1958. 12mo, unpaged. The book is a collection of six essays about Bertha Goudy, preceded by a foreword by Peter Beilenson. Each essay is a separate signature, written by a different friend and printed at a different press. Of an edition of 200 copies, this is number 196. Typographers and presses include Bruce Rogers, Mabel Dwiggins, Paul A. Bennett, George Macy, F.W. Goudy, the Thistle Press, the Peter Pauper Press, Jane Grabhorn, Joseph Blumenthal at the Spiral Press, the Marchbanks Press and the Pickering Press. Internally fine in edge-worn marbled paper on boards, black cloth spine.
Fine and Private Press
1980. John De Pol. "produced by the members of the Goudy Chappel for their very dear Friend". 6 1/2 x 5", with separate signatures printed by friends, including the Press of the Iron Horse, the Stone House Press, the Artichoke Press, the Ron Press, the Private Press of Matilda and William Haywood, Thelma and John De Pol at the Endgrain Press, with a wood-engraved portrait of Dr.Leslie, (typographer and AIGA medalist), the Four Penny Press and the Herity Press, which has gathered the collection into lightweight printed blue wraps and heavier brown wrappers (now spine-sunned) with a paste-on title label.
San Marino, California: The Huntington Library, 1942. Octavo, 35 pages, with a brief tribute to Updike, who died that year, by Max Farrand. The book includes a portrait of Updike as well as two photos of the Merrymount Press library, lists of books printed by the press and shown in this exhibit, plus notes about the work done by the press in different fields of printing. The pamphlet was printed at The Ward Ritchie Press, and was issued to accompany an exhibition at the Huntington Library in 1942. There is a quarter-inch closed tear to the fore edge of the pale orange wrappers, else fine.
Bronxville, New York: undated (c. 1971). Valenti Angelo. Octavo (24.6 cm), unpaged (18 pages), printed in black, red and grey-green, with a title-page drawing, a half-title decoration, a drawing of leaves as a chapter heading and the printer's device for the Press of Valenti Angelo on the colophon page. The book was printed by the Meriden Gravure Company on cream laid paper and stapled into heavy blue wrappers with Valenti Angelo's "VA" monogram in red. Fine.
Andoversford, GB: The Whittington Press, 1986. Barbara Crow. First Edition. 7 5/8" x 6 5/8", 19.5cm x 16.6cm (exterior book measurement). Title page and colophon on pale tomato paper, with, between them, a set of 26 doubled ivory leaves, the set printed on Zerkall Ingres and mould-made papers in an edition of 335 copies of which 35 are hand-colored. This is copy 105, in black and white, with lively wood engravings by Barbara Crow showing a contorted female in what seems to be a sailor's striped shirt wrapping herself around letters of the alphabet-- with bare feet, too. There are tiny legends on the verso pages, in 18-point Caslon type. The book is bound in a pale tan paper, also doubled over and with yapped edges, printed with a design in red and brown, and held together Japanese style with string in stab holes. This then is housed in a pale tomato and brown slipcase with a printed small spine label. Fine, as issued.
London: The Fleuron, 1926. First edition. 7 1/2" x 4 3/4", (19cm x 12cm), x,39,(20)pp. A small book, but it encompasses the 12 pages of the monthly almanac for 1926, with headings drawn by Randolph Schwabe, an amusing article on the well-dressed book by Harold Child, a catalogue raisonné of books printed at the Curwen Press from 1924 to 1925, a tipped-in bookplate by Gordon Craig, the titlepage of de la Mare's Ding Dong Bell, a wood engraving by Paul Nash, and quite a lot more in the same genre, all well printed at the Curwen Press, Plaistow. Slight foxing to endpapers else very good in green paper on boards, slightly edgeworn, and a claret cloth spine, without a dustjacket. This is #285 of 425 copies.
