives, antiquas, bastardas) cul- minate in Bauer types. At the top of the tree—Futura. Tiny circular puncture in upper corner, all else fine. A stunning broadside produced for friends of the foundry, to celebrate Bauer’s 125th anniversary. $950

catalogue 87 12. Bird & Bull Press. HAPPY BIRTHDAY BOB. (Cover title). 997. Six broadsides 24 × 9 inches in honor of Bob Fleck’s 50th birthday. Each broadside has the same text printed in black “Big Birthday Greetings for a big guy on his 50th birthday, February 4, 997...from Henry and Pearl and the entire staff at the Bird & Bull Press.” At the base of each broadside is a different “colophon” printed in red. Each broadside is from a different edition (A–F), has a different limitation number, and is signed by a different person (the UPS man, oil delivery man). Three are signed by Henry Morris. “Copy ” in Edition A is signed by Henry, Pearl, and their cat (inked paws plus a sketch). Fine condition in stiff blue paper envelope with cover label. Not in the B&B bibliography. None on OCLC. $75

13. Block Book Facsimile. CANTICUM CANTICORUM: Societatis in hon- orem Marées pictoris conditae opus tricesimum quartum; editio archetypum anni ciriter millesimi quadringentesimi sexagesimi quinti imitans. (Munich, 922.) 8½ × . 4 leaves on heavy handmade paper imitating the original, hinged into binding, creating 7 double-spreads. Full mottled vellum. Owner’s quarter-sized circular stamp inside front cover. As this an exact facsimile, any soil or discoloration in the original block book is copied here. That said, this is a fine copy.A stunning facsimile of the circa 1465 block book in the Bavarian State Library. It was created from new wood engravings hand colored. Printed in Berlin at Ganymedes Press. No. LXII of LXXX bound in full vellum. (The total edition was 400, most bound in quarter vellum.) $750

14. (Bookbinding) Coe, W. H. Manufacturing Company. SPECIMEN BOOK OF BRASS TYPE, ETC., MADE IN U. S. A. CATALOGUE 10. Providence, RI, 936. 6 × 9. 35 pages. Printed wraps., faded. A price list is stapled in, as is a specimen of “Missouri” type for “Fountain Pen and Pencil Work.” Very good. The type is to be used only on leather, cloth, or wood. The Coe Company also manufactured gold leaf in ribbon form for printing on leather and cloth. $5

15. Bourgeois, E[mile]. LA CÉRAMIQUE MODERNE PAR LE GRAND DÉPOT. PORCELAINES, FAIENCES & CRISTAUX. Paris, 890. 0 × 4. Color title page, 55 color lithographed plates of porcelain and faience, each with a facing of description and prices; 47 monochrome

the veatchs arts of the book Item 13. Block Book Facsimile.

Item 15. Bourgeois. plates of glassware; 5 pages of text by Louis Enalt. There is no plate 25, and none called for in the Table. Publisher’s dark blue pebbled cloth, titled in gilt on upper cover. Old wear to the binding; very good. Very scarce trade catalogue with exquisite chromolithographs by Charles Verneau—the famous Parisian printer of color lithographed posters. Each color plate displays about a dozen pieces of faience or porcelain, each labeled for its use (pot a crème, coquetier, moutardier, ravier, etc.) A valuable record of carriage-trade table settings, serving pieces, tea & coffee sets; chamber pots, foot baths, pitchers, & other items for the toilette—all in a great variety of designs and styles. $,400

16. Bregman, Alvan. EMBLEMATA, THE EMBLEM BOOKS OF ANDREA ALCIATO. A LEAF BOOK. Newtown: Bird & Bull Press, 2007. 6 × 9. 39 pages, 4 tipped-in original leaves from Alciato’s 589 edition. Quarter leather, slipcase. Fine. One of 8 copies having additional leaves. (124 regular copies had one leaf.) Three leaves in this copy bear woodcuts with moral lesson in Latin. Laid into the book is a translation of each.: About those who shelter murderers; Don’t fight with ghosts; Wasteful with her own belongings, she should never be entrusted with those of another. The fourth original leaf is text in Latin & Greek, with a printer’s ornament. A scholarly book, this has an humorous appendix by Henry Morris—eight new emblems with wood engravings by Wesley Bates. $995

Rhinoceros, Oryx, Sword-fish, Nasicornous Beetles, and a Narhwhale 17. Cheloniidae Press Browne, Thomas. PSEUDODOXIA EPIDEMICA: Of Unicornes Hornes. Illustrated with wood engravings by Alan James Rob- inson. With an introduction by Jan van Dorsten. (Easthampton), 984. 7 × 9½. Etched portrait of Browne signed by Robinson, (56) pages including 5 wood engravings printed from the blocks. Full limp vellum. A cloth portfolio contains an extra suite of engravings & etching; 29 working proofs; 3 states of the etched portrait; a pencil drawing of a unicorn. Each image in the portfolio are signed. All contained in a vellum & cloth tray case. With a bound prospectus bearing an original drawing, inscribed. Fine. “State Proof V” of 15 copies with state proofs of the etching, working proofs of the woodengravings, and an original draw-

the veatchs arts of the book ing. (The total edition was 225.) Printed by Harold McGrath on 1962 What- man paper. The Rhinoceros, Oryx, Sword-fish, Nasicornous Beetles, and a Narhwhale are some of the Unicornes in this book. Their images are printed in black. The mythological unicorn is printed in soft blue. Van Dorsten was head of the Thomas Browne Institute at the University of Leiden. $,800 18. Cleland, T[homas] M[aitland]. A GRAMMAR OF COLOR. Arrange- ments of Strathmore Papers in a variety of printed color combinations according to the Munsell Color System. Mittineague: Strathmore Paper Co, 92. Two vols. 8½ × 3. 28 text pages, 2 plates engraved by Rudolph Ruzicka showing unbalanced and balanced color, and 9 folding color- printed specimens demonstrating color combinations. Cloth-backed boards, printed cover label. Light wear to extremities, rusty paper clip mark inside front cover. Volume two continues the printed paper specimens (numbered 20–46). These are single sheets with oval “win- dows,” designed to be laid over the specimens in the book. They are housed in a printed paper portfolio. Both volumes in the somewhat battered original slipcase with label. A very good, complete set. The A. H. Munsell color system is explained, designed, and illustrated by Cleland. The 46 color sheets, with designs by Ruzicka, show which color combinations go with which color papers. $750 19. Dennerline, Thorsten. Eight original etchings in color. Np, ca. 2000. Images measure 5 × 7 inches on a sheet 9¾ × . Each is no.  of 8, signed by the artist. plus 2 proofs. All fine. Dennerline has been creating artist’s books since 1997 at the Bird Press. $800

catalogue 87 20. DePol, John. Original wood engraving—a self-portrait of sorts. It pictures the engraver’s tools, a woodblock engraved with DePol’s image, and 2 proofs pulled of that image. Approx. 3 × 2 on a larger sheet of Baskingwerk paper. Penciled by DePol “0 proofs 2/8/82.” Fine. $75 Unlocated 21. (Dix, Henry and Alfred). SPECIMENS OF COPPER & STEEL PLATE ENGRAVING. (Cover title) (London , ca. 900). 8½ × . 6 leaves bearing 252 specimens of engraved business/trade cards, letterheads, receipts, memoranda—many quite elaborate—for all types of busi- nesses, primarily in London. Self wraps, stapled (rusted) with hole punched at upper corner & a cord tied through for hanging. Old soil, light foxing. Good, complete copy. Unlocated. The Dix name appears in the top margin of many pages, and in two visiting cards at the top of opening page. We could not find another copy of this—or indeed any other—trade catalogue from the Dix engraving company. Henry Dix (born 1830) was a copperplate engraver. His two sons Henry (a wood engraver, born 1855) and Alfred (born 1857) carried on the business. $200

22. Eliot, T. S. THE WASTE LAND. Verona: Officina Bodoni, 96 (Lon- don: Faber & Faber). 8 × ¼. (9), - 52, ( ) pages. Vellum-backed marbled boards with matching, repaired slipcase. There is very slight wear to the edges, and finger soil on the spine. Nearly fine copy. One of 300 numbered copies signed by Eliot. Designed and printed by Hans Mard- ersteig in his Dante type on Magnani paper. $3,250

23. Ely, Timothy. FUSION. (NY, 989). 6 × 0. 6 × 0. 29 pages—mostly double spreads. Unique manuscript book drawn, painted in a riot of colors & metallics, stamped, sprayed, and sprinkled with gold dust. Bound in black morocco “T. C. Ely” on spine in metallic red; sides with embossed map-like onlays, the whole with black pigments worked in and locked in with paste touched with gilt and metallic red, inside covers with highly textured with black pigments. In grey cloth tray case lined with grey morocco. Fine. One-of-a-kind, this is the second of three books in Ely’s Fusion series. “Each book acts as a reflective ‘surface’ as my investigation into the idea of fusing or synthesizing processes continues.”—Ely, CBA website. $6,000

the veatchs arts of the book Item 23. Ely.

