Search Results: Authors starting with P from Bromer Booksellers

Amos Paul Kennedy, Jr., 2018. Kennedy, Jr., Amos Paul. Letterpress poster, from Amos Paul Kennedy, Jr.'s series honoring Rosa Parks. Signed by the artist. Each installment in this series highlights Parks's determination, humanity, and honesty, upholding her persistent activism and uplifting her famous, yet sanitized, moment of refusal to bow to segregation. The masterful technique of layering colorful wood type used by Kennedy, the 2021 APHA Individual Laureate, brings a visual echo to Parks's words, crafting a literal resonance to match Parks's historical one. The multidimensional terrain of text is designed so that the viewer cannot look at the same image twice; one day they may look at it in a new way or notice a new word, so that the poster and its proverb become active vessels for study and reflection. Minor edgewear, else fine. (17 by 12 in.).

Amos Paul Kennedy, Jr., 2018. Kennedy, Jr., Amos Paul. Letterpress poster, from Amos Paul Kennedy, Jr.'s series honoring Rosa Parks. Signed by the artist. Each installment in this series highlights Parks's determination, humanity, and honesty, upholding her persistent activism and uplifting her famous, yet sanitized, moment of refusal to bow to segregation. The masterful technique of layering colorful wood type used by Kennedy, the 2021 APHA Individual Laureate, brings a visual echo to Parks's words, crafting a literal resonance to match Parks's historical one. The multidimensional terrain of text is designed so that the viewer cannot look at the same image twice; one day they may look at it in a new way or notice a new word, so that the poster and its proverb become active vessels for study and reflection. Minor edgewear, else fine. (17 by 12 in.).

Amos Paul Kennedy, Jr., 2018. Kennedy, Jr., Amos Paul. Letterpress poster, from Amos Paul Kennedy, Jr.'s series honoring Rosa Parks. Signed by the artist. Each installment in this series highlights Parks's determination, humanity, and honesty, upholding her persistent activism and uplifting her famous, yet sanitized, moment of refusal to bow to segregation. The masterful technique of layering colorful wood type used by Kennedy, the 2021 APHA Individual Laureate, brings a visual echo to Parks's words, crafting a literal resonance to match Parks's historical one. The multidimensional terrain of text is designed so that the viewer cannot look at the same image twice; one day they may look at it in a new way or notice a new word, so that the poster and its proverb become active vessels for study and reflection. Minor edgewear, else fine. (17 by 12 in.).

Amos Paul Kennedy, Jr., 2018. Kennedy, Jr., Amos Paul. Letterpress poster, from Amos Paul Kennedy, Jr.'s series honoring Rosa Parks. Signed by the artist. Each installment in this series highlights Parks's determination, humanity, and honesty, upholding her persistent activism and uplifting her famous, yet sanitized, moment of refusal to bow to segregation. The masterful technique of layering colorful wood type used by Kennedy, the 2021 APHA Individual Laureate, brings a visual echo to Parks's words, crafting a literal resonance to match Parks's historical one. The multidimensional terrain of text is designed so that the viewer cannot look at the same image twice; one day they may look at it in a new way or notice a new word, so that the poster and its proverb become active vessels for study and reflection. Minor edgewear, else fine. (17 by 12 in.).

Amos Paul Kennedy, Jr., 2018. Kennedy, Jr., Amos Paul. Letterpress poster, from Amos Paul Kennedy, Jr.'s series honoring Rosa Parks. Signed by the artist. Each installment in this series highlights Parks's determination, humanity, and honesty, upholding her persistent activism and uplifting her famous, yet sanitized, moment of refusal to bow to segregation. The masterful technique of layering colorful wood type used by Kennedy, the 2021 APHA Individual Laureate, brings a visual echo to Parks's words, crafting a literal resonance to match Parks's historical one. The multidimensional terrain of text is designed so that the viewer cannot look at the same image twice; one day they may look at it in a new way or notice a new word, so that the poster and its proverb become active vessels for study and reflection. Minor edgewear, else fine. (17 by 12 in.).

Amos Paul Kennedy, Jr., 2018. Kennedy, Jr., Amos Paul. Letterpress poster, from Amos Paul Kennedy, Jr.'s series honoring Rosa Parks. Signed by the artist. Each installment in this series highlights Parks's determination, humanity, and honesty, upholding her persistent activism and uplifting her famous, yet sanitized, moment of refusal to bow to segregation. The masterful technique of layering colorful wood type used by Kennedy, the 2021 APHA Individual Laureate, brings a visual echo to Parks's words, crafting a literal resonance to match Parks's historical one. The multidimensional terrain of text is designed so that the viewer cannot look at the same image twice; one day they may look at it in a new way or notice a new word, so that the poster and its proverb become active vessels for study and reflection. Minor edgewear, else fine. (17 by 12 in.).