Atlanta, Georgia: The Tinhorn Press, 1967. William L. Sweney. first edition. 9" x 5 7/8", 23 cm x 15 cm, (20pp.). "Two hundred copies of this book were printed from handset Caslon types at The Tinhorn Press, Atlanta , Georgia, in autumn 1967", with a title-page drawing in sanguine and two other full-page drawings in black and white by William L. Sweney. A printed "compliments" bookmark, reproducing part of the title page drawing, is laid in. The book is stitched into thin patterned paper with yapped edges. Fine.
Austin, Texas: W. Thomas Taylor, 1983. Folio, xviii + 67 + (3) pages, with descriptions of 41 American presses, featuring 100 books, and illustrated with photographs plus tipped-in examples of the work of several presses, including the Allen, Arion, Bird & Bull, Cummington and others. The selection of books and press histories was done by Fine and Matheson; the bibliographical descriptions and notes by W. Thomas Taylor. This is number 277 of 325 copies, designed and printed by David Holman at the Wind River Press on Rives Heavyweight paper, and bound in tri-color cloth deepening from beige to warm tan. The 8-page prospectus is laid in. Fine.
Aurora, New York: Wells College Press, 1993. 9 1/4" x 6 1/8", 37 pages, with a preface by Bruce Bennett and Robert Doherty, both of Wells College, an essay by Carolyn Hammer, "The Stamperia derl Santuccio", 4 typographic illustrations printed in red and black, a full-color original photograph of Victor Hammer tipped in as frontispiece, and a bibliography of Hammer's Aurora years. The colophon notes that this is an edition of 500 copies, "printed in homage by Michael and Winifred Bixler, Skaneateles, New York. The book is sewn into white wrappers and a deep blue dustjacket with Hammer's Uncial initials in gilt. Fine.
Branford, Connecticut: The Penny-Whistle Press, 1983. first edition. Octavo, (9 3/8" x 6", 23.5cm x 15.5cm), 36 pages. This is an edition of 100 copies, designed and printed by John O.C. McCrillis, a typographer for the Yale University Press as well as the owner and printer of Penny-Whistle, on Mohawk Superfine Text, with linocuts from 19th century illustrations. The two stories are from Irving's "Sketch Book" and were produced to commemorate the 200th anniversary of Irving's birth. The book is sewn into Mohawk ivory cover stock, with a cover illustration printed in deep pink. This copy bears the signature of Joseph Francis Weiler, typographer, on the front endpaper. Fine.
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.
Denby Dale, Huddersfield (UK): Fleece Press, 1998. Oblong 12mo, 5 1/4" x 7", 13.2cm x 17.6cm, 12 pages, with descriptions by Simon Lawrence of upcoming volumes (and other observations), a title page wood engraving plus one other by Derrick Harris, a tipped-on square of blue patterned binding paper by Edwina Ellis, and a delightful quote, as follows: "Please do not send money until requested, as it lessens the printer's motivation to see the job finished." The prospectus was printed in an edition of 760 copies, and is bound in pale tan wrappers titled in red. Fine.
Risbury, Herefordshire: The Whittington Press, 1997. Miriam Macgregor. Oblong quarto, unpaged, with a brief text followed by 13 full-page wood engravings, following the tree from one spring equinox to the next, with the text printed in warm brown ink, the beautiful wood engravings in black. Eventually the tree falls, and the last text page says, simply "and so on..." This copy is number 243 of 385 copies set in 12-pt Bell and printed at Whittington on Zerkall mould-made papers and one of 300 bound by The Fine BIndery in May, 1997, in printed terra-cotta pattern papers with an apple-tree design, and housed in a slipcase. Fine, as issued.
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.
Madison, New Jersey: Golden HInd Press, 1954. 12mo, unpaged (12pp.) A note on the copyright page mentions that "these "Meditations" are selected from those used at The Community Church in Summit, New Jersey", a Unitarian church where Trapp had been the minister from 1945 to 1970. No limitation noted, but the booklet was "hand set in Cloister Oldstyle type and hand printed on dampened Ruysdael all-rag paper".Fine, sewn into tan wrappers with a small b/w title label.