24. Ernesti, Johann Heinrich Gottfried. DIE WOL-EINGERICHTETE BUCHDRUCKEREY: mit hundert und achtzehen teutsch-, latenisch-, griechisch-, hebraischen Schriften, vieler fremden Sprachen Alphabeten.... Nürnberg: Johann Andreä Endters, 1721 (actually 1731). First edition, later printing. 9¾ × 7½. 30 leaves, 140 pages, 11 leaves. Most text printed in double columns, within a black border. A frontis of Ernesti’s printing shop is followed by short histories of 8 famous printers from Coster to Plain, each with an engraved portrait; then a history of printing in Nuremberg with 4 more portraits. The first 44 pages comprise a type specimen, followed by lays-of-the-case for various alphabets and for music type. Then comes the manual with tables for format and imposi- tion diagrams. The final  leaves are a German translation ofDepositio cornuti typographici (a play performed by printing apprentices). This is lacking its title page, which was neatly excised. Bound in con-

catalogue 87 Item 24. Ernesti.

temporary vellum spine & corners, brown & black speckled boards. Boards are heavily worn; last gathering is loose; one margin missing a piece; contents very good. Comprehensive printers’ manual with “A valuable section on type specimens...more than 40 different types in 18 type sizes, an indication of the increase and variety of type at this period.” (JPHS, D6). specimen of types, including Greek, Hebrew, exotic types, music, calendar cuts, medicine/apothecary symbols, and printers’ flowers. In the Frontis, Ernesti’s two presses are dated, respectively, 1440 and 1731—the year this was printed. In Yale’s copy, the press is dated 1730. There was a second edition, with 20 more pages, in 1733. Provenance: Kaim, Vienna 1880. $,500

Per Mano Con Amore 25. Evans, Henry. PEREGRINE PRESS. Collection of 20 pieces prospectuses and other ephemera: exhibition announcements, advertisements for the German printing inks he distributed. San Francisco: The Por- poise Bookshop, 950s-96. Mostly 8vo in size; most multi-paged; many illustrated. Two are typed “form letters” signed by Evans. Two are large broadsides folded—one with a large botanical color woodcut signed by Evans. Fine. Henry Evans was a printer, an artist, and an antiquarian bookseller. From his Washington hand press poured “...a continuing experiment in contemporary printing and typography....”. These pieces came from the collection of fellow printer Leonard Bahr, with 3 large envelopes addressed to him. $250

the veatchs arts of the book 26. Feather, John. ENGLISH BOOK PROSPECTUSES, An Illustrated His- tory. Newtown: Bird & Bull Press & Minneapolis: Daedalus Press, 984. Two vols. 6 × 9½. 09 pages, illustrated. Quarter morocco & morocco tips, “Dutch gilt” paper boards by E. G. Parrot. A separate portfolio contains 4 facsimile prospectuses—most rather large, and folded. Fine in slipcase. The loose facsimiles look and feel so real that Mor- ris had to print the word “facsimile” on each. His “Note from the Printer” identifies the various papers on which they were printed. The originals are in the Bodleian and Cambridge libraries. One of 325 copies. $225

With Four Alternative, Erotic Engravings 27. Gill, Eric. Mathers, E. Powys. PROCREANT HYMN. (Waltham St. Lawrence): Golden Cockerel Press, 926. 6 × 9⅜. 20 pages plus 5 copper engravings by Eric Gill. Contemporary green morocco, blind-ruled border with berry clusters at the four corners and a large blindstamped “J” on upper cover. Spine partially faded to brown, lower board edges rubbed, leather turn-ins have browned the pastedown edges; contents fine. Laid in are 4 alternative, unused, signed engravings for the book—all erotic. A printed note accompanies these engravings: “Subscrib- ers may be interested to know that three alternative designs have been engraved for this book and may be obtained separately from the artist: Mr. Eric Gill They are limited to 25 sets, signed by the artist.” All 4 engravings are erotic versions of the more sedate engravings in the book. Each is numbered 4/25. Physick 364, 365, 366, 367. The book is copy no. 71 of 200 copies, printed on handmade paper. It is the first book illustrated by Gill for the Golden Cockerel Press. $5,000

catalogue 87 The best of German Graphic Arts at the End of the Century 28. Goebel, Theodor. DIE GRAPHISCHEN KÜNST DER GEGENWART, ein führer durch das buchgewerbe. Stuttgart, 895. 0 × 3½. 24 pages plus approx. 00 inserted specimens of printing, 35 pages of ads. Beveled cloth boards, spine faded, bronze medallion lacking from upper cover. Very good copy of a visual treat. Gavin Bridson’s copy. The graphic arts of the present, with chapters on paper, type design, color printing, illustration techniques, the latest processes, fine printing, and bookbinding. Following each chapter are specimens of printing which also function as advertisements— many quite stunning. As many of the specimens are on cover stock, this is a stout tome. $750

the veatchs arts of the book “A Complete Specimen of the Arts of Type and Block-printing” 29. Goldsmith and Parnell. POEMS BY GOLDSMITH AND PARNELL. Bound with Somerville, THE CHASE. London: Bulmer, Shake- speare Printing Office, 795 & 796. 8¼ × . xx, (), 76; xv, vii, 26 pages. Illustrated with full page wood engravings and tailpieces by Thomas Bewick, and 2 by John Bewick. Two proofs from a Bewick block are laid in. Contemporary straight grain red morocco, Greek key border on covers & outlining raised bands, board edges & turn- ins gilt, all edges gilt, marbled endpapers. Occasional light foxing; light wear to binding whose spine is darkened. A very good, handsome copy in later fleece-lined slipcase. “Much pains have been bestowed on the present publication,” writes Bulmer in the introduction, “to render it a complete Specimen of the Arts of Type and Block-printing. “The types were cast by William Martin (previously Baskerville’s fore- man), the paper made by Whatman, printing by the Shakespeare Printing Office. And so it was received.A “ magnificent result of the efforts of the wood-engraver, typefounder, papermaker, and printer.”—Hugo, Bewick Collector p. 33. Thomas Bewick is traditionally considered the father of white-line engraving. But contemporary presses printed the blocks poorly. Poems by Goldsmith and Parnell was “the first really finely printed book illustrated by the Bewicks.”—Updike, Printing Types II, pp. 123/4 and 144/145. The Chase was conceived as a companion piece to Goldsmith & Parnell; they were frequently bound together. $2,500

catalogue 87 30. Goll, Ivan. FOUR POEMS OF THE OCCULT. With Illustrations by Fer- nand Leger, Pablo Picasso, Yves Tanguy, and Jean Arp. (Kentfield): Allen Press, 962. Folio ( × 6). 98 leaves. Unbound as issued in 5 sections, each with printed wraps. In blue felt-lined cloth chemise & cloth slipcase. Fine. One of 130 copies printed on a handpress on dampened Rives, in Goudy Modern and Cochin Italic. Subtle color marginal decorations and hand colored initials by Mallette Dean. Text printed in several colors. First English language edition of all the poems except “Elegy of Ihpetonga.” First reprint of the illustrations.” One of the Allens’ finest productions, in the manner of the French livre d’artiste. $2,700

