Search Results: Titles starting with L from Bromer Booksellers

(NY): The Typophiles, 1963. 16 bifolia, + 1f. and 8pp. booklet. One of 125 copies. Contributions to this tribute to paper distributor Herbert Farrier include a watermark design by Heidi and Fridolf Johnson of the Mermaid Press; a woodcut by John De Pol; a real metal horseshoe nail shaped into a ring and affixed to a printed sheet of paper; a small folded broadside designed by Jack Stauffacher; a wood-engraved portrait of Farrier by Bernard Brussel-Smith; and a print from an original block of Bewick's "Fallow Deer" from Katherine and Robert Middleton. A wide variety of papers are represented, as one would expect to honor a great "paper peddler." Two invitations to attend the accompanying dinner laid in, one with an RSVP card and the other with an information sheet on contributing to the keepsake. Card portfolio holding the individual contributions printed at the Press of the Iron Horse. Portfolio toned, with light edgewear, else near fine. (Not listed in Rathé).

Enkhuizen, Holland: Jack R. Levien, 1971. (12)ff. One of 100 copies, inscribed by Levien with a hand-written colophon. A facsimile of a miniature book published by Jacques Meson in Anvers in 1667. The text is extracts from the Gospel of John. With frontispiece and illustrated title. Fine in green grosgrain silk boards. (1 3/4 by 1 7/16; 45x36mm).

(N.p.): Fantod Press, 1975. Gorey, Edward. First edition. One of 500 copies, signed by Gorey. Blue and black-printed illustrations of two dog-like creatures in lettered sweaters facing each other appear opposite text pages consisting of two lines of conversation. Minute edgewear, else fine in blue and black illustrated wrappers. (Toledano A60b).

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.

Shirley, Solihull: Cherub Press, 1986. Renton, Michael. 48mo. (14)pp. From an edition of 160 copies, this is one of 85 sewn into Strathmore covers with Roselle marbled endpapers. With two full page engravings by Renton capturing the romance of Keat's poem. Fine.

(Shaker Heights, OH): Wind and Harlot Press, 1986. Delrue, Paul C.. 12pp. One of twenty-three copies. Keats's ballad of a knight wooed by a beautiful and wild "faery's child" and then abandoned by her, haggard and pale, on the cold hillside. In a designer binding by Paul Delrue depicting the setting at the poem's beginning and end: the countryside after harvest has ended, a barren and empty landscape with a sloping hill and the silhouettes of birds overhead. A rustic fence borders the pale green, tan, and brown fields, all created using Delrue's signature "Lacunose artwork." In this technique, Delrue covered the boards first with tan goatskin, and then many layers of leather in autumnal hues, some puckered and others flat, were overlapped and alternately sanded down smooth and varnished with PVA to create various effects. The Lacunose panels are set onto the goatskin background intentionally askew, echoing the knight's disorientation, and bordered by blind-stamped circles. The endpapers are grey and… Read More

Paris: Marcilly Ainé, 1825. Six 32mo. volumes, 31pp. each, except "Normandie," which is 32pp. Each volume bears two full-page color engravings, focusing on the different attire worn in the various French regions represented among the set and some of their most notable cities. The six volumes discuss Normandy, Béarn and Languedoc, Brittany, Auvergne and Cévennes, Alsace and Vendée, and Gascony. In addition to their sartorial customs, each region receives a description of its cities, landmarks, and customs, such as the markets of Brittany and the tide-driven lifestyles of Mont-St-Michel in Normandy. All volumes bound in differently-colored paper over boards with floral designs in blind around an emblematic costumed figural engraving in color at the center. Minor general soiling and toning to spines, scant foxing to interiors, else a bright, near fine set housed in rare original slipcase.

London: G. Pickering, 1822. 2 vols. (vii), 405pp, paginated continuously. Engraved double-page title in first volume, including frontis portrait of Tasso. Head- and tail-pieces divide the cantos of Tasso's imaginative poetic retelling of the Seige of Jerusalem, here dutifully printed entirely in Italian. As he was wont to do, Pickering also prints the parerga in the text's original language. The second volume concludes with advertising for the forthcoming publications of Dante's Divine Comedy and poetry of Petrarch. Both volumes bound in brown calf over boards with gilt double rule as frame to upper and lower covers, spine with four raised bands and gilt rules and titling, and gilt rules to edges and rolls to turn-ins. Ribbons intact. Some rubbing and toning to spines, faint edgewear, else near fine. A.e.g. (Both measure 3 1/4 by 2 in.; 84x54 mm).

Colombes, France: Collectif Génération, 1990. Rousseau, Florent. Square octavo. (15)ff. One of 60 copies, signed by the author, Marcelin Pleynet, and the illustrator, Bertrand Dorny. With imaginative engraved and blind-stamped illustrations throughout, to accompany Pleynet's modernist text. Many of the pages fold out to give the reader the feeling of discovery and thorough study. Bound in 2015 by Florent Rousseau, one of the few European binders with consistent mastery of unique materials. The volume is bound with a metallic fabric spine and glittering covers of industrial plastic, resembling chrome, with dozens of die-cut squares through which are seen all manner of colors. Eight overlays, four on each cover, of the same plastic mimic Dorny's illustrations; two extend to the paste-downs, on which Rousseau has signed and dated the work. Finished with suede free endleaves and a yellow chemise and slipcase. Fine.

