Search Results: Authors starting with D from Bromer Booksellers

Vancouver, BC: Heavenly Monkey, 2003. Octavo. (11)pp. One of 75 copies. A loving reproduction, printed in blue from polymer plates, of a letter from the late Carl Dair lauding the paper mills of Amalfi to Will Carter of Rampant Lions Press. With Introduction and Afterword by Robert Reid. Bound in blue paper wrappers. Fine.

Paris: Librairie Gründ, 1950. Quarto. 237pp., + 48 plates, nine of which are in color. One of 700 copies. This authoritative text and bibliography on the French "Game of the Goose" and its derivatives is illustrated throughout with images relating to the game, including many whimsical geese. The plates are printed across two-page spreads, showing examples of game boards. The "Game of the Goose" is a circular race game similar to "Snakes and Ladders" with its origins in sixteenth-century Italy. The game was very popular and quickly evolved from a gambling game played by adults in taverns to a form of family entertainment. Bound in paper-covered boards printed with the design of a game board, the edges and corners of which show some discoloration and wear; else fine, with some uncut pages.

Sherman Oaks, CA: Joseph D'Ambrosio, 1981. D'Ambrosio, Joseph. (20)ff. One of 75 copies signed by the author/artist. An amusing poem composed by D'Ambrosio and illustrated with his block prints. Bound in red cloth, with a cut-out panel containing an openwork design of golden sun rays, set against black & white marbled endpapers, housed in a black slipcase. Point of fire-shaped headband bent, else fine. (2 7/8 by 2 3/8; 73x60mm).

Sherman Oaks, CA: Joseph J. D'Ambrosio, 1982. Octavo. (21)ff. One of fifty copies. Signed by D'Ambrosio at the title page, as well as below each of the four original serigraphs that comprise the book's central section, "Ladies of the Garden." Illustrated throughout with images of flora as backdrops to the text, the book provides the reader with a pleasing, colorful walk through a garden. Beginning with cut-out flowers at the endpapers and fan-fold elements, it offers a sense of peace before embarking on D'Ambrosio's narrative of his grandmother, who was dying at the time of production. The cut-out flowers are visible through two panes in the upper cover. Bound in full dark green cowhide with inset paper spine label. Housed in clamshell box. Fine.

Portage, IA: The Compulsive Printer, 1980. D'Ambrosio, Joseph. 34pp. One of 75 copies signed by the author/artist, Joseph D'Ambrosio, and by E. Mundell, the printer. D'Ambrosio's first miniature book, in which he illustrates his narrative poem about the hopeless love between an oak and an elm leaf. Line drawings throughout in green. In an innovative binding of barkfiber boards, with a fold-over to protect a lacquered collage of baby fig leaves. Fine. Housed in slipcase. (Bradbury, p. 53). (2 7/8 by 2 9/16; 74x65mm).

(Santa Cruz, CA): Peter & Donna Thomas, 1999. Thomas, Peter and Donna. One of forty-two copies. Five sheets, each one wrapped around a dowel that when twisted reveals the text printed on the underside. Thus the reader can read the first words of Dante's quotation - "Paradise: nature, stardust, music & romance" - and then flip each dowel in turn to show the remainder: "...for not only in my eyes is paradise." Dowels and sheets set into wood frame, which is housed between boards covered in paper repeatedly printed with "Paradise." Trace rubs to corners, else fine. (Measures 2 3/4 by 2 in.; 70x51 mm).

(Montreal, QC: Roger Huet / Editions du Parnasse, 1990. 31pp. One of 200 copies. Frontispiece portrait of Mozart. Bound in green leather wrappers with paper label to upper cover. Fine. (1 by 7/8 in.; 29x21mm).

(Van Nuys, CA: Raheb, Barbara J., 1980. Raheb, Barbara J.. 140pp. One of 300 copies, signed and numbered by Barbara Raheb. A history of Stirling Castle, located in Scotland. Fine in green and black gilt-stamped pyroxylin. (Bradbury, p. 207). (15/16 by 3/4; 24x18mm).

Boston, 1991. Davidson, Laura. Unique book art object, signed and dated by the artist, made from wood, acrylic, paper, ink, and metal keys. Constructed as a temple, the statuesque object has two swinging doors on which Davidson has inked a Hindu tale; this and other designs are presented over excised maps and travelogues, creating a multimedia collage. The pillared templed stands upon a platform ornamented with six keys, each labeled "a" through "d" (there are multiple for "b") to mirror the coordinate grid of the map. The whole is a companion piece to Davidson's first editioned book, To Open, completed in the same year. Fine. Housed in custom box. (12 by 10 1/4 by 3 5/8 in.; 340 x 264 x 94 mm).

Boston: Laura Davidson, 1991. Davidson, Laura. Small octavo. (6)pp., frenchfold. One of forty-one copies, signed by the artist. This artist's book by Davidson, her first editioned book, uses hand-printed linocuts and collages to interpret a travelogue, showing keyholes, houses, and round swirls on top of maps. Printed in three colors, the five pages of illustrations are followed by a page of text, which recites a short Hindu tale, printed in black. Bound in wooden boards, which are shaped like a house and painted black, with a leather spine. On the front cover is mounted a metal key, the words "to open" printed in pencil above the key. Fine.

