Search Results: Titles starting with K from Bromer Booksellers

(Mill Valley, CA: Sunflower Press, 1980. Weiss, Diane. (27)pp. One of 125 copies signed and numbered by the author-printer Carol Cunningham. Printed in brown and black and illustrated with "kachinas," masked Hopi dance figures, by Diana Weiss. Bound in black paper-covered boards, minutely rubbed, with printed paper label. Near fine. (2 1/2 by 3; 64x75mm).

Leningrad: Raduga, 1927. Lebedev, Vladimir Vasil'evich. Small quarto. (12)pp. Bright color illustrations throughout. A rhyming Russian story for children, in which a worn-out old carpenter's plane makes a new plane, his "grandson," to carry on his work. The plane is aided in his work by fellow woodworking tools like the chisel, mallet, and saw. A collaborative work by writer, translator, and poet Samuil Marshak, and painter and graphic artist Vladimir Lebedev. The pair worked together frequently, and were important in the development of children's literature in Russia. In the 1920's, Lebedev became known as "King of the Children's Book," and Maxim Gorky said of Marshak that he was "the founder of Russia's (Soviet) children's literature." Marshak published under Raduga (Rainbow) from 1922 to 1930, while he worked in Leningrad as the head of the Children's Literature Studio. Stapled into self-wrappers, showing some wear at the spine and light staining. Near fine.

Milan: Edizioni Culturali Della Rivista, 1954. Small octavo. (46)pp. One of 650 copies. A history and manual of Japanese papermaking, with illustrations throughout featuring Japanese people at various tasks both related and unrelated to paper production. Text printed in Italian. Bound in pale paper wrappers with black illustration and title to front cover. Some rubbing to spine and faint soiling at edges, else near fine. Rare, with no copies in OCLC.

Oakland, CA: Karl Kardel Co, 1974. Goines, David Lance. Broadside measuring 24 by 18 1/4 inches. One of 1,850 copies. Designed by California artist David Lance Goines and printed in 8 colors, this advertisement for Karl Kardel Co. features a bumblebee over an ochre background. The design was inspired by an unknown philosopher's take on Isaac Watts, "How doth the little busy bee improve each shining hour? Well, how doth it indeed? By working. All things cometh to him that waiteth, providing he worketh like hell while he waiteth." The image appeared in several publications, including Print (September/October 1974) and Images of an Era: The American Poster, 1945-1975 (Smithsonian Institution, 1975). A few minor creases, else fine. (Goines #34).

Fullerton, CA: Lorson's Books, 1981. A keepsake horn book, on which is affixed a printed sheet showing an alphabet and a quotation by "F.I." from 1976. One of fifty copies. Some adhesive loosening, else fine. (3 1/16 by 1 1/4 in.; 77x41mm).

(Council Bluffs, IA: University of Maryland at College Park Libraries and the Yellow Barn Press, 1990. DePol, John. Quarto. vi, 32pp. One of 170 copies. With an original leaf tipped in. Text by noted Morris scholar William S. Peterson, who provides documentation in the form of correspondence and diary entries. Peterson tells the story of the Kelmscott Press's seventh book, which was originally intended to be their initial publication, from inception to publication. With facsimilies of a page from an 1893 Bernard Quaritch catalogue, advertising the "nearly out of print" Golden Legend, and a letter from William Morris explaing that copies should be ordered from the publisher before publication. Original wood engraved frontispiece portrait of Morris by John DePol. In gray buckram with a lettering-piece on the spine gilt-stamped with the title. Prospectus and errata slip laid in.

Vancouver, B.C.: Heavenly Monkey, 2019. Jackson, Martin. Tall quarto. 18, (10)pp., + two tipped-in leaves. From an edition of 55 copies, this is one of twenty comprising the "Written" issue, featuring original calligraphy by Martin Jackson on the printed pages. Signed by Jackson on the colophon page. The text is Alfred W. Pollard's essay, which first appeared in 1921 as the introduction to the catalogue of William Andrews Clark's Kelmscott and Doves collections, printed by John Henry Nash. Pollard offers a summary of the typographical and aesthetic aims of both presses, the common denominator of each being Emery Walker; this edition presents the opportunity to examine a specific example from both presses-each of which Pollard references in his essay. The leaves included here are from the Kelmscott edition of The Golden Legend and from The English Bible, considered by many to be the masterpiece of the Doves Press. With a "Note from the Printer" which examines several of Pollard's statements about… Read More