31. Green, Ralph. A HISTORY OF THE PLATEN JOBBER. Chicago, 953. 5½ × 8. (4), 38, () pages. Cloth-backed printed boards. Light wear. With prospectus. Eugene Ettenberg’s calligraphic bookplate. Ralph Green’s copy with his name and address in ink on the flyleaf and additions to the colophon, specifying the type and paper used in the book. One of 495 numbered copies printed by Philip Reed. $75 Hand colored 32. Hammer, Victor. DOCTOR FAUST—A Play Based on the German Puppet Versions by Harry F. Owens. Lexington: Gravesend Press, [953–954]. 6½ × 0. 36 leaves illustrated with 5 hand colored. woodcuts by Fritz Kredel, Bound by Elizabeth Kner in linson vellum boards with yap edges. Two tiny spots on two pages. Fine. John DePol’s copy with a laid in note that only 37 copies were done. One of 50 (37) copies printed for The Gravesend Press and hand colored. Designed by Victor and printed by Jacob Hammer in red and black Jessen type on handmade Hayle paper. (The Hammers printed this in an edition of 350 for The Caxton Club, on a different paper. They were not colored, and had a different binding.) Kredel’s cuts were created for the Bauer type foundry printing of this title in 1950. Victor Hammer Artist and Printer, p. 178. $,000

33. (Hammer, Victor) REQUIEM FOR VICTOR HAMMER (9 XII 1882—10 VII 1967). (NY: Spiral Press, 967). 6½ × 0. 8 leaves. Printed note from R. Hunter Middleton laid in. Boards, cover label. Fine. One of 250 copies printed at The Spiral Press in black and red. Text of the burial service for Hammer. $00

the veatchs arts of the book Item 34. Hansard.

34. Hansard, T[homas]. C[urson]. TYPOGRAPHIA: An Historical Account of the Origin and Progress of the Art of Printing...with a Description of Stereotype and Lithography. London, 825. 5¾ × 9¼. Frontis, title, xvi, (8), 939, (27) pages plus 28 plates, one double page, 4 folding and numerous text illustrations; 4 leaves of advertising mis-bound in the appendices. Recent two-tone cloth, spine label, original marbling on edges. Early owner’s name on title, scattered penciled comments, a few pages with small stains in the margin; generally clean and crisp. Overall very good condition. A comprehensive manual with a nice section on presses. Hansard acknowledges his debt to Stower’s Printer’s Grammar but much of the material is new due to the proliferation of the iron handpress, proliferation of stereotype printing, and the advent of lithography. JPHS E13; Bigmore & Wyman I p. 301. $550

catalogue 87 35. Harvey, Michael. REYNOLDS STONE ENGRAVED LETTERING IN WOOD. (Wakefield), Fleece Press, 992. 8 × 2½. 2 pages, 6 plates of wood engravings. Quarter gold cloth with black & gold Maziarc- zyk paste paper boards, slipcase. Fine. One of 270 copies. The engravings were printed from the original blocks, in black & dull red, on an 1853 Albion, requiring 392 hours to print. $285

36. Hawks, Nelson C. EXPLANATION OF THE POINT SYSTEM OF TYPE, with specimens in the Office of the Island City Press. (Alameda, 98) San Francisco: Black Stone Press, 983. 4½ × 6½. Portrait, (24) pages. Self-wraps. In a printed folder with an introduction by the Kemble curator, Glenn Humphries. Fine. Facsimile of the 1918 original which exists in only one known copy, in the Kemble Collection of Western Printing. Hawks’ development of the Point System in the late 1870s revolutionized type founding. One of 300 copies. $00

37. Hockney, David et al. HOCKNEY’S ALPHABET. Drawings by David Hockney. Written contributions edited by Stephen Spender. London: Faber & Faber for the Aids Crisis Trust, (99). 0 × 3. Vellum spine titled in gold, blue Fabriano boards. Fine in matching slipcase. Hockney’s 26 colorful, whimsical letters were assigned to 26 writers for their response (a story, poem, thought). One of 300 copies signed by Hock- ney, Spender, and 22 other contributors, including: Doris Lessing, Seamus Heaney, Susan Sontag, Joyce Carol Oates, John Updike, Erica Jong, Arthur Miller, Norman Mailer, William Golding, V. S. Pritchett, Margaret Drabble, and Iris Murdoch. Only Norman Mailer declined to participate. But his “letter refusing seemed such a good model for Polite Rejection that we decided to publish it as his contribution.” $2,000

Wearing This Could Make a Statement 38. Jacobs, Diane. GREEN SUN HAT. (Portland, OR, 203). A paper hat woven and sculpted from letterpress printed strips of pale green paper. The hat measures 9 inches in diameter and is 7 inches high. Slang and derogatory words—in a great many of type faces—that exploit women comprise the handset text. Fine condition. The artist spent three

the veatchs arts of the book Item 38. Jacobs.

years collecting the exhaustive list of words—from friends, family, dictionar- ies, and strangers on the street (she asked what were the worst names they’d been called). Since 1998 she has created 9 different hats. The artist writes “In this body of work I intend to expose the tenacious, white, patriarchal power structure by using language as my witness.” $,400

39. Janus Press. THE GOSPEL OF MARY. Translated from the Greek by Karen King. Newark, 2006. 0 × ½. 38, (3) pages. Centerpiece pop-up of “the journey of the soul.” Woven strip binding of stiff pulp painted “cloud” wraps. Fine in birch wood clamshell box lined and covered in paste patterned paper. Printed letterpress in black & blue on light green Barcham Green paper, with ornaments in grey. The Gospels are set in uncial type, surrounded by commentary in Monotype Plantin. Large opening initials in persimmon, printed in American uncial type. One of 150 copies, signed by Claire Vanvliet, Audrey Holden (binder), and Andrew Miller-Brown (printer). Text is a fragment of a Gnostic gospel of early second century Christian- ity; followed by commentary on Mary Magdalene in the New Testament, in Gnostic literature, and in Church tradition. $,500

catalogue 87 Item 40. Jones.

40. Jones, Robert M. THE ULTIMATE VICTORIAN, An Outrageous Type. Stamford: Glad Hand Press, 984. 7 × 9½. Seven text pages, 26 pages of ornamented wood type—a complete alphabet in upper and lower cases. Loose, as issued, in printed folder. Near fine.Jones says the wood type is from the Austin Letter Foundry, before 1840. “It is a 14 line pica Egyp- tian, extended, slab serif, open, shaded, in-lined and floriated...It embraces virtually every possible aberration a letterform could contain.” Each letter was hand engraved. One of 60 copies printed by Robert M. Jones, directly from the wood type. $200

“There are no ordinary cats.”—Colette 41. Jones, Shirley. ORDINARY CATS. The Red Hen Press, 992. 7 × 2. A suite of 5 large mezzotints, with tissue guards. with an octavo book- let of 8 pages containing a miniature mezzotint and selected texts reminding the reader that, as Colette remarked, “There are no ordinary cats.” In turquoise cloth tray case, vellum label on cover. Case is lightly sunned at spine & top edge; it has a small puncture looking suspiciously as if made by a cat claw. Mezzotints are fine. With prospectus. Delightful images (plate size 12 × 15) are elegant and humorous at the same time. Titled, numbered, dated, & signed by the artist. Their titles are: Parvenu, Metropolitan on Safari, Savaging a Dead Sheep, The Riposte, and What Bird? Text is printed in green, quotations in italics. Each image was printed in an edition of 70. But only 12 were boxed as sets and accompanied by the printed text. This is no. 9 of 12 sets. $,400

the veatchs arts of the book One of 20 Special Sets 42. Jones, Shirley. NOCTURNE FOR WALES. The Red Hen Press, 98 & 987. Two volumes. 6½ × 9½. Five dramatic color aquatints signed, numbered, & dated by the artist. With tissue guards. In a suede-lined rust-red tray case. With a book 0 × 3. 29 pages. Five short stories about the artist’s childhood in the Rhondda Valley. Each story begins with a pictorial woodcut initial by Tony Crossley, printed in red. Rust- red cloth, parchment spine label. Fine in matching slipcase, with prospectus. One of 20 sets with the portfolio of large etchings. “Colliery pit-heads and coal tips were as much a feature of the landscape, then, as its chapels and pubs and black river. The pits are gone now; the valley is green again, the river clear, but it has lost its character.” These stories are revised from their earlier publication in 5 small booklets in 1981. This edition has also three poems. $,200

catalogue 87 In a Special Binding 43. Jones, Shirley. FOR GLADSTONE. (Wales) The Red Hen Press (988). 0 × 3. (6) text pages,0 mezzotints & a mezzotint combined with relief etchings. Specially bound by Jan Ascoli (signed in the colophon) in quarter black morocco and handmade paper boards—a textured paper dyed in blue & red; pink endpapers. In a folding case of grey cloth molded over raised geometric shapes; lined with pink paper. Fine. Gladstone was the artist’s “lovable and rather portly Persian” cat. “He was not the brightest of cats—nor the most graceful.” “His saving grace was that his appetite for food was matched by his appetite for loving.” No. 30 of 50 copies numbered & signed; written, set, printed & illustrated by Shirley Jones. Text printed in dark pink, in Gill Sans on Rives. Jan Ascoli bound a number of Red Hen books for the artist, who “early on gave up making the bindings for her books, but she was always involved in their design.” —Connell Gallagher. A beautiful book, displaying Jones’ mastery of the mezzotint (which Martin Antonetti called the ability “to conjure light from absolute blackness”). $,500

