ELEGANZE DELLA LINGUA TOSCANA E LATINA, SCIELTE DA ALDO MANUTIO, utilissime al comporre nell'una e l'altra lingua. Tavola copiosissima...

[ELEGANCE OF THE TUSCAN AND LATIN LANGUAGE, CHOSEN BY ALDO MANUTIO, very useful for composing in both languages. Very copious table...]

VENETIA [Venice]: Aldus [Aldine Press / Paolo Manuzio], 1556. FIRST EDITION.

Pasteboard covers, cord binding, 8vo., approx 4.5x6.5 inches (11x16 cm). Italic type. Pagination: [2] blank front leaves, A-I8, K10, [1] blank rear leaf: total of 82 printed leaves: [1], 2-73, [9]. Aldine anchor and dolphin printer's device on title page.

GOOD condition: Professionally strengthened, making this a solid, lovely copy. Manuscript title on the spine is worn but visible; the front cover has a later, neat handwritten title on it. The front and rear inner hinges are split but holding well with the cord binding. The text block is tight. There are very early names, doodles and drawings on the front and rear blank endpapers which I think adds to the uniqueness of this copy, it shows that many books even in 1556 were treated as books to be marked up and used, not as scarce collectible items meant for museums. I wish I could translate these early owner's names, including one on the front pastedown and one that is marked out but still sort of visible on the title page, but alas, I cannot. There are many very early underlinings of words with manuscript calligraphy notes in the margins next to them on the first 15 leaves; subsequently there are additional margin notes here and there throughout. Was this an early scholar or student's copy? There is a smudge, small tear, corner crease, mark, here and there. Overall a complete, solid, bright, presentable copy.

RARE 1556 first edition printed in Venice by Paolo Manuzio, made unique and interesting with the early doodles, names, and annotations, giving the book an "I was there" authenticity, imho.

About PAULUS MANUTIUS (from Wikipedia):

******Paulus Manutius (aka Paolo Manuzio), b.1512 d.1574, was a Venetian printer with a humanist education, the third son of the famous printer Aldus Manutius.

The printer's mark of the Aldine Press, used by both Aldus Manutius, the father, and his sons, is known as "the anchor and the dolphin".******

SANCTI IOANNIS CHRYSOSTOMI DE VIRGINITATE LIBER, A IVLIO POGIANO CONVERSVS. JOHANNES CHRYSOSTOMUS.

ROMAE: Apub Paulum Manutium, Aldi F., M. D. LXII [1562]. First Edition.

Modern hard covers, 7x7.5 inches (17x19 cm). Pagination: [ai] title page, aii-biii, [lacking blank leaf following biii], Ai - Qiiii - 64 numbered leaves. Aldine anchor and dolphin printer's device on title page. Collated page by page with a copy held at the National Central Library of Rome.

GOOD condition: Professionally rebound in hardcovers (leather spine and corners with decorative paper covered boards), with new blank endpapers (archival watermarked laid paper). The title page is lacking its bottom 1.5 inches and its last line of text, it has been professionally restored with archival laid paper at its corners and bottom (a copy of the title page from the copy at the National Library of Rome is laid in for comparison purposes, note that it has library stamps, paper repairs, and some hand marks and X's, the X marks notably at the ring at the top of the anchor). The corners of the first few pages have also been professionally restored, not affecting text. Else, the title page is toned; there is waterstaining to the upper gutter area and front margin of the pages, most noticeably on the first 10 pages, then becoming very light; there is some foxing here and there. Overall the pages of this 1562 book are amazingly complete, bright and clear.

RARE 1562 edition printed in Rome by Paulus Manutius at the Aldine Press.

About PAULUS MANUTIUS (from Wikipedia):

******Paulus Manutius (aka Paolo Manuzio), b.1512 d.1574, was a Venetian printer with a humanist education, the third son of the famous printer Aldus Manutius.

The printer's mark of the Aldine Press, used by both Aldus Manutius, the father, and Paulum Manutium, his son, is known as "the anchor and the dolphin".******

HOGARTH MORALIZED - Being A COMPLETE EDITION of HOGARTH'S WORKS. Containing near Fourscore COPPER PLATES, and most elegantly engraved...[John Tusler]

LONDON: Sold by S. Hooper...and Mrs. Hogarth at her House in Leicester Fields, MDCCLXVII (1768).

FINE BINDING by RIVIERE & SON, with its imprint along the bottom dentelle of the inside front cover (impossible to read or find without a magnifier but beautiful once seen magnified). The binding is later, likely late 19th or early 20th century. FULL RED MOROCCO LEATHER, five spine bands, gilt spine titles, 6x8.75 inches (15x22.5 cm), dentelles on the inside front and rear covers. Pagination: [some prelim leaves, including frontispiece, engraved title, title page], viii, 212, v, [3] pages.

ILLUSTRATED with 78 PLATES by HOGARTH. There is an Index of the plates at the rear.

VERY GOOD condition, The covers have a little scuffing to the spine folds but are simply lovely with gorgeous dentelle decoration. The 1768 work bound within has just slight age toning and soiling to the page edges, otherwise tight, bright, clean and unmarked. A solid, very nice copy, in a gorgeous fine binding.

