CATALOGUE 85 Item 4. Gospels in Slavic. the veatchs arts of the book · catalogue 85
November 206 Hamburg, NY
Dear Friends, Renovations on our new premises are almost complete. Later this month, our inventory will come out of storage and our website become active once more. Those who celebrated their birthdays in September and October will be eligible for the birthday website discount then. In the meantime, we offer this small catalogue of new acquisitions. Thank you all for the good wishes you sent—and for your patience.
Lynne & Bob The Veatchs Arts of the Book 6145 McKinley Parkway, No. 9 Hamburg, New York 14075 [email protected] www.veatchs.com phone 716-648-0361
ordering information Your satisfaction is guaranteed. All books are returnable, with advance 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.” A Mardersteig Masterpiece 1. Aesop. THE FABLES OF AESOP. Printed from the Veronese edition of MCCCCLXXIX in Latin verses and the Italian version by Accio Zucco. Verona: Officina Bodoni, 973. Two volumes. 6½ × 0. 280; 22 pages illustrated with 68 woodcuts stencil-colored by Daniel Jacomet, Paris, after a copy in the British Library. Green morocco spines, vellum sides gilt with a Renaissance-style border. Laid in are a prospectus and the list of plates. Fine set in original plastic wrappers and slipcase. Mardersteig here recreates the rare and beautiful 1479 edition of Giovanni Alvise, Verona. The original illustrations have been re-engraved by Anna Bramanti. Jacomet’s coloring of them is jewel-like. In his note, Mardersteig attributes the 68 woodcuts to the Veronese miniaturist Liberale. “It needed a great master to create woodcuts with so many vivid scenes, conceived from the outset as linear black-and-white designs that were given atmosphere and life by colour.” Comparing Liberale’s known miniatures with British Museum copy of Alvise’s Aesop, Mardersteig finds “such similarities in com- position, movements, gestures, garments, and colouring that only Liberale can be considered the artist.” In addition to printing one of the finest Illus- trated Italian books of the 15th century, Alvise was also the first printer to use typographic ornaments cast in lead. These too have been recut for the OB edition. No. 135 of 160 copies. Printed in Centaur type on dampened hand- made Magnani paper watermarked with a goose (as in the original edition). Volume Two is Caxton’s English translation. Schmoller 182. A Century for the Century 78. $5,000
Dignified Book of Pure Typography 2. Anvil Press. Pico della Mirandola. ORATIO DE HOMINIS DIGNI- TATE. Oration on the Dignity of Man. (Lexington, 953). 8½ × 2. 47, (2) pages. Bound by Peter Verheyen (signed on rear doublure) in goat vellum with natural graining, deep grey morocco spine, upper cover titled in palladium, Cave Paper layered indigo night doublures. Fine. An elegant, complementary binding for a work of pure typography. The Latin text (in Emerson type) is surrounded by its English translation (in Garamond). One of 225 copies designed by Victor Hammer, who recut the large Garamond capitals for the title page. Printed by Jacob Hammer on Kelmscott handmade paper. The first Anvil Press book. A Century for the Century 52. $2,00
the veatchs arts of the book 3. Arion Press. CONSTITUTION OF THE UNITED STATES. Published for the Bicentennial of its Adoption in 1787. San Francisco, In association with the Library of Congress, 987. 6½ × 0½. 63 pages. Two decorative blue initials on red and white ground scattered with gold stars, drawn and illuminated by Thomas Ingmire. Full white vellum titled in blue on spine and both covers, laced with red vellum; in a blue cloth chemise and matching slipcase; red, white, and blue spine label. As new, with the broadside prospectus and sample leaf from the book. One of 500 copies. Printed in hand set Goudy Deepdene type on Twinrocker handmade paper. Introduction by Daniel J. Boorstin. A beautiful edition. $,600
