An autograph letter, on stationery created for the production of "Hello Dolly" that opened in London on December 2, 1965, starring Mary Martin. As it happens, I was living in London at the time, and the note is her invitation to me and my husband to attend a Christmas party at her London quarters on Christmas day. Signed Mary Martin, undated (but the date is evident), and in excellent condition, with a mailing fold at center. A typical and very warm-hearted note, without an envelope.
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Theo Crosby: Whitefriars Press, (1958). 7 x 5 1/2", 17.5 x 14cm, unpaged. An edition of 1,000 copies of the first issue of this journal of the graphic arts, with photographs, drawings, and text printed on several different papers, a few in orange ink, and bound in foldover tan paper printed in rec and black. A total of five issues were published between this one, in 1958, and 1960. Crosby, an influential architect, writer and designer before his early death (1925-1994), was one of the founders of the design firm Pentagram. This copy has a 1 1/2" paper split at the bottom of the spine at the front cover, but is otherwise a fine and unmarked copy.
New York: The Typophiles, 1993. 8 3/4" x 5 1/2", (16 pages). This is Typophile Monograph, new series, number 10, printed in an edition of 800 copies at The Stinehour Press, in the summer of 1963, with an additional 100 Typophile copies reprinted in December 1963, of which this is one. There are two typgraphic illustrations, one from the bibliography itself. This booklet covers the practical details of designing the biblioraphy, and is a well-written and interesting read. Fine in grey wrappers.
New York: Push Pin, 1954-1965. Milton Glaser, Seymour Chwast, Edward Sorel. A collection of publications issued by Push Pin Studios, dating from 1954 to 1965, and including issues of the Push Pin Almanack, the Push Pin Monthly Graphic, and the Push Pin Graphic, a remarkable series of brilliant publications that lasted until 1980. Of the earliest group, this collection includes numbers 8, 9, 10, 11, 13, 14, and 15 of the Push Pin Almanack, dating from January-February 1954 to May-June, 1955, in narrow almanac format, (16 pages), in purposely prim colored wrappers, lightly edge-rubbed. This is followed by 29 issues of the Push Pin Monthly Graphic, including numbers 5, 6, 8, 9, 10, 11, 13, 14 (two copies),15, 16, 17, 18, 19, 20, 21, 22, 24, 25, 26, 27, 28, 29, 30, 31, 34, 35 (two copies) and 37 (the Plain Brown Wrapper issue) dating from 1957 through 1962. A number of them also enclose laid-in supplements. After "Monthly" was dropped from the title, there are 3 additional issues of the Push Pin Graphic in this collection: 23, 36, and 45, from 1959 through 1964. The last copy, number 45, square octavo, contains the Tiny Tim recording, a blue plastic...
Pasadena, California: Grant Dahlstrom, 1967. First Edition. 9 1/2 x 6 1/4", 24cm x 15.5cm,16 pages, with a photograph by Ward Ritchie of Stanley Morison in Los Angeles in1962 as frontispiece. This was issued after Morison's death in that year, and was meant for his friends and admirers. An edition of 500 copies, bound in doubled blue paper wrappers. Fine, as issued.
New York: The Typophiles, 1960. first edition. 7 1/8" x 4 1/2", 18cm x 11.4cm. 118 pages. There is a preface by Paul Standard, who translated the book from German, Hermann Zapf's text, starting with his "born in Nurnberg on 8 November 1918...", with a portrait frontispiece, calligraphic broadsides and type specimens and a terminal essay by Paul A. Bennett on the background of the book. The book, 37th in the Typophile Chap Book series, was designed by the author, set in linotype Optima and printed in Frankfurt by Ludwig Oehms. This edition comprises 400 copies for Typophile subscribers and contributors, and 300 copies for general sale, each numbered and signed. This is copy number 159, and bears Zapf's elegant signature on the colophon page. The spine is lightly worn at the ends and is a shade or two darkened and with a slightly rubbed leather label. The book is otherwise very good to fine in blue cloth. typ.
New York: Coward-McCann, 1952. Alanson. first edition. Small octavo, 84 pages, with illustrations in black and red by Alancon (Hewes). What an era! This charming but relatively modest book of recipes has the hallmarks of the 1950s -- salmon mousse, fondue, frozen vegetables, the first hint that provençal will become an overworked adjective, instructions on how to defrost a refrigerator and relight the pilot light (on the stove). In terms of this sort of collecting, the 1950s have scarcely been tapped. Party instructions tell you not to forget Dubonnet and sherry, liquor and cigarettes, and reminds one to clean up and put on lipstick before guests arrive. Ah yes. This copy has lived in a trunk for the past 65 years and is as fresh as the day it was published. It is bound in a shiny paper on boards, printed in yellow, red and black.
New York: Roaring Brook Press, 2009. Robert Andrew Parker. first edition. square 12mo, 86 pages. The author's first book for children, the story of a young squirrel who falls from his nest and is rescued by a young boy, with profuse illustrations in black and white by New Yorker artist Robert Andrew Parker, who has signed his name on the title page. A very fine copy in blue boards and a pictorial dustjacket.