44. Kahrs, Henry. INSTRUCTIONS FOR COLD SIMPLEX STEREOTYP- ING. NY, 90. Fourth revised edition. 4½ × 7. 42 pages, illustrated. Printed stapled wraps, soiled. Laid in price list on pink paper has off- set. Good condition. This instruction manual is also an examplar of the technique, having been printed from cold stereotype plates. It is a simplified process invented by Kahrs—as opposed to the “hot” papier mache method. The last leaf gives directions for color printing with such plates, and provides a specimen of color printing. This revised manual is twice as large as earlier editions. $75

45. Kahrs, Henry. COLD. SIMPLEX STEREOTYPING. HOT. WHITE-ON- BLACK. EASY ENGRAVING. GRANOTYPE. NY, (ca. 900). 3¼ × 6. 24 pages plus 4 pages of testimonials plus a specimen of embossing (the “white-on-black” method). Pagination includes a specimen of Granotype—a color printing process. Self wraps are chipped and com- ing off. Tiny trade catalogue with some illustrations and a price list. Instruc- tions for the processes were offered for sale, as well as kits, and machinery. Uncommon. $75

the veatchs arts of the book Rare Proofs of the Title Page & Opening Page of Text 46. Kelmscott Press. Chaucer. Proofs from THE WORKS OF GEOFFREY CHAUCER. Hammersmith, 896. Proofs of the title page and opening text page. ½ × 6½. Two bifolia (8 pages): wood engraved title page (a4) with a-a3 blank; opening page with Burne-Jones illustration (b) followed by p. 6 The Knight’s Tale (b8) with b2 & b7 blank. Page 6 has 3 small penciled spelling corrections. In the book, the title and opening page face each other. Foxing in top and bottom margins (covered by archival mats), some tiny & barely perceptible spots in text, tape stains on margin of blank b7. The bifolia are in professionally made mats which have acrylic protective sheets and corner pieces allowing the leaves to be easily removed. The leaves appear crisp and stunning. The two versions of the opening page differ in two important ways. In the final version the last (7th) line of type at the bottom was moved to the top of column two (bumping that last line to the next page). The effect was to create some pleasing white space between Burne-Jones’ woodcut of Chaucer in a garden in its woodcut border and the text with Morris’ superb woodcut “Whan.” And a different woodcut letter “B” was chosen for the final version. “Morris worked at the decoration of the first page of text in February 1893. A proof of the letterpress was pulled, with a pasted-in impression of Burne-Jones’s first woodcut. Morris added around this designs of the large border, the frame for the woodcut, the two-line head-title, and the initial WHAN, all of which were cut by W. H. Hooper on a single block.”—Mor- gan Library, William Morris and the Art of the Book, p. 135. According to Sparling a proof/specimen of this first text page was exhibited in 1893 and issued to a few leading book sellers. As late as November 1895 The Book Buyer printed an illustration of this proof. Morris did not design the title page with its vine border and woodcut title until February of 1896. It was the last page. Printing of the Chaucer was completed in May of 1896. There was apparently neither the need nor the time to issue proofs of the title page to the trade or to subscribers (the edition was fully subscribed by December 1894). From the collection of British collector M. Bernard Thorold. Rare and wonderful. Sparling The Kelmscott Press and William Morris Crafts- man p. 174 #40. Peterson. Bibliography of the Kelmscott Press p. 172, D1,#7. $5,000

catalogue 87 47. Kuch, Michael. “REAPER.” Original pastel for APOCALYPSE CLOCKS. (Northampton), 999. A figure seated within a large clockwork mechanism is drawn by two buffalo reaping wheat. The colors are ochre, orange, vermillion, blues, greens, and purple. Pastel measures 9½ × 3½ and is tipped to a larger mat. Signed “Kuch 999.” Fine. Kuch creates his book images first as pastels or watercolors. They are larger than the engravings. In this pastel all the elements of the final etching are the same; but the colors, and hence the mood, are different. The dark, threatening sky, orange reaping machine, and golden wheat of the pastel become a rain-swept straw-colored sky, black grasses, and a violet reaper in the etching. $750

48. Kuch, Michael. Eleven etchings from APOCALYPSE CLOCKS. Northampton: Double Elephant Press, 2000. 2 × 7. Signed proofs of the eleven etchings which comprise the bulk of Apocalypse Clocks. One is b&w and 0 are color. Several differ in coloration from the final prints. The proofs were printed by the artist on the same handmade paper from Papeterie St-Armand. They are laid into a proof of the book’s first gathering (title page & dedication). Fine. “Hourglass, sun- dial, gothic clock, pendulum, weights & wound spring combine with skeletal elements to produce detailed & arresting images of devices that portend the end of the world. Vibrant hues create a carnival atmosphere reminiscent of El Dia de los Muertos.” Kuch’s engravings for the Millennium (such as the Atomic, Biological, Revelation clocks) were inspired by real timepieces. In addition to these etchings, the published book contained two text pages and a colophon. Two additional b&w engravings were added to the front of the book as part of the binding. There are no proofs of these. $,200

the veatchs arts of the book Item 47. Kuch.

Deluxe Colored Copy in an Outstanding Belgian Binding 49. Langlé, Joseph Adolphe Ferdinand. LES CONTES DU GAY SÇAVOIR. Ballades, Fablaiux et Traditions du Moyen Age...ornés de Vignettes et Fleu- rons, imités des Manuscrits originaux par Bonnington et Monnier. Paris: F. Didot for Lami Denozan, (828). 5½ × 8½. cxlvi, 48 pages plus  leaves bearing the lithographs uncolored. Title page & 0 half-page lithographic vignettes by Richard Parkes Bonington (6) and Mon- nier (4). Bound by Charles de Samblanx in Romantic style in black straight grain morocco, central Arabesque in gold with raised design painted pink, green, & gold; pink calf doubles with multiple gilt rules, elaborate corner pieces inlaid with turquoise morocco; pink moire flyleaves, marbled endpapers (one with the armorial bookplate of Baron de Launoit); spine richly gilt is signed at the foot. The original (and meant to be temporary) wraps with label are bound in. Extremely slight wear. Fine copy of a very pretty book. The lithographs were made with pen, printed on China paper, and mounted with the text, which is printed in a batarde type face. In this deluxe copy, a leaf bearing the lithograph in

catalogue 87 Item 49. Langlé.

its natural state is inserted before each appearance of the colored one within the text. The large opening initials also are colored & gilded. The fables are followed by a section of commentary. Gordon Ray (The Art of the Illustrated French Book 1700 to 1914, pages 173–176) writes of Bonington “his importance in the development of lithography can hardly be overstated.” They are inten- tionally primitive in conception. The title page supports Bouchot’s contention (p. 91) that Bonington may be commenting ironically on the Hours of Simon Vostre.” $3,900