Amos Paul Kennedy, Jr., 2018. Kennedy, Jr., Amos Paul. Letterpress poster, from Amos Paul Kennedy, Jr.'s series honoring Rosa Parks. Signed by the artist. Each installment in this series highlights Parks's determination, humanity, and honesty, upholding her persistent activism and uplifting her famous, yet sanitized, moment of refusal to bow to segregation. The masterful technique of layering colorful wood type used by Kennedy, the 2021 APHA Individual Laureate, brings a visual echo to Parks's words, crafting a literal resonance to match Parks's historical one. The multidimensional terrain of text is designed so that the viewer cannot look at the same image twice; one day they may look at it in a new way or notice a new word, so that the poster and its proverb become active vessels for study and reflection. Minor edgewear, else fine. (17 by 12 in.).

Amos Paul Kennedy, Jr., 2018. Kennedy, Jr., Amos Paul. Letterpress poster, from Amos Paul Kennedy, Jr.'s series honoring Rosa Parks. Signed by the artist. Each installment in this series highlights Parks's determination, humanity, and honesty, upholding her persistent activism and uplifting her famous, yet sanitized, moment of refusal to bow to segregation. The masterful technique of layering colorful wood type used by Kennedy, the 2021 APHA Individual Laureate, brings a visual echo to Parks's words, crafting a literal resonance to match Parks's historical one. The multidimensional terrain of text is designed so that the viewer cannot look at the same image twice; one day they may look at it in a new way or notice a new word, so that the poster and its proverb become active vessels for study and reflection. Minor edgewear, else fine. (17 by 12 in.).

Amos Paul Kennedy, Jr., 2018. Kennedy, Jr., Amos Paul. Letterpress poster, from Amos Paul Kennedy, Jr.'s series honoring Rosa Parks. Signed by the artist. Each installment in this series highlights Parks's determination, humanity, and honesty, upholding her persistent activism and uplifting her famous, yet sanitized, moment of refusal to bow to segregation. The masterful technique of layering colorful wood type used by Kennedy, the 2021 APHA Individual Laureate, brings a visual echo to Parks's words, crafting a literal resonance to match Parks's historical one. The multidimensional terrain of text is designed so that the viewer cannot look at the same image twice; one day they may look at it in a new way or notice a new word, so that the poster and its proverb become active vessels for study and reflection. Minor edgewear, else fine. (17 by 12 in.).

(Leeds, MA): Gehenna Press, 1989. Bartolini, Anna Maria. Quarto. (13)pp, (25)ff. One of thirty-eight copies. A collection of etchings of cats by the Italian artist Anna Maria Bartolini, some of which are printed on pink mulberry paper and tipped in. All are signed by the artist in graphite. Some of the cats are anthropomorphized, and others abstracted into bold lines. Bartolini's cats are expressive, with individual personalities and characteristics: one, with long eyelashes, gazes wide-eyed at a winged insect, while another narrows its eyes hungrily at a fish dangling from a hook. The etchings were printed in Florence, Italy. In the Introduction, the Florentine poet and novelist Mario Graziano Parri explores the roles and symbolism of cats throughout history. He writes of Bartolini, "The Author of the engravings which are the reason for this book does not love cats. She is attracted rather by their mystery." Although not called for, this copy has been inscribed on the colophon by Leonard Baskin to a… Read More

Windsor, VT, 1899. (2)ff., on rectos only. In this revealing two-page letter, Maxfield Parrish bemoans last-minute controversies and deadlines related to The Bodley Head's 1899 publication of Kenneth Grahame's The Golden Age. Primarily his complaints stem from the poor quality of the reproductions of his illustrations—Parrish provided nineteen full-page images and twelve tailpieces for the edition—as well as the apparent apathy of John Lane, the head of The Bodley Head, toward their improvement. Parrish includes two proposed versions of the book's cover, one with wide margins and one with narrow. He states a desire to come up with a new idea, but it seems the latter design won out, appearing in blue with a gilt die. He closes the letter with a postscript questioning the categorization of The Golden Age as a children's book at all. A fine letter, with unique insight into Parrish's early years as an artist and illustrator. Folded in fourths.

(Boston: Marian Parry, 1998. Parry, Marian. (10)ff. One of thirty copies, signed by the artist, Marian Parry. Eight 2-by-3-inch cards (plus two more for the title and colophon) show various odd couples, satirically illustrated. The drawings were xeroxed and then playfully hand-colored by Parry, a well-known artist and illustrator. Fine in a marbled paper-covered portfolio, backed in cloth, with ribbon ties. (3 3/16 by 2 3/8; 82x60mm).

Cambridge, MA: Runcible Books, 1987. Parry, Marian. (12)ff. One of thirty copies, signed by the artist, Marian Parry. This copy inscribed by her on the first card to Dorothea Widmayer and Eleanor Webster. Ten 2 by 3-inch cards show the characters: the fascinating foreigner; the ingenue libertine; the weak young man, the scholar; the eccentric millionairess, etc. The reader then creates his or her own story using those characters. The drawings, with their captions, were xeroxed onto Arches paper and then hand-colored by Parry, a well-known artist who has illustrated books for children and for the Limited Editions Club. Fine in a cloth-backed portfolio of marbled boards, with ribbon ties. (3 3/16 by 2 3/8; 82x60mm).