“...most of them were sent to Russia.” 4. Bible. Gospels in Slavic. Silvestre, J[oseph] B[althasar] and B[artholomaus] Kopitar. EVANGELIA SLAVICE quibus ohm in regum francorum oleo sacro inungendorum solemnibus uti solebat ecclesia remensis vulgo texte du sacre. (Engraved title) Paris, 843. 8¾ × ½. Engraved title, printed title, engraved dedication to Czar Nicholas, xix pages of introduction in Latin, foldout plate of Slavonic characters, 32, 32, 62, 62 leaves of facsimile and translation. The two portions of the Gos- pels are presented as double spreads, with Latin translation on the left (on thinner paper) and the Slavic original on the right (on thicker paper). Each portion is written in a different hand in a different Slavic alphabet—the first in the Cyrillic, the second in Glagolitic. The first engraved facsimile bears hand colored initials and ornaments in red and blue. The second contains 9 hand painted illuminated initials with marginal extensions. In a fine period paneled binding of blind embossed pebble-grained morocco by J. Wright, London, leather hinges, all edges gilt and gauffered. Slight wear to extremities, upper joint lightly rubbed, slight separation at one gathering, one double spread darkened by something previously laid in, else fine.A rare fac- simile by the paleographer Silvestre, engraved by Girault, with printed Latin translation by Kopitar, from the manuscript of 1375. Until the 18th century its languages were unknown. Greek, Syriac, Oriental, and Indian were all postulated. In 1554 the manuscript was presented to the Cardinal of Lorraine. “As a mysterious oriental manuscript, it was for years used at the coronations of the French kings, and its Slavic origin was disclosed in France only by Peter
catalogue 85 the Great who visited Rheims in 1717.” (Library of Congress Slavic Section Annual Report for 1929) During the French Revolution, the manuscript dis- appeared from view for some 50 years. When it resurfaced, the golden jewel- encrusted binding was missing. Silvestre’s splendid facsimile, commissioned by the Librarian of Rheims and paid for by Czar Nicholas, was created for the use of Slavic scholars. Our copy belonged to two American collectors of important Bibles: George Livermore, of Dana Hill, Cambridge, who in 1859 deposited the book at Harvard (large Harvard bookplate inside front cover), who surrendered the book to Livermore’s executors in 1894; S. Brainard Pratt of Boston (his stamp on flyleaf) who published a catalogue of his collection (A Catalogue of Ancient & Modern editions of the Scriptures,” 1890). Quaritch offered this copy for sale in 1905. The only other non-institutional copy we’ve located (a heavily worn copy) was auctioned to Maggs in 1964.A penciled note on blank leaf states that only 100 copies were printed, and most of them were sent to Russia. Silvestre discusses this manuscript in detail in his Universal Palaeography (1849) pp. 768–779. $4,500