About RIVIERE BOOKBINDERY (from a British Museum website):

******In 1829, Robert Riviere set up in business in Bath as a bookseller and later bookbinder. In 1840 he moved to London where the firm did business at a series of addresses. His grandson Percival Calkin became a partner in 1881, and the firm's name was changed to Riviere & Son. Percival's younger brother, Arthur, became a partner in 1889 and Arthur's son Stuart Riviere Calkin entered the business in 1908 and was with the firm when it closed in 1939.******

Published by a Wilmington publisher -

Printed by a Wilmington printer -

Bound and Sold by a Wilmington bookbinder / bookseller -

Owned by a Noted Wilmington resident -

GOLDSMITH'S ROMAN HISTORY, ABRIDGED BY HIMSELF, For The Use Of Schools. Fourth American Edition.

WILMINGTON: Published by the Rev. William Pryce; Printed by Joseph Jones, Printer: 1806.

BOUND and SOLD by J. WILSON of WILMINGTON, with his: "SOLD BY J. WILSON, Bookbinder, Bookseller, and Stationer, Wilmington, Del." woodcut binder's ticket on the front pastedown. The ticket measures 1.25 x 2 inches.

OWNED by WILMINGTON resident, EDWARD TATNALL, with his SIGNATURE and place, BRANDYWINE, on the title page. From Wikipedia: "Edward Tatnall, b.1782 d.1856, was an American miller and railroad executive based in Wilmington, Delaware. He was a son of Joseph Tatnall, a prominent miller and banker in Wilmington. He was a director of the Delaware and Maryland Railroad and of the Wilmington and Susquehanna Railroad, two of the four railroads that helped build the first rail link from Philadelphia to Baltimore. In 1838, they merged into the Philadelphia, Wilmington, and Baltimore Railroad. His service is noted on the 1839 Newkirk Viaduct Monument."

HARDCOVER BOOK, leather covered boards, leather spine label, 4x6.5 inches. Pagination: vii, 417 pages, plus 3 pages of Publisher's ads at the rear. The covers have scrapes and rubs, the inner pages are toned with spots and a scattering of stains here and there throughout; a well-used but complete, solid and presentable copy.

American book publishing, printing, binding and selling was taking root in Wilmington in 1806.

CHAPTER THIRTEEN of the FIRST EPISTLE to the CORINTHIANS WRITTEN by PAUL the APOSTLE.

FINE PRINTING, DESIGNED, ILLUMINATED and PUBLISHED by MARY MOULTON CHENEY, [Chemith Press], Minneapolis, MCMIII (1903).

HAND SIGNED by MARY MOULTON CHENEY on the limitation page. One of only 500 copies: "This Book is number 137 of 500 copies which have been made".

Hardcovers, cloth covered boards with a color illustration by Mary Moulton Cheney on both the front and rear cover, 5.25x9.5 inches, 14 pages (7 leaves) printed on heavy stock watermarked paper (Strathmore). Each page is beautifully HAND ILLUMINATED with GOLD, GREEN, RED and BLACK. The colors are brilliant and the gold glitters.

From the Colophon page (the last page): "This book was printed by Hahn and Harmon, bound by A. J. Dahl & Co., published by Mary Moulton Cheney at Minneapolis, Minnesota". The illuminations and designs are by Cheney, her printed initials "M. M. Cheney" are on the covers and the Colophon page.

VERY GOOD Condition: The covers are toned, lightly soiled, have a few spots, and have slight wear at the corner tips and spine ends, but are solid and attractive; the inner pages are lightly toned, are cracked at the hinge at one or two places but holding well, the illuminated pages are BRILLIANT!

A gem with gorgeous illumination by Mary Moulton Cheney.

About MARY MOULTON CHENEY and her CHEMITH PRESS(from Wikipedia):

******Mary Moulton Cheney, b.1871 d.1957, was a Minneapolis based artist, designer, publisher and bookbinder associated with the Arts and Crafts movement. In 1897 she opened a printmaking shop with Mary Marsh Smith named The Artcraft Shop: Sign of the Bay Tree. It was one of the first all woman private presses in the United States, making books, pamphlets, and bookplates. In 1902 she expanded into bookbinding and founded The Chemith Press which produced uniquely designed and finely printed books and pamphlets.

Cheney was also an influential figure in the development of the Minneapolis College of Art and Design. In 1897 she organized the college's first course on design. She went on to become the principal of the college's design department, then the Dean of Women, and finally served as the college's president from 1917 to 1925.******

FORMULAS FOR BOOKBINDERS, by Louis H. Kinder. Kinder was the head binder at the Roycroft printing and binding shop.

SIGNED and NUMBERED LIMITED EDITION, this being Copy No. 472 of 490 copies. SIGNED and NUMBERED by LOUIS H. KINDER on the Limitation page.

Hardcovers, cloth covered spine and paper covered boards, paper spine title label, 9x11.5 inches (22x29 cm), printed on Imperial Japan Vellum, title page printed in red & black, margin notes in red. Pagination: [12], vii, [3], 115, [1] pages. Illustrated with two plates, including the frontispiece, displaying bindings by the author.

