Search Results: Titles starting with N from Bromer Booksellers

André Carrilho, 2020. Carrilho, André. Silkscreen print. One of twenty copies, signed and numbered by the artist, André Carrilho. Part collage, part cartoon, Carrilho's illustration highlights the particular position of Black athletes in the fight against police brutality. Black athletes have a long history of using their platform to bring awareness to racial injustice; this graphic captures the act of kneeling for the national anthem, a practice begun by NFL quarterback Colin Kaepernick in response to the 2016 shootings of Alton Sterling and Philando Castile and the overarching issue of systemic racism in the American judicial system. In the summer of 2020 following the murders of George Floyd and Breonna Taylor, and a subsequent surge in the Black Lives Matter movement, kneeling for the anthem became more visible than ever, with professional athletes across sports adopting the gesture. Being the first major sports league to resume play during the COVID-19 pandemic, NBA players led the way.… Read More

(N.p.): Two Ponds Press, 2020. Skaar, Anneli. 16mo. Unpaginated. From an edition of 60 copies, this is one of twenty "regular" copies, with mounted copperplate map and translucent artist statement together with the book in a dropback box. Among his many achievements—Arctic exploration, advocacy for an independent Norway, significant contributions to the field of oceanography—Fridtjof Nansen's greatest remains his humanitarian efforts on behalf of refugees. At the end of the First World War, and at the request of the League of Nations to which he was a delegate, Nansen began organizing a response to the incredible population of displaced and dispossessed individuals. His efforts resulted in the first passport for stateless persons, a crucial intervention in recording the identity and nationality of those without documentary proof so that refugees could cross borders and apply for visas legally. Here artist Anneli Skaar has taken up Nansen's mantle to contend with 21st-century migration. What was… Read More

(N.p.): Two Ponds Press, 2020. Skaar, Anneli. 16mo. Unpaginated. From an edition of 60 copies, this is one of twenty "pocket" copies, with a folded print of a copperplate map and artist's statement, housed in a cloth chemise. Among his many achievements—Arctic exploration, advocacy for an independent Norway, significant contributions to the field of oceanography—Fridtjof Nansen's greatest remains his humanitarian efforts on behalf of refugees. At the end of the First World War, and at the request of the League of Nations to which he was a delegate, Nansen began organizing a response to the incredible population of displaced and dispossessed individuals. His efforts resulted in the first passport for stateless persons, a crucial intervention in recording the identity and nationality of those without documentary proof so that refugees could cross borders and apply for visas legally. Here artist Anneli Skaar has taken up Nansen's mantle to contend with 21st-century migration. What was unthinkable… Read More

Enkhuizen: Jack R. Levien, 1971. Levien, Jack R.. (14)ff. An abridged version of the New Testament story, illustrated with tiny reproductions of medieval woodcuts. Fine in full leather, with gilt fillets and a tiny gilt star. (11/16 by 1/2; 17x12mm).

Ditchling, 1910. Gill, Eric. Pen-and-ink overpainted in white gouache on stiff card, measuring 3 1/2 by 2 1/2 inches. Original artwork by Eric Gill for Roger Fry's 1910 Christmas card. An artist and influential art critic, Fry reviewed Gill's first sculpture exhibition at the Chenil Gallery in Chelsea, and was one of Gill's supporters during this early stage in his career. The drawing is mounted in a triple-window mat, alongside a proof of the engraving, itself mounted to a larger piece of board, which also includes an inscription from Gill to his wife Ethel (as the couple had not yet converted to Catholicism). The inscription also bears the notation "on return from Brussels Exhibi(tion)." Although Gill traveled extensively to northern France during this period for meetings with Count Kessler, his only recorded trip to Belgium was in 1912, when he traveled to Louvain to visit a Benedictine monastery. According to Fiona MacCarthy, this trip became something of a catalyst for his conversion to… Read More

Enkhuizen, NL: J. Levien, 1972. (23)pp. One of 100 copies. Four double-page spreads reproducing medieval woodcuts. Mint in full leather, with gilt fillets and a tiny gilt star. (11/16 by 1/2 in.; 17x12mm).

Los Angeles: Rounce & Coffin Club, 1960. Octavo. xii, 62pp. Inscribed by Cheney and by the author of the preface, H. Richard Archer. A candid recounting of the joys and pitfalls of presswork in southern California. Cheney revels in the identity of the "typesticker": a printer who fits "easily and naturally into the shop of any obscure printing office from the time of Gutenberg to the late Nineteenth Century" and who maintains a slight but significant place in twentieth-century presswork. Handwritten edits to page xi. Faint fading at edges, else near fine in quarter black cloth and near fine dust wrapper. Errata slips laid in.

London: Raphael Tuck & Sons, Co, 1905. 16mo. (12)pp. Lithographs, in color and not, engagingly accompany this young reader's abecedarium. Entirely printed on cloth. Published as No. 1539 from the publisher, who situates it as part of "Father Tuck's Cosy Corner A. B. C. Series." Staple-bound in pictorial wrappers showing mild soiling and edgewear, else near fine. Previous owner's inscription on inside of front cover.

Nekoosa, WI: Great Northern Nekoosa Corporation, (n.d.). Small quarto. (3), (15), (15), (18)pp. Presented as four sets of sample papers, colors, embossing, and rendering techniques. The former are gathered under the title "Color on Color", while the latter appear under "Finishing Touches". These two sections are bound dos-a-dos in thick white paper. Bumps to corners, some soiling to exterior, else quite clean both inside and out. Near fine.

(Vejprty, Czechoslovakia: Brauer a Gutberlet, 1928. Rohra, Karla. Quarto. 9ff. Color and sepia illustrations on each page by Karla Rohra. A poem, in Czech, about a teddy bear bored with his life in the nursery, who goes off into the world and discovers that his old life was not so bad. In illustrated, embossed boards shaped like a teddy bear. Spine chipped, with the paper beginning to peel back, some rubbing to extremities, else near fine.