Chicago: Black Cat Press, 1961. 51pp., frenchfold. From an edition of 300 copies, this is one of twenty-one sets of sheets bound in 1975 by Bela Blau. A collection of poetry by Frank Marshall Davis, an African-American poet. Full black morocco with title in gilt on the spine. (Black Cat bibliography, p. 37-8; Bradbury, p. 20). (2 5/8 by 2 3/8; 66x59mm).

Chicago: Black Cat Press, 1961. 51pp., frenchfold. One of 300 copies. A collection of poetry by Frank Marshall Davis, an African-American poet. Bound at Monastery Hill Bindery in full black calf with title on the spine. (Black Cat bibliography, p. 37; Bradbury, p. 20). (2 5/8 by 2 3/8; 66x59mm).

Skokie, IL: Black Cat Press, 1978. (44)pp. One of 249 copies. Featuring the poetry of Davis, who was a journalist and community organizer during the mid twentieth century, before the Civil Rights Movement as we temporalize it today. Bound in black leather, gilt stamped, over boards. Faint rubs to covers, else near fine. (2 3/4 by 2 1/4; 70x57mm).

San Diego: Miniature Book Society, 2009. 21pp. With an Introduction by Dawson's daughter, Karen Dawson Ganske. Illustrated with black & white photos. Fine in gilt-titled cranberry cloth-covered boards. (2 7/8 by 2 1/8; 73x54mm).

Portage, IN, and Los Angeles: Dawson's Book Shop, 1981. (32)ff. A checklist of publications compiled by Mary Helen and Glen Dawson as a revision to their Miniature Books List Number 102. Very fine in full brown leather with title stamped in gilt on spine. (2 15/16 by 2 3/4; 75x70mm).

Cincinnati: Mosaic Press, 1981. Kintzer, Cynthia. (48)pp. Signed by the printer, Miriam Irwin. The story of a lamp's role in the author's family history. Edges slightly rubbed, else fine in quarter leather and marbled boards, spine titled in gilt. (1 by 3/4; 25x20mm).

Van Nuys, CA: Barbara J. Raheb, 1979. 70pp. One of 300 copies. A fine copy in a burgundy leather binding with gilt decorations and titling. (15/16 by 11/16; 24x18mm).

Le Caire: Imprimerie Nationale de Boulaq, 1884. 32mo. 320pp. Second edition. A French-Arabic textbook, here with impressive typographic innovation to suit Arabic script to the printed object. The book, both as an effort in linguistic translation and as a collaborative project between French aristocrat and Egyptologist Jean-Baptiste (Henry) de Vaujany and Middle-Eastern editor and translator Moustapha-Bey Radouan, exemplifies a moment in the French colonial enterprise, its equally commercial and cultural fascination with North Africa and Egypt in particular. Scholar Lisbeth Zack situates the publication within a larger 19th-century surge in similar French-Arabic textbooks, citing this one as a cumulative and corrective work, predicated on previous, similar textbooks. She even goes so far as to contextualize the work within this environment of copying and replication, noting that this series of publications were legally plagiaristic, even despite their obvious differences. Zack also notes the… Read More

London: Basilisk Press, 1979. Craig, Edward Gordon. Quarto. 180pp., + (10)ff. From an edition of 500 copies, this is one of twenty-five with ten original wood engravings bound-in subsequent to the text, five of which are signed by the book's illustrator, Edward Gordon Craig. For decades, Craig nurtured an interest in Daniel Defoe's story about the castaway Robinson Crusoe. Craig's copy of the book was well-read and heavily annotated, with the phrase "My beloved book" written by him on one of the pages, clearly revealing his feelings for the story. He created sketches and even cut numerous blocks for an illustrated edition of the book he hoped to one day publish. After the success of the Cranach Press Hamlet, for which Craig contributed the illustrations, he and the Press's founder, Count Harry Kessler, began to develop an edition of Robinson Crusoe, using the illustrations Craig had assembled over the years. They printed a proof of the first page of the book, set in the Hamlet type designed by Edward… Read More

Paris: Guérin Müller & Co, 1865. Small quarto. 8ff., printed one side only, with a pop-up image folded over the text. Each pop-up consists of three layers: a background, a middle ground with the characters of the particular scene, and the foreground with small landscape elements at ground level. A turquoise ribbon connects the layers and extends long enough for the reader to pull the pop-up into an upright position. This is the first French edition of the second title in the New Scenic Series produced by Dean & Sons; other titles in this series using this ribbon-pull style of pop-up include Aladdin, Cinderella, and Little Red Riding Hood. All images intact, with all eight ribbons still of original length and unrestored. Original cloth-backed color printed boards show some rubbing and light wear, else fine and bright.