Hitchen, England: G.W.Russell & Son Ltd., largely undated, c. 1940s. Doris Mayer. second and third editions. This is a group of four booklets, corresponding with the "stages" used in class. 12mo, 16 to 20 pages in length and well illustrated with black and white drawings by Doris Mayer. The booklets include Stage I: BInding Books of one section; Stage II: Binding Books of more than one section in cloth; Stage III: Cutting edges and Binding in half and whole leather; and Stage IV: Lettering and Simple Tooling, revised edition. The usual Stage V booklet on marbling paper, with a different illustrator, is not included. The booklets, with their original wrappers, are bound into boards covered in gray marbled Cockerell paper and a gray linen spine and corners (and a bright red headband). Light browning to the endpapers else fine.
New York: Dim Gray Bar Press, 1989. Folio, 30cm x 23cm, an edition of 100 copies printed by Barry Magid at The Center for Book Arts on a Vandercook press on handmade lyo paper using Goudy Thirty type. The text, in a single signature, is stitched into a binding of brown cloth lined in red paper, with title labels on the front cover and spine. Zen teacher Barry Magid has also written an introduction to the text and Merton's interest in it.The top spine corner of the front board is mildly sunned and the red endpapers are slightly rippled, possibly from damp glue. Otherwise (and internally) fine.
Paris: Les Peintres du Livre, Albert Skira, 1966. Henri Matisse. Square octavo, unpaged (approximately 104 pages), with profuse etchings by Henri Matisse, first done in the early 1930s and considered the definitive illustrations of Mallarmé's poems. The plates are given plate marks in this edition, which did not appear in the original. An edition of 3,000 copies; this is number 1839. The title page has an unusual tipped-on title patch of grey laid paper. The edges are lightly browned and foxed, but this is otherwise a very good copy in deep blue cloth and a slightly darkened and edge-rubbed wavy-line-patterned slipcase. The text is in French.
London: Longmans, Green and Co., 1886. A set of three large, fat, quarto volumes, 812, 771, 783 pages, covering British nobility -- Abercorn to Fortescue in volume I, Gainsborough to Oxford in volume II, and Pembroke to Zetland in volume III, with 1600 illustrations showing titleholders (admitted as fanciful in the preface) plus hundreds of peers' facsimile signatures. Each volume has its own index and list of authorities consulted. When issued, the books were not a financial success and apparently caused a significant loss to the publisher. Volume I shows partial paper breaks to the endpapers, and all volumes show some foxing to early and late pages, though not elsewhere. The books are bound in red leather faded to brown on the spines, with shelf-rubbed edges and corners. Top edges gilt, marker ribbons present. A very nice set. (Please note that postage will be very high; the books weigh about 5 kilos total).
Westport, Connecticut: The Redcoat Press, 1957. Narrow 12mo, 16 pages. A delightful essay, with three b/w illustrations, and a note by the printers. This pleasantly printed (and very amusing) essay was issued as a Christmas greeting to their friends and printed by Betty and Ralph Sollitt at The Redcoat Press. A fine copy sewed into slightly edge-sunned salmon wrappers. w.
New York: George Wittenborn,Inc, 1960. Large square octavo, 9.5 x 9.5", unpaged, (19 French-folded leaves). There is an introduction by Gibson A. Danes, then Dean of the school of Art and Architecture at Yale, a page of comments by Paul Rand, and color illustrations for a dozen trademarks designed by Rand, including Borzoi Books, Westinghouse, IBM and Esquire Magazine. The cover design and typography are by Paul Rand; the general design and printing are by Hiram Ash, then at the School of Art and Architecture at Yale University. This copy is from Hiram Ash's own library. The book was printed in an edition of 450 copies -- a limitation not mentioned in the book but noted in a Wittenborn advertisement in "Typographica" for June, 1961. Slight age-toning to page edges else fine in heavy white wrappers printed in yellow, orange and black, and in the original glassine. Other than age-toning, faultless.
London: The Nonesuch Press, 13 August, 1929. Thomas Poulton. Edited by Geoffrey Keynes, and illustrated with copperplate engravings and drawings by Thomas Poulton and Charles Sigrist, color-stencilled by the Curwen Press. Octavo, x., 631pp., number 672 of a total of 1600 copies for sale in England and the United States; (number 61 in Symons et al: The Nonesuch Century). Internally fine, with marbled endpapers, bound in full chestnut niger morocco, with Walton's initials in an oval frame in gilt on the front panel, compartmented spine mildly darkened. The book is housed in a somewhat rubbed but solid slipcase covered in the same marbled paper used for the endpapers. Top edge gilt, other edges untrimmed.