Vancouver: Heavenly Monkey, 2018. Quarto. 63, (ii)pp. One of twenty-five copies (Series 3). With two leaves tipped in, one originating from George Wither's A Collection of Emblemes, Ancient & Moderne (London, 1635), and the other from the Nucleus Emblematum Selectissimorum of Gabriel Rollenhagen. This expansion on the leaf-book motif provides not only insight into but also a recreation of its source text. At the publisher's request, Wither created a game, in which volvelles directed readers to one of four books, and within each book to a particular emblem. Most existing copies of the book lack the volvelle page, which would have been torn out for use. In the present volume, the volvelles have been recreated, along with Wither's two introductory Notes to the Reader, and his instructions for playing the lottery. To these are added a considerable discussion of the original book's production as a feat of letterpress and intaglio printing. This copy's leaf from Rollenhagen shows his eleventh emblem,… Read More

(N.p., 1850. Small broadside, measuring 6 1/2 inches tall by 5 7/16 inches wide, with a hand-colored diagram of a pyramidical maze. The route leads the viewer from Despondency, through Chagrin and Hope, to Cheerfulness, with the final goal at the very top of the pyramid being a temple. Below the labyrinth sits a four-stanza poem on the transience of earthly happiness and the necessity of reaching the ultimate temple. Mounted on a leaf of a manuscript arithmetical exercise book. Fine with only trace soiling. Unrecorded.

Hyattsville, MD: Rebecca Press, 1986. (36)pp. One of 200 copies published on the occasion of the 1986 Miniature Book Society Conclave. An Art Deco alphabet with each letter formed by a woman with a "haute couture" costume. Bradbury records two binding states, self-wrappers and paper boards; this is neither, being bound in cloth over boards with paper label and marbled endpapers. Fine. (2 1/8 by 1 3/4; 53x43mm).

London: Longman, Hurst, Rees, Orme, and Brown, 1822. Octavo. (iv), 397pp. Eleventh edition. Here, Moore's wildly popular, and subtly pro-Irish nationalism, poem receives an impressive fore-edge painting. The poem's titular heroine stands before her poet suitor, and behind them are Arabesque archways framing an imaginative city in Bukhara. The base of the rightmost urn bears a distinctive "M," likely the signature of the otherwise anonymous artist. Bound in full red leather with gilt borders, rules, spine titling, and turn-ins. Together with the fore-edge, this copy offers a sumptive treatment of one of the era's most popular tales. Spine somewhat faded with some wear, spots of additional exterior rubbing and internal foxing, else near fine. A.e.g. Inscription from previous owner on front flyleaf.

(n.d.). Gaskin, Arthur. A woodcut print on India paper of a shepherd carrying a lamb, evocative of Gaskin's illustrations for the Kelmscott Press' Shepheardes Calendar. Signed and titled in pencil by Gaskin. Fine. (Image measures 3 11/16 by 2 1/2 in.; 94x63 mm).

London, Boston: Faber and Faber, 1995. Octavo. First edition. Heaney collaborated with Stanislaw Baranczak to translate sixteenth-century poet Jan Kochanowski's verses from Polish into English. Bound in black cloth over boards. Fine in white dustwrapper, on which is printed Giovanni-Battista Moroni's "Portrait of a Young Girl." Mild soiling and edgewear to wrapper, else very good. Together with the same title published by Gallery Press, 2009. Octavo. 79pp. Bound in black cloth over boards. Fine in fine dust wrapper.

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).

Mill Valley, CA: Sunflower Press, 1985. Brown, Hannah. (39)pp. One of 85 copies, signed by Carol Cunningham, who printed the book. A brief history of the Inca civilization illustrated throughout with hand-colored illustrations and striking gold-stamped imagery on black paper. This copy bound by Hannah Brown in sheet brass covered with black leather, covers boasting Brown's inimitable signature needlework, here displayed in an evocative geometric design in gold thread, reminiscent of Incan metalwork. In a stub binding with purple and black tabs, and hinges exposing purple papers. Spine title gilt-stamped and embroidered in purple. Paste-paper flyleaves of black and gold. Housed in a tulipwood box with seat for book sporting black leather and gilt and black thread details. Underside of lid features a black leather panel with purple leather onlays and gilt-embroidered alpaca. Extremely fine. (Measures 2 5/8 by 3 5/8; 67x90mm).

(Albany: Print Club of Albany), 1989. Dallman, Daniel. Broadside measuring 15 by 19 inches. One of 100 copies, signed by the artist. The Print Club of Albany's Annual Print for 1988-1989, it's 55th Presentation Print. This lithograph is the last of a series of prints by Dallman that explores industrial and residential encroachment on rural areas of southern Pennsylvania. Prospectus included. Sandwiched in card folder that forms a mat, with a protective piece of tissue over the print. A few tears to the card folder, with the print in fine condition.

1988. Single sheet, matted, on German Ingres paper. A marbled flower in six colors, spread from the middle of the page outward. One of Weimann's final productions, completed in the summer of 1988 before his passing that November. Mounted on backing board. Very fine. (12 1/4 by 9 1/2 in.; 315 x 241 mm).

NY: Harper & Brothers, 1939. Thurber, James. Oblong small quarto. First edition. Inscribed by Thurber at the front flyleaf. When Thurber published the book in 1939, just a few months after the beginning of World War II, all hopes that civilization might break the cycle of war had been dashed. Illustrated with Thurber's simple and expressive cartoons, the story makes a bold statement about the destructiveness of war. At the same time, it is also a call for hope, imploring humanity to appreciate and nurture the beauty in the world. This cautionary parable is dedicated to Thurber's daughter "in the wistful hope that her world will be better than mine." In orange pictorial boards, which show some light rubbing along edges and spine. Mild chipping along edges of original dust jacket, but none of the usual spine fading common to this title. Near fine. From the library of screenwriter David Lloyd, with his name at the top of one of the prefatory leaves.