5. Bible. Psalms in Arabic and Latin. LIBER PSALMORUM DAVIDIS REGIS ET PROPHETAE. Ex Arabico Idiomare in Latinium translatus. Rome: Stephanus Paulinus for Typographia Savariana, 64. 6½ × 8½. 6 preliminary leaves, 474, () pages. In the final quarto gathering (Nnn) pages are bound out of order. Arabic and Latin in parallel columns, within double rule border. Contemporary vellum, manuscript title on spine, with 2 small, unreadable shelf labels. Bookplate of H. P. Kraus. Lower cover cockled, lacks ties, a group of page tips are creased, paper defect in one lower margin. But a very fresh, unsophisticated, and pleasing copy. The first Arabic edition of the Psalms, and one of only two books from this press. An orientalist and French ambassador to Constan- tinople, Jacques Savary de Brèves hoped to establish a college of Oriental studies in Paris. He set up this press while ambassador to Rome. Where he commissioned this fine Arabic fount (along with Persian, Syriac, and Turk types) is not known. One hypothesis posits their cutting in Constantinople, with finishing in Paris by Guillaume le Bé. More recently, the types are thought to be based on a calligraphic ms. in the Vatican, and cut in Rome. They were acquired in 1627 by Richelieu (for the propagation of Catholicism in the Levant) and in 1656 by the Imprimerie Royale. $4,000
the veatchs arts of the book 6. Blinn, Carol. SERIOUS PLAY. Decorated Paste Papers by Carol J. Blinn. Easthampton: Warwick Press, 2006. 7 × 9½. 64 pages (stenciled and cal- ligraphic title page, 3 pages, 26 leaves with 22 paste paper specimens). Bound in paste-paper- over boards, exposed spine with Coptic sewing stitch. In orange paper chemise and matching slipcase with spine label. Fine. There is a 31-page introduction about Carol’s apprenticeship (1973) first as a letterpress printer at The Gehenna Press, then as a binder and paste paper maker with Arno Werner. Carol discusses her various processes and techniques for each of the 22 specimens. There is a list of Warwick Press books using her papers, and a list of papers made for other publishers. A delightful book. One of 35 copies. $2,500
7. Bolton, Claire M. THE FIFTEENTH-CENTURY PRINTING PRAC- TICES OF JOHANN ZAINER, ULM. Oxford & London, 206. 6 × 9. xv, 289 pages. Illustrated; indexed. Quarter cloth and boards. Small bump at head of spine, all else fine. $65
8. Cavafy, C. P. THE SPLENDOUR OF A MORNING. Early poems of C. P. Cavafy. Mission: Barbarian Press, 206. 5½ × 0. xiv, 73 pages, with five wood engravings by Peter Lazarov. Thirty-seven poems of C. P. Cavafy are printed in Greek and English. Navy cloth spine and tips, printed blue boards, paper spine label. Fine. One of 50 regular copies, from an edition of 100. The texts are printed in hand-set van Krimpen types: Antigone for the Greek, Van Dijck for the English, with Open Kapitalen for display, in blue and black on Zerkall Book White mouldmade paper. The English translations are by David Smulders. $400
9. Cavafy, C. P. THE SPLENDOUR OF A MORNING. Early poems of C. P. Cavafy. Mission: Barbarian Press, 206. 5½ × 0. xiv, 73 pages, with five wood engravings by Peter Lazarov. Thirty-seven poems of C. P. Cavafy are printed in Greek and English. Blue morocco spine and tips, printed blue board sides. In a blue silk-covered slipcase with a folder containing an extra suite of the five engravings. Fine.One of 50 deluxe copies, from an edition of 100. $800
10. Cox, Morris. POEMS 1970–1971. The Gogmagog Press, 972. 5¾ × 9. 48 French-fold leaves, illustrated with 8 full page color intaglios. Boards
catalogue 85 covered with Japanese “net-mesh” paper. Fine. Cox’s impressionistic poems are reflected in his typography. In the layout for “Band in the Park” one can see a park with a lake and a bandstand surround by picnickers. The visual impact of shaped typography engages the reader. Cox writes of his poem “Central/Peripheral,” “the eye having descended centrally, it should feel free to roam up or down, or from side to side, until all the subtleties of meaning inherent in the relationships appear to have become realized.” No. 47 of 50 signed copies, illustrated, printed, and bound by Cox. Printed on Japanese mulberry paper. $750