Cambridge, MA: Runcible Books, 1977. Parry, Marian. 48mo. Ten cards. One of forty copies, signed by Parry on the colophon card. Eight of the cards feature fanciful drawings of signature Bostonians, reproduced by Xerox and hand-colored by the artist. All held in a Cockerell-covered portfolio. Fine.

Coaraze: Les Editions Coaraze, 1955. Gonet, Jean de. 16mo. 30, (2)pp., + 3 inserted plates. From an edition of twenty-four copies, this is one of twelve printed on Alfa Ivoire paper and labeled for a month of the year. Signed by Arman, the illustrator, on the colophon page. Arman's contributed plates offer a relatively early glance at his realized style, which he developed in accordance with the Nouveau Réalisme movement of the mid-twentieth century. Along with Yves Klein and Claude Pascal (or Pascal Claude, as he sometimes signed in his more well-known career as a composer and music critic), he embraced a vision of the world that saw it as a series of images to be reformatted, reorganized, and reanalyzed. This particular edition also records the brief moment when Arman identified himself only by his given first name, "Armand," after the fashion of Van Gogh; in a couple of years he would change to "Arman." Claude Pascal's accompanying poetry takes a similarly esoteric view of reality, exercising a… Read More

Paris: La Bibliotheque de Arts, 1968. Ciry, Michel. Quarto. 130pp. Of an edition of 600 copies, this is one of 40 with two original engravings numbered signed by Ciry. In this copy, one engraving is of Salome, completed in 1949, and the other is of Saint Sebastian, completed in 1950. The catalog of Ciry's works is lushly illustrated, and the reproductions give due credence to the haunting quality of the originals. Bound in full blue buckram, with yellow printed dust wrapper and housed in slipcase. Both volume and slipcase show some exterior rubbing, else near fine.

(NY): Limited Editions Club, 1994. Balthus. Folio. 12ff. One of 300 copies, signed by the author and Balthus, the illustrator. Text in Spanish, French, and English. Designed by Dan Carr and printed at the Wild Carrot Press in Hadley, MA, on handmade Kozo Uwazen paper, this trilingual edition of Paz's poem is illustrated with three full-page color woodcuts designed by Balthus, to whom the poem was dedicated. Balthus's paintings, from which the illustrations were cut into wood by Keiji Shinohara of Malden, MA, measure nearly two feet in length and depict a rural landscape, a female nude, and a still life of vegetables. The poem was originally published in Spanish and English translation by New Directions in 1987 and, as Paz states, is about light, which "is time thinking about itself." Bound in linen boards with a goatskin spine, and housed in a tan cloth-covered clamshell box with a leather label to the front cover. A fine New England production by a celebrated poet. Announcement and letter from… Read More

Amsterdam: Aschenbach Galerie, 1989. Penck, A. R.. Oblong octavo. (12)pp. One of 100 copies, signed and numbered. Penck's signature raw, "primitive" style, which takes cues from graffiti and hearkens to the concurrent pop art movement championed across the Atlantic by Keith Haring and Jean-Michel Basquiat, embodies and communicates the anxious selfhood of one living in Germany during the Cold War. Penck repeats "Who are you?" to seemingly no answer except the declaration of his own name and the paradox "I am in the west but I'm from the east." A terse and profound reckoning with the psychological and political fallout imposed upon German residents, and particularly Berliners, during the latter half of the twentieth century, Penck points directly at the both symbolic and literal signpost of that rift: the border crossing. X's throughout signify that division, and along with it the pain of a geopolitical and ethnic identity in conflict with itself. The book is a deeply personal creation; Penck was… Read More

London: Cyril Beaumont, 1918. Tijtgat, Edgard. Octavo. (iii), 16, (1+16)ff., frenchfold. From an edition of fifty copies, this is one of ten printed on chine and signed by the artist. This is the story of Little Red Riding Hood, with woodcut text and illustrations by Belgian artist Edgard Tijtgat. Sixteen illustrations, hors texte, appear in two states: color and bistre. Tijtgat's illustrations are bold and expressionistic in style, and also deceptively innocent: things do not end well for Red Riding Hood in Charles Perrault's moral and more sinister version of the tale. Floral motif on the endpapers and repeated throughout the book. Tijtgat is associated with the Brabant Fauvists, a Belgian movement focused on pure, bold colors and simplified lines, similar to the Fauves led by Henri Matisse in France. During World War I, Tijtgat set up his printshop in England, where this book was published. Light foxing to upper margins of a few pages, some faint offsetting from prints, short closed tear to spine… Read More

Smithfield: J. L. Marks, 1840. 32mo. 12pp. Frontispiece woodcut showing a rather gothic take on Blue Beard defending himself from animate skeletons. One of several editions issued by Marks, this rather scarce, with no apparent holdings recorded in OCLC. Bound in tan printed wrappers with publisher's advertisements at lower. Some exterior soiling and motes of chipping, else very good.