50. (Leaf Book) Nash, J. H. COBDEN-SANDERSON AND THE DOVES PRESS. The History of the Press and the Story of its types told by Alfred W. Pollard. The Character of the Man Set Forth by his Faithful Scribe Edward Johnston. With the Ideal Book or Book Beautiful by Thomas James Cobden- Sanderson. And a list of the Doves Press printings. SF: John Henry Nash, 929. 8¼ × 2½. xviii, 35 pages. Tipped in leaf from Doves Press edition of Goethe. Full vellum, top edge gilt. Typographic bookplate inside front cover. Base of spine rubbed, some pinpoint speckling to vellum,

the veatchs arts of the book all else fine in very good slipcase.No. 40 of 312 copies containing a Doves leaf on paper (of 339 copies total). Handsomely printed in Cloister Lightface, “a recutting of Nicolas Jenson’s Roman letter, by Morris Fuller Benton, who also cut the accompanying Italic.” $500

51. Maney, A. S. THE NATURE AND MAKING OF PAPYRUS. Foreword by Hassan Ragab. (Barkston Ash), Elmete Press, 973. 6 × 9. xvi, 69 pages including 6 illustrations on colored handmade papers, and a specimen of papyrus. Buckram, leather spine label. No. 193 of 495 copies signed by the printer and by the papermaker Ian O’Casey. “...one of the rare works with genuine information, collected from scattered sources belonging to various ages and nations.” $95

52. Marx, Enid. A BOOK OF NURSERY RHYMES. Illustrated with wood engravings by Enid Marx. Oldham: Incline Press, (993). 5½ × 7½. viii, 33 pages. Most of the engravings are printed from the original blocks in a single color. In this deluxe version, many are hand colored. Red cloth & patterned boards (designed by Marx) with spine & cover labels. Signed by Marx on the title page verso, the ink has bled through to the title page. Otherwise fine. First book from the Incline Press. Number XX of 50 special copies signed, with hand coloring, and with 3 duplicate engravings loose in rear pocket. The entire edition was 310 copies. All were printed on dampened handmade paper. $300

53. Mason Hill Press. Five small broadsides by James Dignon. (Pownal, VT, nd). All have Jesus as their subject. Four are printed in color. Two are signed by the artist/printer. Fine condition. $50

54. Monotype Corporation. ‘Monotype’ Ornament Broadsheet Nos. –5 (a complete set). Surrey, nd. 22 × 7½. Each broadside is printed in

catalogue 87 Item 54. Monotype.

black and a second color. They are: The Arabesque, The Fleuron, The Border, Nineteenth century ornament, Type Flowers in the Twentieth Century. Fine, and highly decorative. Sold with 4 other Monotype broadside type specimens: Blado Italic, Poliphilus, Fournier, and Tom Thumb’s Alphabet. $200

55. Morison, Stanley. THE ROMAN, ITALIC, AND BLACK LETTER BE- QUEATHED TO THE UNIVERSITY OF OXFORD BY DR. JOHN FELL. Oxford, 950. 5 × 7½. 4 pages. Illustrated throughout with type specimens. Printed boards; outer joint partially split but tight, contents fine.Printed at Oxford in Fell types on handmade paper. $90

Surprise! 56. Moser, Barry. “Arno Werner/May 3, 899.” (Cover title) Easthampton, 976. One full sheet of Amalfi paper folded to make four pages 6½ × 0. Wood engraved portrait of Arno Werner is on the “3rd” page. with a printed invitation to a surprise 77th birthday party for Arno Werner at the home of Barry & Kay Moser. Both fine. No. 54 of 75 copies signed by Moser. A very characteristic portrait of Werner wearing a binder’s apron and Colt hat, and holding his ever-present cigar. The elaborate invitation was printed from Candace Anne Kaihlanen’s calligraphy. $50

the veatchs arts of the book In a Dan Kelm Binding 57. Moser, Barry. Smyth, Paul. THISTLES AND THORNS. Abraham and Sara at Bethal. With wood engravings by Barry Moser. Omaha: Abattoir Editions, 977. 7 × 0¼. 00 pages, with 3 wood engravings printed from the original blocks. Bound by Dan Kelm in chestnut morocco, upper cover onlaid with a molded, relief portrait of Abraham. The chestnut endpapers also bear this image as a line drawing. Housed in an elaborate tray case which acts as a frame for the binding cover. Fine. A very satisfying, harmonious book. One of 5 copies in this Dan Kelm binding, with a tipped in note signed by him. The portrait is based on Moser’s wood engraving in the text. Elizabeth Solomon made a clay model of Abraham for Moser’s paper cast on Gutenberg Laid pulp colored with burnt umber pigment. This is no. 223 of 253 copies signed by Symth and Moser. Printed by Harry Duncan and two others in black & red handset Bembo on Gutenberg Laid paper. “Meeting and working with Harry Duncan was a most important moment in my life. It came just as Pennyroyal was beginning to expand. Duncan’s interest and faith in my work gave me grist for my mill and grit for my craw just when I needed it.”—Pennyroyal Checklist. Print- ers’ Choice 3. $2,500

catalogue 87 58. Officina Bodoni, Bembo, Pietro.DE AETNA. ON ETNA. Verona, 969. 6 × 9. 49 pages. Quarter red morocco & boards gilt, all edges gilt. Fine in morocco-edged slipcase. With prospectus. The first English translation. No. 4 of 125 copies of the Latin/English edition. (There were also Italian & German editions.) Latin text is set in Griffo, English text in Bembo. Mardersteig provides an essay on the type faces. Bembo provided the first detailed written account of this volcano. It was published by Aldus Manutius. $600

“Know Thyself” 59. Officina Bodoni.THE SAYINGS OF THE SEVEN SAGES OF GREECE. Original Greek text, edited with a translation into English by Betty Radice. Verona, 976. 6¼ × 0¾. 88 pages, double page plate, printed note laid in. Quarter vellum, boards decorated with a Greek Key design, top edge gilt. Fine in cloth slipcase. No. 149 of 160 copies. Printed in black and red on Magnani handmade paper, with Griffo types for the Greek and Bembo types for the English. Giovanni Mardersteig drew the seven Delphic inscriptions and printed them black on terra cotta within meander borders. He provides a note about the history of the sayings, and the development of the early Greek alphabet. $750

60. Officina Bodoni. Gogol, Nicolay. THE OVERCOAT. Verona, 975. 8 × ½. 9 pages including 6 full page etchings by Petro Annigoni. Quarter vellum, top edge gilt. Fine in buckram slipcase, with prospectus. Small book labels of Harold and Nancy Hugo. No. 8 of 160 copies signed by the artist. Original Russian text is printed in the Pushkin Cyrillic type cut for the OB, with English translation by Constance Garnett in Dante type, on handmade paper. $750

61. Offner, Elliot. Seven specimens of letterpress printing by Elliot Offner at the Smith College Press, and an autograph letter to Harold Hugo sending these specimens. Northampton, 963–968. Four are 4-page; 3 are single sheets. Most were printed for events at Smith College. Three are signed “eo” in letterpress. All printed in colors, some with ornaments. Fine condition. Elliot Offner taught art—including letterpress printing—at Smith College. His Rosemary Press is known for its use

the veatchs arts of the book of the Granjon ornaments. One specimen, concerning the 1967 Draft Law, was printed for the American Friends Service Committee. $75

62. Paris, June. WOOD ENGRAVINGS. NY: Woodside Press, 998. 0 × 3½ and 8 × 0.  leaves, including 8 signed original wood engravings. Portfolio housed in clamshell box lined with a pattern paper designed by the artist. The case is constructed to hold snuggly the 5 larger and 3 smaller prints. A proof of one engraving is also included. Fine. No. 21 of 125 sets, printed on dampened Magnani Pescia paper under the artist’s supervision. These delicately detailed boxwood and end-grain maple engravings are unified by a naturalistic theme; they display a wide variety of engraving techniques which demonstrate Ms Paris’ remarkable ability. In addition to the 8 engravings (5 previously unpublished), the title and colophon sheets display new blocks commissioned by the Woodside Press. Ninety for the Nineties 62. $325