11. De Vinne, Theodore L. TYPES OF THE DE VINNE PRESS. Speci- mens for the Use of Compositors, Proofreaders and Publishers. NY, 907. 6 × 9¼. Frontis of printing plant, (4), 442 pages. Original green cloth, red leather label, top edge gilt. Some wear to extremities and label; page edges toned; double-spread of Greek type has shadow of some- thing previously laid in; a good copy. Wonderful specimen of 19th and 20th century types and decorative initials, with an Index. There are detailed descriptions of styles and their history. Notably, most of the faces are identi- fied by foundry. $200
Calligraphic Manuscript by Rose Folsom 12. Dickinson, Emily. THE PRISON. Silver Springs, MD, 995. Calligraphic manuscript in ink and gouache on parchment-like paper. 7½ × 5½. 4 leaves lettered in golden brown ink, against abstract designs in browns, golds, and black. Golden brown silk boards, in a matching tray case with spine label. Fine. One of a kind. Rose Folsom, a calligrapher since 1973, studied with Sheila Waters and Hermann Zapf. Focusing on wall pieces at first, Folsom turned to books for their intimacy. $500
13. Dieu Donne Press & Paper. Lazard, Naomi. THE LECTURES IN ARKADY. (NY), 986. 9 × 2. 7 text pages plus 2 b&w etchings, a double spread color etching, and a full page light-and-shade watermark of one of the etchings. There are 3 smaller light-and-shade watermarks and 3 line watermarks in the printed text. Bound by Claudia Cohen in flax paper over boards with an additional large color etching inset in upper cover, spine label. Fine in tray case. Inscribed by the artist
the veatchs arts of the book and printer Susan Gosin. A very satisfying book. No. 12 of 45 copies (plus 8 artists’ proofs) printed by the artist in 14 point Bembo on 100% cotton rag paper. $,500
14. Doves Press. Shakespeare, William. THE TRAGEDIE OF ANTHONY AND CLEOPATRA. (Hammersmith, 92). 6½ × 9. 40, (4) pages. Full vellum by the Doves Bindery. A few barely perceptible spots on upper edges, tiny dent near spine foot, all else as new in cloth and vellum tray case. One of 200 copies printed by Cobden-Sanderson, in black and red on handmade paper, from the first folio of 1623. $,750
15. Fleece Press. A CROSS SECTION, The Society of Wood Engravers in 1988. Wakefield, 988. 7¾ × . 0 pages. Forty-five wood engravers each contributed an engraving. Quarter cloth and patterned boards. Fine in cloth slipcase. One of 225 copies, printed by Simon Lawrence from the original blocks. Some of the 45 artists are Simon Brett, Harry Brockway, Anthony Christmas, John Craig, Edwina Ellis, Peter Foster, Joan Hassall, Ray Hedger, Simon King, Jane Lydbury, Miriam Macgregor, Frank Martin, Gwenda Morgan, Hilary Paynter, Colin Paynton, Howard Phipps, Monica Poole, Peter Reddick, Michael Renton, Peter Smith, Sue Scullard, and Chris Wormell. With essays by Brett, Martin, and Ian Mortimer. $450
16. Frasconi, Antonio. SIX SOUTH AMERICAN FOLK RHYMES ABOUT LOVE. (South Norwalk, 964). 4 × 5¼. (3) pages. Spanish text in red; 6 woodcuts in black. Woodcut wraps and glassine. Colophon signed by Frasconi. Signed color woodcut “Eden II” is mounted on front flyleaf. In the mailing envelope covered with Frasconi’s color rubber stamps. Fine. Enclosed is a signed typed note in which Frasconi points out the 5-cent postage stamp is one he designed. A unique copy. Meriden Gravure printed 2000 copies. Of these, 100 copies were numbered and signed, and contained the colored frontis “Eden I.” Our copy was assembled by Mr. Frasconi, with the suggestion that he could create more from the 20 remaining copies on hand. We were discouraging, and the project was dropped. $300
17. Halfer, Josef. L’ART DE LA MARBRURE: guide pratique basé sur des don- nées techniques et scientifiques pour relieurs et fabricants de papiers marbrés.