New York: Random House, 2005. First edition. Hardcover, octavo, xv, 219pp. Considerably more than a simple book on gardening, this is a wonderful set of ten connected essays on country life, grounded in the author's possession of a house and an odd and small plot of land in a village in northwestern Connecticut. As new in dustjacket. Laurie Lisle previously wrote exceptional biographies ofmGeoegis O"Keeffe and Louise Nevelson. This copy is SIGNED by Laurie Lisle on the half-title.
Skokie, IL: The Black Cat Press, 1975. First edition thus. This is a miniature book that measures 2 11/16 x 2" (6.8 x 5.1cm); ix,34 pages on double leaves. It was produced by Norman Forgue, with calligraphy by G. Harvey Petty and page borders and endpapers printed in lavender. The book was printed by Ward K. Schori at his Schori Press, and bound in white leather with a gilt title at the Monastery Hill Bindery. Fine.
Worcester, MA: Achille J. St. Onge, 1969. First edition. Hardcover. A miniature volume of 66 pages, measuring 2 3/4" x 1 3/4". The edition comprises 1,500 copies, printed by Joh. Enschede en Zonen, Haarlem, Holland, from Spectrum and Cancelleresca Bastarda type on handmade "Hayle" paper of the Hayle Mill, Maidstone, England, The book is bound in full brown calf by Reliure du Centre, Limoges, France. All edges gilt. Massman "Bibliomidgets" #35. Fine. There is a preface by writer/poet David McCord, followed by his graceful essays on four places -- Paris, Geneva, Fribourg and Quebec.
Franklin, NH: The Hillside Press, 1969. David Wiggins. First edition. Hardcover. A miniature book, 77pp. measuring 6 x 5 cm, 2 3/8 x 2". The text is set by hand in 6 pt. Bulmer type, with 5 b/w drawings by David Wiggins, and a title page printed in black and red. The text consists of six essays on sound, plus a bibliography. The book was produced in an edition of 350 copies signed by Frank Irwin. Fine in canary yellow cloth printed in black with one of Wiggins' drawings.
Tilton, NH: The Hillside Press, 1976. First edition. Hardcover. ix, 60pp., 2 3/8 x 2", with text set by hand in 6 pt. Bulmer type, with four black and white illustrations, and a title page printed in blue and black. This is number 22 of 300 copies. A set of 10 brief essays -- glamour to mysticism. Fine in gilt-stamped deep blue calf.
Franklin, NH: The Hillside Press, 1963. First edition. Hardcover. 70pp. 6 x 4.8 cm, 2 3/8 x 1 7/8". Five tales of magic and sorcery, with text set by hand in Bulmer Roman type, and with four illustrations. An edition of 310 copies, signed by Irwin, of which this is number 233 . Fine in black and white patterned paper on boards, black cloth spine with a paper spine label.
Worcester, MA: Achille J. St. Onge, 1977. Hardcover. A miniature volume, 14 pages, measuring 2 3/4" by 1 7/8""Addresses...delivered at Westminster Hall and Guildhall on the occasion of her silver jubilee 1952-1977". The edition of 1,000 copies was printed from Perpetua type on Crown & Sceptre paper at the Stanbrook Abbey Press, Worcester, England. There is a frontispiece photograph of Queen Elizabeth by Peter Grugeon, lithographed at Skelton's Press. The book is bound in full blue niger oasis stamped front and back with a lion and unicorn in gilt, and with a gilt spine title and edges. Endpapers of cream and brown Cockerell marbled papers are by Weatherby Woolnough, and was planned by Sydney Cockerell. David Butcher's "The Stanbrook Abbey Press 1956-1990" #B34; Massman "Bibliomidgets" # 46. Very fine in its clear plastic case, as issued.
New York: The Fortune Society, 1970. First edition. Softcover. 12mo, unpaged (32pages). Many of these are poems written while the author was incarcerated in prison in New York City at Riker's Island when he was serving a sentence for burglary at the age of 18. There are a few faint pinhead-sized spots on the title page, else very good in very slightly soiled blue wrappers. Uncommon. ;;;;;;;;;;`¬ø.
Cleveland, Ohio: Bits Press, 1984. Toulouse-Lautrec. First edition. Softcover. Octavo, unpaged(24pp). Printed by Robert Wallace and the students of English 478 in an edition of 433 copies, of which 300 -- including this copy -- are saddlesewn in grey Ingres Fabriano covers. Fine in faintly edge-creased wrappers with yapped edges, reproducing a drawing,"Le Chien", by Toulouse-Lautrec.
[Aurora, NY]: Wells College Press, 1993. First edition. Quarto. Printed when Kennedy was at Wells College as part of the Visiting Writers Series in the autumn of 1993. The poem was first published in the literary magazine "Boulevard" for fall, 1993. Here, it is printed in Joe Blumenthal's Spiral type at the Wells College Press from the only surviving example of this type, on a single sheet of cream paper, folded to form a folder measuring 11 x 8 1/2". Laid in is another printing of the first five stanzas of the poem, in a different type. Few faint creases from handling else fine.