With a Separate Suite of the Engravings 63. Pennyroyal Press. MEN OF PRINTING. Anglo-American Profiles. Wood Engravings by Barry Moser. Edited by John J. Walsdorf. (West Hatfield, 976). 5 × 7. (80) pages. All 8 engravings are specially signed by Moser. Quarter leather & marbled boards. One very tiny spot on one fore edge; typographic bookplate inside front cover. Fine. With a separate suite of the engravings, each signed. Both are housed in custom chemises and a slipcase. One of 50 copies with the additional signed suite. Colophon is also signed by Moser. (The total edition was 300.) Eight engraved portraits accompany the obituaries of William Morris, Frederic Goudy, T. J. Cobden-Sanderson, John Henry Nash, Emery Walker, Eric Gill, St. John Hornby, and Bruce Rogers. $,200

catalogue 87 64. Pennyroyal Press. MacAlpine, Arthur. MAN IN A METAL CAGE. Thirty-three Poems by Arthur MacAlpine. Five Wood Engravings by Barry Moser. Easthampton: Pennyroyal Press, 977. 6 × 9½. (34) pages, 5 plates. Quarter morocco & paste paper over boards by Arno Werner. Slight rubbing to spine extremities but fine, in custom slipcase, with the prospectus. No. 9 of 200 copies. Signed by MacAlpine and by Moser “McAlpine, a black poet and former prize fighter, writes poems which deal with issues close to my heart—the plight of blacks and Native Americans, the Holocaust, this nuclear madness we live with daily, and human arrogance Printed by Harold McGrath in black & brown Palatino types on Ingres paper. This and Frankenstein are the only books that I have felt compelled to do. “—Barry Moser. Pennyroyal Checklist 17. $250

65. Pennyroyal Press. Maclean, Norman. A RIVER RUNS THROUGH IT. Wood engravings by Barry Moser. West Hatfield, (989). 5½ × 8½. 6 pages, with 0 wood engravings. Quarter citron morocco, marbled boards, cover label with wood engraving of a trout fly. Top edge has pinpoint foxing, all else fine.No. 53 of 200 copies signed by Maclean and Moser. The engravings of fishermen’s flies are framed in red rules. $2,250

66. Pentagram Press. THE FIRST SET, SELECTED EPHEMERA 1974–1994. Minneapolis, 994. Approximately 85 printed examples from the first 20 years of this fine press. A wonderful collection of greeting cards, invitations, announcements, letterheads, bookmarks, and broadsides. Housed in three cloth clamshell cases with printed paper labels, all within a stepped cloth slipcase (8½ × 4 × ). Fine. One of only 20 sets. Michael Tarachow’s fine letterpress printing is especially notable for his color-

the veatchs arts of the book ful combinations of Granjon arabesques. The small (4 × 5) case holds a printed button, musical scroll in a canister, and the greeting for 1992—an alphabet & images in a printed bag. The larger (6 × 8½) case contains a large quantity of small keepsakes, announcements, & greetings. The largest (10 × 13) case holds about 20 larger broadsides, a dozen envelope-size broadsides, 16 letterheads (some with envelopes), several booklets, business cards, and a few book marks & bookplates. $,300

67. Petrarch Press. THE ASCENT of MOUNT VENTOUX. A letter from Petrarch with a wood engraving by John DePol. (NY, 989). 6½ × 9.  pages. Blue cloth, paper spine label. Fine. One of 60 numbered copies on Penshurst handmade paper. (There were also 10 on parchment and 110 on Arches paper.) Signed by the artist. $35

68. Printer’s Price Lists. A. H. FULLER & CO., PRINTERS, Clark’s Block, Main Street, Brockton, Mass.: Circulars, handbills, cards, bill heads, letter heads, envelopes, milk bills, tickets, labels, &c. : Card printing a specialty. Brockton, (870s). Two volumes. 4½ × 6½. 4 pages each. Self wraps. Good condition. Printer’s Price Lists for Card Stock, giving list prices and agents’ discount—with highly detailed instructions for ordering. Contents of the two leaflets are similar, but they are not identical, and are completely reset. $65

69. Printing Equipment. Golding & Co. THE GOLDING JOBBER. Bos- ton, 904. 5 × 8¾. 48 pages, including price list. Printed in black & red; illustrated throughout. Embossed wraps. Fine. $25

70. Rogers, Bruce. Plutarch. A CONSOLATORIE LETTER OR DIS- COURSE. Sent by Plutarch of Chaeronea Unto His Owne Wife as Touching the Death of Her and His Daughter. Boston: HM, 905. 5⅞ × 9. 32 pages. Maroon cloth, gray boards, paper spine label. Extra label tipped in at rear. Very slight wear from rubbing in the slipcase, else a fine copy. The slipcase is missing an inch from the top panel. No. 23 of 375 copies, printed on handmade paper. Designed by Bruce Rogers, with his mark in the colophon, and printed at the Riverside Press. The book is stately (for a small book) and unadorned—as befitting the subject. Warde *54. $50

catalogue 87 71. Ruzicka, Rudolph. THE MERRYMOUNT PRESS NEW YEAR GREET- INGS. A portfolio containing nineteen original Greetings for the years 96, 99, 92, 923, 927, 929, 932—934, 937–947. Contained in black leather portfolio (8 × 0), inner marbled wraps, with ribbon ties and calligraphed label. A fine set. Fourteen greetings are original color wood engravings by Rudolph Ruzicka. The final five were designed by John Bianchi. Along with 2 different original mailing envelopes. Ruzicka was one of the finest color printers in the 20th century. He employed a chiaroscuro process with subtle, suggestive tints. $900

72. Schanilec, Gaylord. Heynen, Jim. OLD SWAYBACK. Midnight Paper Sales, (2006). 5 × 7½. Folding wood engraved frontis of “Old Swayback” (a barn) printed in soft tones of pale green, black, and taupe. 5 pages. Black & white wraps printed from a wood engraving to resemble barn siding, black spine with a crescent moon in white, sewn on black & white bands. Fine in black cloth slipcase. Signed on the title page by the author. Title ornamented with tiny, shadowy barn swallows in grey; page numbers in grey. No. 23 of 128 copies, signed by the artist. $200

“Type Pictures” 73. Schiller, Albert. “To B. R. A Poem (Illustrated) That Places the Blame Where It Belongs.” NY, 935. 6 × 9. Four pages with three type pictures com- posed from individual pieces of type and ornament, printed letterpress in several colors. This was Schiller’s contribution to Barnacles From Many Bottoms. Fine. Albert Schiller, the typographic art director for the Advertising Agencies Service, was renowned for his Type Pictures. He credits Bruce Rogers for his obsession. with: “Paul Beaujon Disguised as B. Warde.” Broadside 11 × 8½. A portrait of Beatrice Warde printed letterpress in brown and red. $00

the veatchs arts of the book 74. Schmoller, Hans. CHINESE DECORATED PAPER. Newton: Bird & Bull Press, 987. 0 × 7. 77 pages plus 24 large tipped-in specimens of fancy tea chest papers. Quarter morocco & boards decorated in gilt, leather spine label by Barbara Blumenthal. Fine. These decorated papers, no longer made, were discovered in storage where they had lain for 50 years. Illustrated with photos of Henry Morris treating the foil papers to prevent oxidation, with humorous commentary. One of 350 copies. $250

75. Smith, Richard Shirley. WOOD ENGRAVINGS, A SELECTION, 1960 TO 1977. Foreword by Laurence Whistler. (Pinner): Cuckoo Hill Press, 983. 6½ × 0. 75 pages. There are 52 engravings of book illustrations, letterheads, and book plates —each printed from the original wood block. Quarter black morocco gilt and grey cloth, in cloth slipcase. Fine. Printing such finely detailed engravings is no easy matter. David Chambers succeeded brilliantly, printing them on an Albion over the course of five years. There is also a checklist of books illustrated by Smith. No. 73 of 280 copies on Basingwerk Parchment, signed by the artist. $200