catalogue 85 Genève : Th. Grossmann, 894. 6 × 9. 26 pages plus 0 plates with 5 full page and 30 smaller mounted specimens of marbled paper. Bound into cloth with the original upper wrapper preserved. Inscribed on the wrapper from the publisher to Monsieur M. Briquet. Cloth unevenly faded. Brief closed tear in margin of title, otherwise very good. Autho- rized translation, from the second edition, into French by Joseph Grillet and Emile Schultze (bookbinders and marblers). Includes Halfer’s introductions to the first and second editions. A practical manual covering preparation of the sizing and the colors, utensils and accessories. The translators themselves created the marbled specimens using Halfer’s colors and his directions. Very uncommon. $,500
18. Hutner, Martin and Jerry Kelly. A CENTURY FOR THE CENTURY: Fine Printed Books 1900–1999. NY: Grolier Club, 999. 9 × 2. xxx, 0 pages, 5 original leaves tipped to grey stock. 46 color illustrations and 54 half-tones. Morocco and cloth. Very slight and even fading to spine, but imperceptible when the book is in its fine slipcase.One of 50 deluxe copies, signed by the authors. The leaves are from: Van Krimpen’s Iliad for Limited Editions Club, the Officina Bodoni Amores, Zapf’s Manuale Typographicum 1954, Arion Press Moby Dick, and Whittington’s Stan- brook Abbey Press. A fully illustrated exhibition catalogue of 100 books from American and European presses, notable for their beauty and excellence of production. $825
19. Joyce, James. TALES TOLD OF SHEM AND SHAUN. Three Fragments from Work in Progress. Paris: The Black Sun Press, 929. First edition. 6½ × 8¼. xv, 55 pages. With a portrait (highly abstract!) by Brancusi. Printed wraps, original glassine. Lacks slipcase. Top corner of upper cover slightly creased; near fine.No. 176 of 500 copies printed in black and red on Van Gelder paper (total edition was 650 copies) printed by Caresse and Harry Crosby. Fragments are: “The Mookse and the Gripes,” “The Muddest Thick That Was Ever Heard Dump,” and “The Ondt and the Gracehoper.” “Joyce frustrated the Crosbys’ careful publication work by constantly mak- ing additions to the proofs of the book, which would then have to be reset by the printer. When Joyce was finally finished making additions, the printer pointed out to Caresse Crosby that the final page would have only two lines
the veatchs arts of the book of text on it, which would not look well, and he asked her if she could get more material from Joyce. She dismissed the idea, but a few days later the extra lines of text had been found. When she asked the printer where they came from, he told her that he had gone directly to Joyce who had wanted to add some extra text but was too frightened of Caresse Crosby to ask if it was possible!” (The James Joyce Center) $,00
20. Kaldewey, Gunnar. TREES. (Poestenkill: Kaldewey Press), 988. 24½ × 9½. Seven sheets of heavily textured brown Japanese paper by Shusaku Tomi. With 7 linecut-monoprint illustrations on hand- colored backgrounds in various shades of green. Bound with a Brazil- ian rosewood spine. The book is folded in thirds and laid into a wooden box with large printed label on the lid and laced-in linen ties. One of 40 forty folded signed copies in a box. (There were also 21 deluxe unfolded, bound copies.) Printed by the poet/artist in 30 point Futura letterpress. The illustrations are made after photo collages and enlarged leaves and buds from the more than 200 year-old maple trees in Poestenkill. $950
21. Kaldewey, Gunnar. CALIFORNIA TIME. (NY): Kaldewey Press, (987). 5 × 20. (36) pages on English handmade paper, illustrated with 6 linecut-monoprints. There is a double spread illustration of the Pacific coast in shimmering blue and silver, on translucent paper. Bound by C. Zwang into string-tied plexiglass covers, in orange cloth tray case lettered in silver. Inscribed in pencil by Kaldewey. Fine. Printed letterpress in California colors—creamy pink, aqua, blues, steely greys, and silver. One of 45 signed copies in this binding. (There were also 7 copies on Fabriano paper and 15 deluxe copies with an extra suite of the illustrations.) $,500
22. Kelmscott Press. Alfred, Lord Tennyson. MAUD, A Monodrama. Ham- mersmith, 893. 5½ × 8. Elaborate woodcut double-spread opening, 69 pages with a variety of partial borders specially designed for this book; six-, ten-, and 2-line initials.; stanza numbers in red. Stiff vellum with yapp edges, blue linen ties. A fine, partially unopened, almost pristine copy. One of 500 copies printed on handmade paper. This is the first Kelmscott octavo book to feature a woodcut title page. $2,500
