Search Results: Titles starting with V from Bromer Booksellers

Richard Bigus, 1978. Bigus, Richard. Broadside measuring 21 3/8 by 14 3/4 inches. From an edition of 200 copies, this is a proof copy signed by Richard Bigus. Designed and printed by Bigus in two colors. Fine.

(Japan, c. mid-nineteenth century). Small quarto. (27)ff. A handmade book of delicate Japanese brush paintings of common birds, ranging from sparrows and songbirds to ducks and other fowl. The paintings are executed in a style similar to sumi-e. They are predominantly monochromatic with subtle gradations of black ink, accented with washes of brown, yellow, and red. The illustrations stand alone on most of the pages, but a few, including one of a majestic pheasant, are accompanied by descriptions in Japanese. Each page is comprised of a double sheet measuring 10 3/16 by 14 1/4 inches, and most of the paintings stretch across the page spread. The only clue to the painter's identity is a note in Japanese on the front wrapper, which explains that the illustrations were "painted by the next-door neighbor -- during the weekdays." The note also indicates that the book was owned by Goshodo, a bookseller. It seems likely that the paintings were given as a neighborly gift and made into a book. Some light wear… Read More

(Fayettesville, MD): Rebecca Press, 1980. Izon, Noel. (48)pp. One of 500 copies, signed by the publisher. Contains sixteen black-and-white figural photographs by Noel M. Izon, with text by K.N. Izon and quotations from well-known poems. Fine in gilt-stamped gray cloth. (2 1/2 by 3 1/8; 64x80mm).

NY: Nadja, 1984. Small quarto. One of 226 copies, signed by Heaney at the colophon. Heaney composed in verse his commencement address to Fordham University's class of 1982, who regardless of coursework would certainly have appreciated his mentions of yoga, Star Wars, and Jack Daniels. Bound in brilliant teal wrappers. Fine.

Dublin, Ireland: Cuala Press, 1941. Octavo. (vi), 33, (2). One of 270 copies, this out of series. As is wonderfully usual for the press, a beautiful example of Irish printing of Irish poetry. Bound in quarter buckram with blue paper over boards, titled in black to upper cover and with paper label to spine. Slight soiling to covers, minimal warp to boards, else very good.

Buffalo: Hillside Press, 1982. 50pp. One of 350 copies signed by the author and printer, Eleanor Irwin. Slight skew to spine, else near fine in red, gilt-stamped leather. (2 7/16 by 2 1/16; 62x51mm).

Cincinnati, OH: Mosaic Press, 1986. von Staufer, Andrew Hubert. (48)pp. Signed by the printer, Miriam Irwin. Illustrations throughout aid in von Staufer's efforts to elucidate the Christmas customs of the Victorian era. Bound in red leather, gilt-stamped. Fine. (15/16 by 3/4; 24x19mm).

Boston: L. Prang & Co, 1883. Octavo. An elaborate birthday card, with two color illustrations of flowers in vases on the interior panels. The left-hand panel bears a short poem, and the right-hand panel offers the recipient best wishes for their next year. Both are printed on pillowed silk. Bound in colorful illustrated boards, tied with tasseled string and bearing a white fringe. Scant wear to extremities, else a fine and luxuriant card.

Poestenkill, NY: Kaldewey Press, 1989. Keever, Kim. Oblong folio. 106pp. One of twenty deluxe copies printed on papier de Chine and bound in flexible blue textured leather by Christian Zwang. With twenty-five linoleum cuts in several colors by Kim Keever. Signed by the artist. Keever's linocuts draw directly from the theme of love, with imagery of women and men and handwritten text. These are displayed to greatest effect in this deluxe edition, as the translucent Chinese paper allows the text and images to show through. Designed and printed by Gunnar Kaldewey, who combines the traditional with the experimental, bringing together the work of an early twentieth-century poet with the techniques and ideas of the late twentieth-century artist. In this work, Kaldewey utilizes an inventive index format in which the pages for each poem are one inch wider than the poem before, allowing for each section to be accessed easily and directly. The title page, as it were, is printed letter by letter across these… Read More

Santa Cruz: Peter and Donna Thomas, 1997. Thomas, Peter. (8)pp., leporello. One of 97 copies. A quote by John Muir, illustrated with a panorama of mountain peaks and birds. Bound in green and copper paste-paper boards, and housed in a marbled slipcase. Very fine. (2 3/4 by 2 1/4; 70x55mm).

Minneapolis: Bieler Press, 1985. Smith, Ann. Octavo. (13)ff. One of 200 copies. Signed by the author. Drawing of a pine tree on the title page. Evocative poetry from Hart, bound in gray wrappers. Fine. Prospectus laid in.

Winterport, ME: Borrower's Press, 1980. Bernier, Jane. 32pp. One of 350 copies, signed by Jane Bernier, the printer. With charming hand-colored illustrations. Fine in gilt-titled red leather, with gold foil endpapers. (Bradbury, p. 33). (3/4 by 5/8; 19x14mm).

(Newburgh, NY): Thornwillow Press, 2008. Hutton, John. Small octavo. 38, (3)pp. One of 250 copies. Signed at the colophon by the designer and printer, Luke Ives Pontifell. Frontispiece and final image are full-page and colored, while throughout are festive line-drawings by John Hutton. Bound in half green cloth with paste-paper covers. Fine, in matching slipcase.

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

(N.p.): Angelica Press, 1976. Chappell, Warren. Octavo. xi, 99pp. Illustrations primarily in green with black and white outlining. Running titles in green. Travels to places fictional and real, from Laputa to Lilliput to Japan, as told in the first person. Bound in quarter red cloth and buckram, with green and black illustration of a ship printed on upper cover. Faint sunning to spine, else fine in slipcase. Prospectus laid in.

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.