76. Stevens-Nelson Paper Co. SPECIMENS. NY (953). 0 × 2. Water- marked flyleaf, presentation, light-&- shade pictorial watermark, double spread title, 07 specimens of fine papers and printing, water- marked flyleaf. Quarter black morocco & marbled boards; plain board slipcase (light wear). A fine copy of this stunning specimen. With the scarce 8-page Price List. A superb specimen book displaying the talents of over 150 papermakers, designers, and printers such as Mardersteig (7 different specimens), Rogers, Van Krimpen, Enschedé, Golden Cockerel, Stempel, Dwiggins, Goudy, Blumenthal, Curwen, Marchbanks, Taylor & Taylor), Beatrice Warde. Schlosser 59. This copy was presented to the booksellers Philip Duschnes with the compliments of the Thistle Press. $300

catalogue 87 Fry & Steele and Caslon & Catherwood Type Specimens 77. Stower, Caleb. THE PRINTER’S GRAMMAR Or Introduction to the Art of Printing: Containing a Concise History of the Art. London, 808. 5 × 8. Frontis, xviii, 530 (plus duplicate pagination at pages 506*, 507*), (48) pages plus 7 plates (2 folding). Pagination includes three type specimens: Fry & Steele printer’s flowers (29 pages); Fry & Steele Printing Types (9 pages) and Caslon & Catherwood Printing Types (0 pages). Contemporary morocco-backed marbled boards, later joint repair and extremities worn; sound binding. Scattered light foxing and toning. Generally a clean very good complete copy. The sixth English printer’s manual “which set the form for its successors up to and including Timperley (1838).” In the Preface Stower acknowledges his use of Smith’s Printers’ Grammar (1755 or 1787?) and to a lesser extent Luckombe’s History of Printing. With sections on composition, presswork, press construction, stereotype, ink exotic types etc. Bigmore & Wyman, II. p.403; JPHS, E6; Birrell & Garnett #225; Berry & Johnson pages 23, 47–8. $700

78. Student Printing. BACON INTERSPERSED. Several essayes or covnsels, civill and morall, by the Viscovnt St. Alban, or Francis Bacon interspersed with more essayes, paternal instructions, and poems by his countrymen and contemporaries, Sir William Cornwallis, the younger, and Sir Walter Raleigh. Northampton, Mass: Edward’s Press, 974. 5 × 7½. (43) pages. Quarter tan morocco gilt; gilt letters EDW at spine foot, marbled sides. Tiny stain on preliminary page. A fine copy of a charming book. Eight essays beautifully printed by C. Edward Clement at Smith College Art Department. Each essay has a different ornamental headpiece. There is a thoughtful Preface by Clement. The binding is reminiscent of Arno Werner’s, and uses one of his tools. No. 43 of “fewer than fifty” copies signed by the printer. $500

the veatchs arts of the book Item 77. Stower.

Twelve Centuries of Japanese Paper “A Veritable Museum of Papermaking” 79. Tindale, Thomas & Harriet R. THE HANDMADE PAPERS OF JAPAN. Foreword by Dard Hunter. Rutland & Tokyo, 952. Four volumes plus envelope. 3¼ × 0/¾. Japanese-style bindings of hand-stenciled wraps & boards. Volumes contained in a Shufi-covered folding case. Case worn and soiled. One volume has a dime-sized brownish area on fore edge, but volumes are fine. With prospectus. Signed by Tindale in 952 in Korea. One of the finest studies on Japanese paper and a magnificent production. Text in English. Replete with specimens, including old and rare documented papers from the 8th and 9th centuries.

catalogue 87 Volume I gives the history and description of Japanese papermaking, with numerous photos of processes and a fold-out plate of mounted fibers. There is an exquisitely hand colored facsimile of the ancient manuscript “Kamisuki Taigai” (process of papermaking) with English translation. It is accompanied by an envelope containing five different papermaking fibers. The Seki Collection, Volume II, has 27 French-fold pages with 87 tipped-in specimens, 2 folding maps. These specimens span the Nara period (70–793) to the 950s (with some extraordinary decorated papers). The source of the early papers (usually a manuscript or a printed book) is documented. Size of the original sheet is given. Volume III, the Contemporary Collection has xxvi pages and 36 specimens (0 × 3) with descriptions. The specimens, from twenty districts, include decorated and imbedded papers. Volume IV is the watermarks collection, with 20 elaborate pictorial light-and-shade watermarks, made by a hand rubbing process unknown in the West. Five text pages describe the broadsides. Schlosser (No. 63) says 250 copies were planned; as few as 150 may actually have been done. See Henry Morris’ Japonica for a 12 page description of this major work. $7,500

the veatchs arts of the book 80. Type Specimen. ATF. AMERICAN LINE TYPE BOOK. Borders, Orna- ments, Price List, Printing Machinery and Material. NP, 906. 6 × 0½. (2), xxiv, 09 pages plus sixty-seven subscripted pages; with five pagination gaps, as issued. Collated complete. Pictorial red cloth printed in black. Some binding wear, contents near fine. Small label inside front cover, giving this book from ATF to the Lake Placid Club of Essex, NY. Extensive specimen with large sections of border and decorative material (about a third of the specimen) with much “Arts & Crafts” material (Bradley, Hapgood, Roycroft). With wood type and printing equipment. $500

81. Type Specimens. Bauer Type Foundry. Group of 2 leaflet or pamphlet specimens. Frankfurt, ca. 930s/50s. Small folios, printed wraps, pages vary from about 0 to 50 pages or small samples of use. All very good to fine. Faces include: Amalthea Cursive, Legende, Manuscript Gotish, Bernard Schonschrift, Folio, Tages-Antiqua, Ehmke Åntiqua, Steiner- Prag Batarde, Legende (2 different), Bodoni, Futura, and Venus.$250

English translation, English printer, English paper 82. Voraigne, Jacobus de. A single leaf from THE GOLDEN LEGEND. Westminster: Wynken de Worde, 498. 6½ × 0. Double columns of 47 lines with a quarter-page woodcut of Saint Peter. Printed on paper from the Hertford Mill of John Tate—the first English papermaker. Tate’s watermark—8 pointed star within a double circle—is clear and centered in this leaf. The top edge and corners are severely browned, with some paper loss, just barely touching the text on one corner. There is a closed tear in lower margin. A prior owner has enclosed the leaf in a paper “frame,” which masks the dark areas. That said, the leaf looks handsome when matted. The leaf bears “Of the seven Machabees on one side, and the Lyf of Saynt Peter” on the other, in Cax- ton’s English translation. This leaf was item 302 in Maggs’ Catalogue 952. $500

catalogue 87 83. [Warde, Beatrice]. “THIS IS A PRINTING OFFICE.” Monotype Cor- poration, nd. Broadside 24½ × 9¾. Printed in black and red Perpetua type on smooth cream paper. Warde’s famous quote is centered within red rules. It is surrounded by 2 translations in “exotic” types, each framed in red. Very good copy. with: a companion broadside having Warde’s quote in Latin, surrounded by 6 translations in Western languages. This one has some wrinkling and is “good” only. First published in 1932, as a display of Eric Gill’s type. Various settings hang in printing offices around the world. It is engraved on a bronze wall plaque at the U. S. Government Printing Office. $25

84. Weissenborn, Hellmuth. HELLMUTH WEISSENBORN, ENGRAVER. With an autobiographical introduction by the artist. Whittington Press, (983). 0½ × 5. (3) text pages, 63 plates of engravings, several tipped- in photographs. Nubby oatmeal cloth with engraving inset. Harold Hugo’s copy. Fine in slipcase. One of 240 copies. Engravings are grouped by subject matter: those from a book are captioned; the others are unpublished. Printed from the blocks in black, blue, or red. With a catalogue raisonné of published work. $200

85. Westergard, Jim. ODDBALLS. The Remarkable True Stories of Forty Unique, Strange, Peculiar, Extraordinary & Generally Odd People, Told in Prose and Wood Engravings by Jim Westergard. Heavenly Monkey, (Vancouver), 20. 8½ × 2½. 96 pages including 40 wood engraved portraits tipped in. Blue cloth, spine-length black leather label, decorative glassine. Fine. One of 35 copies (only 30 for sale) beautifully printed letterpress on dampened paper. Signed by the author/artist. Oddballs presents portraits of some women and men you’ve heard of: Aimee Semple McPherson, Howard Hughes, Timothy Leary, Gunnlaug Wormtongue, Pope

the veatchs arts of the book Joan, Grigori Rasputin—and some you may not have. They are “quietly or outlandishly out of the ordinary.” Introduction by Barry Moser. Westergard is not only a fine engraver, but also an entertaining (humorous & irreverent) story-teller. $2,000