catalogue 85 23. Kelmscott Press. Coleridge. POEMS CHOSEN OUT OF THE WORKS OF SAMUEL TAYLOR COLERIDGE. (Hammersmith, 896). 5½ × 8. Double spread woodcut opening, 00 pages richly ornamented with woodcut initials and three-quarter and quarter borders. Stiff vellum with yapp edges, green linen ties; one tie is broken and laid in. Armo- rial exlibris Richard Buckle on pastedown. Light cover soil, top edges dusty, fore edges tanned, else a very good copy. One of 300 copies printed in Golden type in black and red on handmade paper. Poems include Christabel, Kubla Kahn, and the Ancient Mariner. $3,000
24. Kelmscott Press. Ruskin, John. THE NATURE OF GOTHIC. A Chap- ter of the Stones of Venice. Hammersmith, 892. 5½ × 8. iv, (i), 27, () pages. Woodcut border on opening page; nine 0-line woodcut initials and numerous 6-line ones, 9 architectural figures in the text. The printer’s mark appears twice. Original stiff vellum with yapp edges, spine lettered in gilt, green linen ties. Exlibris of Sydney R. Turner tipped to front pastedown. Spine slightly darker, top edges slightly dusty, tiny spot on lower cover, contents fine.One of 500 copies, printed in Golden type. $,800
25. Leopard Studio Editions. HUMMING BIRD. A poem by Ruth Kessler. Rochester, 200. 3½ × 7, accordion-fold, unfolding to 76 inches. Pochoir and letterpress in silver and copper inks and gouache on Nishinouchi Natural Naka Ban, hand-dyed with walnut ink. Affixed at each end onto boards covered in Velma Bolyard’s paper from plants grown on her farm. Fine in tray case covered in silver spattered paper by the artist. An ethereal book. Sue Leopard writes the poem “was inspiration for this Flutter Book [Kessler’s] flitting, mercurial, light take on the elusive visi- tor delighted me when I read it. I have tried...to mirror not only the poet’s words but the quick light here, then not, of the magical creature. No. 7 of 10 copies signed by the author and by the book artist. $800
26. McLean, Genetta. IN BLACK & WHITE. LANDSCAPE PRINTS BY CLAIRE VAN VLIET. Lewiston: Bates College Museum of Art, 999. × 9. 77 pages, illustrated with lithographs, engravings, and wood- cuts. Handboud by Judi Conant in exposed-spine boards covered with
the veatchs arts of the book a proof of an original print by Van Vliet. Fine in slipcase. One of 200 signed copies. Handsome exhibition catalogue printed by Stinehour. “I am attracted to places where the land and rocks are bare either because of extreme dryness or because they are coastal.” Images are from New Zealand, California and the Southwest, Ireland and Europe. $275
27. Offner, Elliot.THE GRANJON ARABESQUE. Thirty Arrangements of the Ornaments with Type. Northampton: Rosemary Press, 969. 8 × 0. vi, 30, () pages. Bound by Arno Werner in quarter morocco and Arno’s marbled paper over boards. No. 2 of 250 (actually 225) signed copies. Werner bound the first 50 copies. An exquisite book printed in various colors throughout. Quotations from printers are incorporated into the ornament arrangements. There is an historical introduction by Offner, and a list of the faces used. $600
28. Pennyroyal Press. Beekman, E. M. HOMAGE TO MONDRIAN. (East- hampton), 972. 8½ × 6. Eight leaves. Printed wraps. Proof copy of the portrait of Mondrian, before letters, is signed by Moser and laid in. Fine. “Only 25 or so copies survive” (Pennyroyal Checklist No. 6) of the 200 copies printed; Moser was unhappy with the portrait and destroyed the bal- ance. Signed by Beekman and by Moser, who also inscribed it to Bob , an early Pennyroyal patron. $500
29. Phipps, Howard. INTERIORS, wood-engravings by Howard Phipps. (Andoversford: Whittington Press, 985). 7 × 9¾. Fifteen wood engrav- ings (5 in color) on French-fold leaves, detailing a home’s internal architecture and furnishings. Aqua silk boards stabbed and tied with ribbon in Oriental style, slipcase. An extra suite of the engravings, each signed, is held in a cloth portfolio. Both fine in slipcase. No. 5 of 35 signed copies in this binding with a separate set of prints (from a total edition of 175 copies). Printed from the original blocks, with colors added by linocuts; with an additional engraving in the colophon. Architecture and furnishings of various English country homes. $625
30. Rogers, Bruce. ECCLESIASTES, OR THE PREACHER. Boston: River- side Press, 9. 5 × 7½. 9 leaves, each page set within a Tory border;