Dordrecht: A. Blusse & Zoon, 1794. (Bendorp, Karel Frederik, the Elder). 24mo. 24pp., + 8 plates. The engraved plates depict the marvels of a fair and the street performances therein, including dancing, singing, and a magician, all hand-colored. Particular highlights include a hurdy-gurdy man and a magic lantern show featuring a naval battle. The illustrations originally appeared with poems by Roelof Arends, under the title Vaderlandsche Kermisvreugd in 1782. Here, however, the poems are unattributed, and have changed from Arends's moralistic and aristocratic tone to a voice more keen on enjoyment and democracy. Bound in marbled paper wrappers, lightly rubbed, else fine. Only one copy listed in OCLC.

Kyoto, Japan, 1827. Kawamura Kiho. Small quarto. 2, 31, 4ff. Illustrated with thirty color wood-block prints by ukiyo-e artist Kawamura Kiho. Kiho, who was also known as Shun, Goitsu, and Chikurikwan, was the adopted son and acknowledged disciple of artist Kawamura Bumpo. Both Bumpo and Kiho are stylistically similar to the the Shijo school, which preferred gray and black lines highlighted with pale blushes of color over the more vivid ukiyo-e style popular at the end of the eighteenth century. These light colors are perfectly suited to this sensitive collection, most of which illustrate simple and quiet scenes from everyday life. Farmers and fisherman are interspersed with portraits of plants and animals. Of especial interest are three prints of people reading—a farmer bundling rice while reading a book laid open on the ground, a bearded man huddling beneath a lamp, and man lounging beneath a full moon. The images are preceded by a four-page preface and one page of calligraphy, and followed by a… Read More

Worcester, MA: St. Onge, Achille J., 1952. 27pp. One of 750 copies. Illustrated with a portrait frontispiece of King George VI by Karsh of Ottawa. First American edition of Winston Churchill's speech. Printed by the Chiswick Press and bound by Sangorski & Sutcliffe. Sunning to upper cover, else near fine in red morocco with gilt-stamping. A.e.g. (Massmann 8; Bradbury, p. 252). (2 1/4 by 1 1/2; 57x37mm).

Verona: Officina Bodoni, 1968. Manzù, Giacomo. Folio. (96) (iv) pp. From an edition of 114 copies, this is one of 105 on Magnani paper, signed by the artist, Giacomo Manzù, on the colophon page. This copy also bears a contemporary inscription from Manzù on the front endpaper. Illustrated with seven full-page etchings by Manzù. Printed by Martino Mardersteig for the American art publisher, A.E. Racolin. Loose, as issued, in the publisher's binding of green morocco-backed vellum with a relief of the head of Oedipus by Manzù. Martino Mardersteig recounts the "strange pre-history" of this elegant edition: he and A.E. Racolin approached Manzù twice about his illustrating a book for an American audience, and both times the artist rejected the poems under consideration for his illustrations. During the second visit, Mardersteig noticed Manzù's sketches for costumes and decor for Stravinsky's Oedipus Rex, which included "a magnificent metre-high relief of the head of Oedipus." Mardersteig and Manzù… Read More

NY: William Edwin Rudge, 1930. Horvath, Ferdinand Huszti. Octavo. (65)pp. One of fifty copies, containing an ALS from Ruskin tipped-in to a front flyleaf, and signed by the artist below the caption to the frontispiece. In addition to the frontispiece are five additional engravings by Horvath, all full-page and all evincing a keen eye for shadows and atmosphere, a particularly relevant talent to apply to Ruskin's tale of fancy and deceit. Bound in black boards with gilt titling to spine, and housed in original dropback box, generally soiled. Near fine. Bookplate of Margaret and Elwood Feldstein to front paste-down.

Pasadena: Karen Dawson, 1963. Dawson, Karen. (23)pp. A delightfully humorous story about the merits of butter for the morning toast. In blue leather boards, with "Milne" stamped in gold on a red label pasted onto the spine. Some rubs to spine and corners, spine a bit faded, else very good. (1 7/8 by 1 3/8;47x35mm).

Berkeley: Poole Press, 1980. 38pp. Illustrated with two photographs. Signed by J.R. Adams, who contributed the Foreword, and the printer, Maryline P. Adams. Opaque stain to lower corner of cover, else near fine in cloth-backed marbled boards. (2 5/8 by 2 3/16; 67x55mm).