Stuttgart, Germany: Julius Hoffmann, 1905. Calavas, A.. Small folio. (25) ff. Jewelry catalog comprised of a title leaf and 24 loose plates, enclosed in a cloth portfolio. Approximately a dozen art nouveau jewelry designs, including necklaces, rings, bracelets, and haircombs, are featured on each beautifully-detailed monotone plate. Plates printed by A. Calavas and embossed with a small Art Nouveau figure in the lower left margin. Paste-downs and portfolio flaps are decorated with a green and tan repeating art nouveau design. Some discoloration and spotting on the fore-edge of the original cloth portolio and marginal creasing on the title leaf and first two plates. A nice copy of a rare Art Nouveau item.

(Mill Valley, CA: Sunflower Press, 1987. Cunningham, Carol. (32) pp. One of fifty numbered copies printed, illustrated, and signed by Cunningham. A whimsical retelling of the fable, with hand-colored illustrations. Very fine in gray boards illustrated with gold sheep. Slight rubbing to corners of spine, else fine. (2 by 2; 51x51mm).

London: Faber and Faber, 1990. Octavo. First edition. A compendium of Heaney's most familiar poems from across his body of work. Bound in tan cloth-covered boards, fine in fine dust wrapper.

Andoversford, Gloucestershire: Whittington Press, 1987. Quarto. xii, 105pp. From an edition of 335 copies, this is one of 85 deluxe, alternatively bound and with five additional full sheets of pattern paper. This publication was inspired by the discovery of a cache of Curwen Pattern Papers. It contains a history of the papers with 32 large samples by fifteen prominent artists, such as Eric Ravilious, Enid Marx, Thomas Lowinsky, and Paul Nash. Bound in quarter green leather with Curwen patterned paper covers. Supplemented full sheets enclosed in a chemise, bound in boards covered entirely in the matching paper. Trace instances of rubbing to corners, spines sunned, else near fine. Books housed together in slipcase. T.e.g.

Andoversford, Gloucestershire: Whittington Press, 1987. Quarto. xii, 105pp. From an edition of 335 copies, this is one of 85 deluxe, alternatively bound and with five additional full sheets of pattern paper. This publication was inspired by the discovery of a cache of Curwen Pattern Papers. It contains a history of the papers with 32 large samples by fifteen prominent artists, such as Eric Ravilious, Enid Marx, Thomas Lowinsky, and Paul Nash. Bound in quarter green leather with Curwen patterned paper covers. Supplemented full sheets enclosed in a chemise, bound in boards covered entirely in the matching paper. Trace instances of rubbing to corners, only spine of chemise shows some sunning, else near fine. Books housed together in slipcase. T.e.g.

(NY: Bromo-Seltzer), 1939. Double-feature flipbook, issued by Bromo-Seltzer in concert with the New York World's Fair of 1939. In one direction is a hula dancer, and in the other a victim of a migraine relieved by Bromo-Seltzer; at the inner covers are endorsements from athletic luminaries Gene Sarazen and Don Budge. Staple-bound in wrappers. Mild exterior soiling, else near fine. (2 1/2 by 1 7/8; 63x47mm).

NY: Wood, Samuel, & Sons, 1823. 24mo. 68pp. Small engravings throughout provide visual references for each stage of this young reader's primer. The primer's front matter includes a reprinting of its trademark, as issued by the Southern District of New York, as well as a preface written by the publisher. Bound in gray card wrappers, printed in full black along the spine to mimic the aspect of a book bound in quarter leather or cloth. Mild rubbing to edges, else fine.

Newark, NJ: Carteret Book Club, 1917. Ruzicka, Rudolph. Quarto. 52pp. One of 200 copies. Illustrated with five full-page color illustrations, printed by hand and each signed by Ruzicka. Also includes twelve black & white engravings produced by D.B. Updike at the Merrymount Press. Born in Bohemia in 1883, Ruzicka arrived in Chicago in the early 1890's and trained in art and engraving. He met Daniel Berkeley Updike in 1907, and later formed a thirty year professional relationship with him. His elegant engravings in this volume justified the publisher's hopes "...that he would find beauty and some grandeur where most people saw only industrial blight..." (Blumenthal 95). Bound in beige cloth-backed marbled boards with gilt titling to spine. Rubbing to edges, faint toning to spine, else fine in fairly worn slipcase.

San Francisco: John Henry Nash, 1926. Folio. One of 207 copies. Inscribed by Nash on front endpaper. An original leaf from the Jenson Plutarch of 1478 accompanied Bullen's essay on Jenson as type designer, which has been set by Nash in a recut version of Jenson's Roman type Scattered foxing thoughout, heaviest toward endleaves, overall nearly fine in vellum-backed marbled boards, which show some rubbing to extremities. Some wear to morocco lettering piece on spine. (Chalmers 26).

Utrecht, 1856. Broadside. The sheet's upper shows a woodcut of a lamplighter (lantaarnopsteker) toting a ladder, off to begin his evening's work. Below, printed in gold, is a declaration on behalf of Utrecht's lamplighters, offering New Year's cheer and blessings to the city's aldermen, mayor, and residents. At the foot is a poem, likewise in gold, declaiming the joys of light. Broadsides like these appeared in the Low Countries in the early nineteenth century, likely as a way of advertising the work of tradesmen and gently lobbying the city authorities for another year's goodwill. Other examples in institutions originate in Leiden, cite other guilds, such as night watchmen, and are generally smaller in size. Few tears, the two along the center crease stabilized with cellotape. Toning to edges. Near fine. (Measures 17 by 14 in.).