catalogue 85 decorative initials. Red glazed boards, upper cover with gilt cartouche, glassine, black board slipcase with spine label. A pristine copy with BR’s prospectus. No. 215 of 335 copies. Printed in black and red in Riverside Caslon on English handmade paper. A little gem, and the last of the fifty Riverside Press Special Editions. Warde *112. Rogers notes in his prospectus that these borders were used in his 1909 Life of Tory “but were then necessarily shown in a larger page, where their effect was somewhat minimized. In this volume they appear to much better advantage on a page approximately the size of the original.” $400
31. Rogers, Bruce. THE PARLEMENT OF FOULES. (Boston: Houghton Mifflin) 904. 6 × 9¼. xxvii pages. Parchment boards, spine titled in gilt. Pristine copy in dustwrapper (torn, piece missing) and slipcase (split along back). With the “Note” laid in. No. 117 of 325 copies, printed at Riverside Press on handmade paper in batarde type in black and red; two 6-line white on blue initials illuminated with gold. A “BR 30.” Warde *44. $350
32. Rogers, Bruce. Dowson, Ernest. THE PIERROT OF THE MINUTE. NY: Grolier Club, 923. 4½ × 7. 49 pages, each within borders of Fournier ornaments in red. Marbled boards., wraparound spine label. A fine copy in the original slipcase. Specially signed by BR on the last leaf, beneath his printer’s mark (with some bleed through into colophon). One of 300 copies, printed in Deberny type. One of six titles in The Grolier Club eminent American printers series, and a “BR 30.” Warde *170. $350
33. Rogers, Bruce. Dürer, Albrecht. THE CONSTRUCTION OF ROMAN LETTERS. Cambridge: Dunster House, 924. 4⅝ × 7¾. 39 pages. Black paper boards, paper spine label, marbled endpapers. Penciled name on blank. Fine, unopened copy. One of 350 copies printed by Rudge on grey handmade paper ruled in red. “BR 30.” Warde *178. This “poor man’s Just Shaping of Letters” (1917) uses the same process blocks by Emery Walker to reprint the letters, but without text. $300
The Binder’s Unique Copy 34. Schanilec, Gaylord. Powers, J. F. THE OLD BIRD, A Love Story. Minne- sota Center for Book Arts, 99. 6½ × 0. 29 pages with woodcuts by
the veatchs arts of the book Barbara Harman. Bound by Dennis Ruud in full terracotta morocco blindtooled with a design of wintry, icicled windows, with gilt and color onlays; black endpapers painted to suggest snow swirling at night; leather hinges. Fine in cloth tray case with leather label. Copy C of 40 deluxe copies, but in a unique full binding executed by Ruud for his own collection. Text and woodcuts designed and printed by Gaylord Schanilec (then artist in residence) on Rives Heavyweight paper. (The edition binding for the deluxe copies was quarter morocco and slipcase by Ruud.) Signed by Powers, but not by the artist (as called for in colophon). A slip of paper laid in has a signed presentation by the artist. $950
35. Spoof Leaf Book. Columbiad Club. THE LAMBIAD. A Collection of Leaves from the Offices of Famous Printers, Showing Variations in the Treat- ment of a Similar Theme. (Windham, 936) 5¾ × 9. 8 leaves: title, con- tents, 5 tipped-on “original” leaves, colophon. Bound in genuine old ms. on parchment (yawns a bit), printed title on upper cover. Harold Hugo’s copy. Fine. A printer’s jeu d’esprit with astonishingly genuine- looking leaves: The Aldine (not listed in Hain, Pellechet, or Proctor) is printed in Latin (italic) and Italian (roman); the black-letter Caxton (unknown to Blades) has a woodcut and worm holes; Barbou is adorned with Fournier ornaments and marginal flyspecking; Joel Baalow’s [sic] epic poem is printed on ca. 1800 paper; the Bodoni is immaculate. The text, common to each, will be instantly recognizable. Columbiad Keepsake 10. One of 30 copies printed at Hawthorn House, on Charles I handmade paper. $,200
36. Type Foundry Specimen. Hobart & Robbins. SPECIMENS OF PRINT- ING TYPES AND ORNAMENTS, FROM THE NEW ENGLAND TYPE & STEREOTYPE FOUNDERY [sic]. Boston, 85. 9½ × ½. 59 leaves including title, printed rectos only. Large corner dampstain on initial blank; small damp or oil stain to lower tips of several leaves, two lower margin bears stamp of later owner. Original binding of roan spine and corners, cloth sides is heavily worn. Still, a near very good copy. The Victorian taste for ornamentation is amply represented here in type faces for advertising, broadsides, and posters. These distinctive faces are useful in dat- ing an undated piece. The types and fancy borders are followed by settings in
catalogue 85 Item 36. Hobart & Robbins.