Bob Ziering, 2009. Ziering, Bob. Pastel on paper. Signed and dated by the artist, Bob Ziering. Original exploratory artwork for the gay 2010 American short film Curious Thing directed by Alain Hain. This bold, emotional piece is Ziering at his most authentic; a celebrated commercial illustrator, it was only after more than forty years of work that Ziering found voice for his homoerotic work, which he had kept hidden his entire career. He first displayed his personal artistic vision in a group show at the Leslie Lohman Museum of Art and in a solo show, "Secret Sex," at the same venue in 2004. In his ability to capture movement through color, Ziering celebrates the vibrancy of queer desire and the inevitability of passion. Fine. Framed. (26 by 34 in.).

Leipzig: Magazin für Industrie und Literatur, 1816. Oblong octavo. 15ff. Komische Mahlerey, or "Funny Paintings," is a book of "reversible faces," containing fifteen etchings which become different characters when viewed right-side up or upside-down. Both sides of the image are labeled in German, and the two faces are often revealed to contrast with or comment on each other: a woman as she looks at home versus when she is made up to go out; a hermit juxtaposed with a night owl; and stupidity together with idleness. One set of faces has the same label for both sides—"Der Sänger em Hof" or "The singer in the yard"—which is revealed to be both a man singing and a rooster. Another set consists of portraits of two British admirals, Sir John Duckworth and Sir Robert Calder, both of whom served during the conflicts of the late 18th century, including the American and French Revolutions and the Napoleonic Wars. Two leaves have more than one set of reversible faces, and the images on the last two leaves… Read More

Entirely in Arabic, and with delightful typographic ornament, especially elaborate at the title page. Bound in considerably tooled imitation leather. Near fine. A.e.g. (1 3/8 by 1; 35x25mm).

Kyoto, Japan: Unsodo, 1891. Taniguchi Kokyo after Ogata Korin. Oblong folio. (14)ff. Contains twelve woodblock prints in bright colors and gold and silver metallic ink by Taniguchi Kokyo after Ogata Korin in the Rinpa style. Rinpa artists worked in a variety of formats, including screens, fans, and hanging scrolls; the images in this volume include nine designs for folding fans and three vertical designs that could have been used for hanging scrolls or panels. The designs show a mix of natural subjects, such as gold flowers and deep red maple leaves, to human figures, such as a group of cantankerous priests. There are also two designs showing women in elegant flowing kimonos, and one breathtaking fan of tumultous waves crested in silver against a gold background. Compared to the bold fan designs, the three panels at the end of the volume are quieter, using of bokashi printing to render subtle brown and black ink washes for the three sparse nature scenes: a solitary deer in autumn, a small group of… Read More

Munich: Kampagne für Abrüstung, 1964. Square octavo calendar. (32)pp. This the editor's proof copy, with corrections in colored pencil to the verso of the March sheet and the April sheet, likewise with editoirial marks, clipped and taped to May. Each month illustrated with work from, according to the back cover, "voluntary or involuntary contributors," among whom are Picasso, Ben Shahn, Franz Masereel, and photographers hailing from the United States, Germany, England, and the Soviet Union. The versos of each month (some months occupy more than one sheet) display manifestoes, diagrams, and reportage on the disarmament effort; November's verso offers a particularly fascinating glimpse at the contemporary literature underpinning the movement. The calendar as a whole, in fact, encapsulates the past, present, and future of anti-war protest, generating the unity of feelings of outrage, exhaustion, and urgency that motivated the current effort. Spiral-bound. Trace edgewear, else near fine.

(Japan: Sûzan Shobô, 1816. Bôsai, Kameda. Small quarto. (19)ff. A Japanese book of color woodblock prints by Kameda Bôsai (1754-1826), one of the leading painters of the Nanga or Bunjinga (literati) schools of painting. The seventeen full-page illustrations, five of which extend across the page spread, are landscapes depicting mountainous terrain, comprised of strong, black calligraphic lines with soft colors. Each includes descriptive text printed along the margins and the artist's stamp in red. The images are simple but poetic, expressing the artist's love of the natural world, with descriptions that translate as: "The refreshing sound of a mountain waterfall," "The intoxicating effect of river and mountains," "Solitary fisher on a wintry river," and "Jeweled mountains like sapphires and water like emerald," among others. With a preface and two closing notes. Working during the Edo period, Bôsai was recognized for his paintings, calligraphy, and book illustrations. In her book Block Printing… Read More