86. Weygand, James Lamar. SEARCH FOR AN ALBION. Nappannee: Press of the Indiana Kid, 963. Miniature, ¾ × 2½. (25) pages, illustrations in red. Printed boards. Very good. One of 100 copies. $00

87. Wilbur, Richard. SEED LEAVES. Homage to R. F. Poetry by Richard Wilbur. Prints by Charles Wadsworth. Boston: Godine, (974). 6 × 0. 8 leaves of letterpress on green paper, plus 3 color etchings (one double page) on white etching paper by the Maine artist Charles Wadsworth. Marbled wraps, in cloth & marbled boards folding case. Booklabels of Harold & Nancy Hugo inside case. Erased pencil note on front flyleaf. Fine. An homage to Robert Frost. One of 160 copies printed at the Rampant Lions Press. Signed by author and by artist. $250

Signed by 32 Poets Including Marianne Moore, Wallace Stevens, & Dylan Thomas 88. Williams, Oscar, ed. NEW POEMS: 942. An Anthology of British and American Verse. Mount Vernon: Peter Pauper Press, (942). 6 × 9. 286 pages, with photographic portraits and biographical notices. Lined pages at the front are signed by 32 poets. Half cloth with marbled sides, top edge gilt. Corners of slipcase slightly worn, glassine browned, book is as new. The “Publisher’s Copy,” this belonged to Peter and Edna Beilenson. The edition consisted of 59 copies: 26 copies for sale lettered A–Z, and a copy for each of the 33 poets. W. R. Rodgers was the only poet not to sign the edition. Poets include W. H. Auden, Robinson Jeffers, Louis MacNeice, Delmore Schwartz, Stephen Spender, Dylan Thomas. Most poets are represented by more than one poem. Several of the poems are published for the first time. $4,750

Wood engravings by Wesley Bates 89. Wilson, Alexander. THE FORESTERS. A poetic account of a walking journey to the Falls of Niagara in the Autumn of 1804. Newtown: Bird &

catalogue 87 Bull Press, 2000. 6 × 9¼. xx, 22 pages including 3 full page wood engravings by Bates printed from the original blocks. Quarter chestnut morocco, leather spine label, green silk cloth boards with author’s sig- nature reproduced in gilt, matching slipcase. Fine. One of 150 numbered copies. Printed in black, green (title page) and red (section headings)Dante types on Arches mouldmade paper. Known for his American Ornithology, Wilson ‘s account of this journey was first published in book form in 1818 in Newtown. Wesley Bates is one of the finest Canadian wood engravers. $375

90. Wolfe, Richard J. THREE EARLY FRENCH ESSAYS ON PAPER MAR- BLING 1642–1765. Newtown: Bird & Bull Press, 987. 7 × 0. 06 pages. 3 marbled specimens. Quarter morocco, marbled boards. Fine with the prospectus. First publication of a manuscript (Lyon, ca. 1642) on Turk- ish marbling. “The best Method of making Marbled Paper” from Journal Oeconomique 1758. The Marbler of Paper from Diderot-Alembert Ency- clopedie, 1765. Mr. Wolfe translated the essays and marbled the specimens as reproductions of 18th century patterns. One of 310 copies on dampened Umbria handmade paper. (Henry Morris notes the paper for this book cost only $2,000 more than his first 3-bedroom house.) $225

91. Wolfe, Richard J. and Paul McKenna. LOUIS HERMAN KINDER AND FINE BOOKBINDING IN AMERICA. A Chapter in the History of the Roycroft Shop. Newtown: Bird & Bull Press, 985. 6¼ × 9¾. 6, (2) pages including illustrations & color plates. Morocco & decorated boards. Fine. One of 350 copies. $200

92. (Wood Type) Bolton, Claire. DELITTLE 1888–1988. The First Years in a Century of Wood Letter Manufacture, 1888–1895. Oxford: Alembic Press, 988. 7½ × 0. 63 pages illustrated with type specimens (some on colored paper and tipped in). Quarter cloth. Fine. No. 15 of 145 copies printed letterpress. Text is based on the company’s copious records. $00

93. (Wood Type) Delittle. DELITTLE’S WOOD TYPE SPECIMENS. NY, 960s. 7 × 0½. 24 leaves. Some type printed in one or two colors. Printed green wraps. Some soil & chips, upper corners jammed. Good copy. This venerable firm, founded in 1888, finally closed in 2013. It was the last wood type manufacturer. $50

the veatchs arts of the book 94. Woolnough, C. W. THE WHOLE ART OF MARBLING. (London, 88). Facsimile reprint by Plough Press, 985. 5 × 8. 82 pages plus 38 leaves with 52 mounted marbled paper specimens. Cloth, gilt. Fine. One of 150 copies. The marbled papers by Katherine Davis of Payhembury reproduce the patterns of Woolnough’s specimens. Lovely edition of a classic work. $600

95. Wyatt, Leo. LEO WYATT’S LITTLE BOOK OF ALPHABETS. Flo- rin Press, 985. 5½ × 7½. (7) pages plus 2 wood-engraved alphabets, printed from the original blocks in various colors. Calligraphic book label on pastedown. Quarter red calf and vellum boards. A few spots of flaking to leather along joints. Near fine in slipcase. One of 150 numbered copies, initialed by Graham Williams. Printed on an albion with hand-ground inks. $325

96. Yellow Barn Press. A GOUDY MEMOIR. Council Bluffs, 987. 7 × 0. Frontis, xi, 42, (3) pages. Tipped-in Goudy sonnet printed by John DePol on Goudy’s press (later DePol’s press). Illustrated with photos and original wood engravings by DePol ; the fullpage “Falls at Deep- dene” is signed. Quarter cloth & patterned boards. Fine. One of 75 copies on dampened Rives. (There were also 75 copies on Mohawk paper.) Essays by Alexander Lawson, Howard Coggeshall, Arthur Rushmore, Richard Ellis, Earl Emmons. $250

97. Yorke, Malcolm. THE INWARD LAUGH: EDWARD BAWDEN AND HIS CIRCLE. Upper Denby: Fleece Press, 2005. 9½ × 3. 285 pages, illustrated throughout in color, including full page & fold-out plates. Quarter cloth and decorated boards from a Bawden design. Upper tips bumped; all else fine.One of 575 regular copies . Bawden (1903–1989) was one of the most important British graphic artists of the mid-century. He worked in watercolor, copper engraving, lithography, and linoleum cuts, producing book illustrations, decorated papers, murals, wall paper, and advertising posters. Much of his work was for the Curwen Press and, as an official war artist, for the British government. “Inward Laugh” also focuses on Eric Ravilious, John and Paul Nash, Douglas Percy Bliss, and Kenneth Rowntree. $450

catalogue 87 98. Zapf, Gudrun. GUDRUN ZAPF VON HESSE. Bindings, Handwritten Books, Typefaces, Examples of Lettering and Drawings. West New York: Mark Batty, 2002. 8 × . 22 pages (including 50 color plates). Golden silk cloth gilt. Matching portfolio 9½ × 3) contains seven original specimens and six type & printing specimens (each signed) created especially for this edition by Gudrun Zapf. Fine, in slipcase. One of 20 deluxe copies, signed by Gudrun Zapf. $950

99. Zapf, Hermann. MANUALE ZAPFICUM. Typographic arrangements of words by and about the work of Hermann Zapf & Gudrun Zapf von Hesse. Set in typefaces by both; in honor of their ninetieth birthdays. Rochester, 2009. 8 × 2. Two-page introduction by Jerry Kelly, 20 type specimens printed on rectos in black and red, 2-page list of contributors. Vellum spine & boards. Fine. One of 100 copies. Specimens were created by several presses, including Kelly-Winterton (5), Cary Graphic Arts (5), Rick Cusik (8), and Archetype. $250

100. Zapf, Hermann. FROM THE HAND OF HERMANN ZAPF. (Wash- ington DC) Washington Calligraphers’ Guild, 993. 8 × ¾. 68, () pages. Blue cloth, gilt. Fine. Inscribed by Zapf to a fellow calligrapher. Introduction by Julian Walker; a collection of Zapf’s calligraphy, alphabet design and book typography. A handsome production printed in several colors at the Stamperia Valdonega. $300

the veatchs arts of the book Item 41. Jones. Item 3. Victoria Regia.