paragraphs, and by wood type, ornaments, stock cuts, and vignettes. Set in single lines—sometimes the alphabet, sometimes a phrase or word. Hobart & Robbins provided the stereotyped plates for many Ticknor & Fields pub- lications. They were exhibitors at Great Crystal Palace Exhibition of 1851. Provenance: Orson S. Spear, Shelburne, VT, 1855. $3,800
37. Weissenborn, Hellmuth. LONDON SCENES. Wood-engravings by Hellmuth Weissenborn. Whittington Press (200). 7 × 9. Three-page introduction, by John Randle, on deep lavender French-fold leaves followed by 0 French-fold leaves of wood engravings printed from the blocks. Stab-tied lavender boards. A portfolio contains proofs of the engravings plus one additional engraving, signed by Weisenborn. Both fine in slipcase.No. LIX of 60 copies with a set of proof engravings.
the veatchs arts of the book (There were also 240 regular copies.) Evocative images of post-war London. A refuge from Germany, Weissenborn adopted London as in home in 1939, only to be interned on the Isle of Man for 6 months. $250
38. Zapf, Hermann and Jack Stauffacher.HUNT ROMAN: THE BIRTH OF A TYPE. Pittsburgh Bibliophiles, 965. Oblong 9½ × 7. 24 pages plus 0 plates, two folding. Boards, paper spine label. Dust jacket spine sunned, but the book is fine—and specially signed on the title page by Stauffacher and by Zapf. No. 60 of 750 copies. First use of Hunt Roman as a text and body face. $75
39. Ziggurat Press. Feldman, Walter. THE ALPHABET BOOK...WWII. A Short History of the Second World War in Two Volumes. Providence: , 966. Two vols. 3 × 0. 29 leaves of collage printed by silkscreen and letterpress; (34) text pages plus 7 full page relief illustrations by letter- press. Each volume in printed cloth ring binder, in matching printed slipcase. A few of spots of color have offset onto 2 facing blanks in Volume I. A fine set. Volume I is “a series of collages that consisted of let- ters in a variety of fonts for the 26 letters of the alphabet. These designs are concerned not only with letter identity but also with the formal relationships of their distinctive shapes within the geometry of the circle. The point size of these words, their positions and their type faces have no particular signifi- cance other than aesthetic and typographical...The dingbat arrows, circles, and other shapes make reference to war maps and troop movements.” Volume II is a glossary of the names and terms (from Abwehr to Zyklon-B ) found in the first volume, along with 7 striking illustrations. The two-volume format allows one to view the collages and read the text at the same time. No. 17 of 35 signed copies. Feldman, a distinguished artist and art professor, received the Purple Heart in infantry combat during WWII. $,000
40. Ziggurat Press. Shakespeare, William. IV SONNETS. Providence, RI. 994. 9 × 4¼. 8 leaves, illustrated with abstract relief prints, blind- embossed half title and portrait of Shakespeare. Bound in cloth with a tab closure, a small etched metal plate mirroring the blind printed portrait) inset in upper cover. Fine. No. 8 of 30 signed copies. $200
calligraphy: kelly typography: russem Item 5. Psalms in Arabic.
Item 34. Schanilec. Left: Item 6. Blinn. Right: Item 35. Spoof leaf book.
Item 39. Ziggurat Press. Item 12. Dickinson.
Item 13. Dieu Donne Press.