GOOD Condition: The covers have soiling, a few marks, edgewear, and finger smudges; the paper spine title label is chipped at its top edge affecting several letters; internally there is occasional marginal finger soiling (one can imagine a bookbinder's not perfectly clean fingers handling this book), otherwise tight, bright, clean, clear and unmarked.

From the title page: "Being a Collection of Trade Formulas, the Results of Twenty-five Years Study and Practice in the Arts of Tooling in Gold, Edge Gilding, Marbling, Stamping, and various other Departments of Bookbinding."

Rare 1905 Signed, Limited, True First Edition of Formulas For Bookbinders.

A DOCUMENTARY ACCOUNT of the BEGINNINGS of the LABORATORY PRESS, CARNEGIE INSTITUTE OF TECHNOLOGY. By PORTER GARNETT.

Published by THE LABORATORY PRESS, Carnegie Institute of Technology, Pittsburgh, 1927. FIRST and LIMITED EDITION. One of only 255 copies, so stated on the Colophon Page (the last page).

SIGNED, INSCRIBED and DATED by PORTER GARNETT on the front free endpaper to his long-time FRIEND and BOHEMIAN CLUB cohort, WiLLIAM H. SMITH, JR.:

"To / William H. Smith, Jr. / this souvenir of an old and valued friendship. / Porter Garnett / San Francisco / June 25, 1928."

Both William H. Smith, Jr. and Porter Garnett were active members of the Bohemian Club. William H. Smith, Jr. held various offices in the Club, including Secretary, wrote a Grove Play, directed Grove Plays (including one by Porter Garnett), and both were involved with the Bohemian Grove Hijinx encampment.

Hardcovers, parchment covered spine and paper covered boards, spine title label, 7.5x10 inches, Pagination: x + 131 pages + 46 unnumbered pages at the rear containing a descriptive and illustrated bibliography of the works of the Laboratory Press.

Illustrated with facsimiles of pages from the press, photographs, and five full page calligraphic initials in red.

The Laboratory Press was founded in 1923 as a part of Carnegie, set up to give students a chance to see what fine hand-printing and illustration involved. One of the more elusive American private press bibliographies.

VERY GOOD condition: Sunning / slight toning to spine, inner pages toned at the margins; otherwise tight, bright, clean, clear and unmarked. A solid, lightly used, very presentable copy.

About PORTER GARNETT (from Wikipedia):

******Porter Garnett was born in 1871 in San Francisco. He was an active member in San Francisco's literary scene and a MEMBER OF THE BOHEMIAN CLUB, writing and directing plays at Bohemian Grove. In 1896, he joined The Lark, founded the previous year by Gelett Burgess and Bruce Porter. In 1907 he became assistant curator of Bancroft Library at the University of California at Berkeley.

IN 1922, GARNETT BECAME PROFESSOR OF GRAPHIC ARTS AT THE CARNEGIE INSTITUTE OF TECHNOLOGY (now Carnegie Mellon University) in Pittsburgh, Pennsylvania, teaching traditions, development and ideals of fine printing. There, HE FOUNDED THE LABORATORY PRESS, as the only program in the country FOR THE TEACHING OF FINE PRINTING until the press closed in 1935. The Press was one of the only dedicated to education in printing as a fine art. In 1932, he was awarded the AIGA Medal.

When Porter and his wife Edna retired, they established their home in the San Francisco Bay Area. Garnett died on March 21, 1951, in Calistoga, California. After his death, an archive of his papers was created in his name in the Bancroft Library.******

RARE, especially so SIGNED and INSCRIBED by the Author, Printer and Bohemian PORTER GARNETT to his friend, fellow BOHEMIAN CLUB member WILLIAM H. SMITH, JR.******

SHAMROCK OVER IRELAND! from the "Shamrock Song" by Katharine Tynan.

"Made for ALBERT M. BENDER by ANSEL ADAMS / Saint Patrick's Day - March seventeenth nineteen thirty-nine".

Fold-open broadside, folded measures 9.5x12.5 inches oblong, folds open to show two inner panels, the entire sheet can fold open to show all 4 front facing panels, the backside is blank. Folded open the sheet measures 19 x 25 inches.

The broadside was made by ANSEL ADAMS for his friend and patron, ALBERT M. BENDER. Printed by Johnck & Seeger, Printers, San Francisco, as stated on the bottom corner of the rear panel of the folded broadside.

FAIR PLUS condition: there is creasing around the center fold, corners and edges; the rear panel (when folded) has a 1 inch closed tear to the bottom edge where the printer's information is printed; there is light soiling here and there; still a solid and bright copy. The folded broadside came in a plain heavy stock envelope, which remains in good condition.

Rare ANSEL ADAMS / ALBERT M. BENDER item. OCLC notes only six copies held worldwide, including ones at Trinity College Dublin, the National Library of Ireland, Stanford University, U.C. Berkeley, and the Huntington Library.

About ALBERT M. BENDER (from Wikipedia):

******Albert Maurice Bender (born Dublin 1866 died San Francisco 1941) was a German-Irish-American art collector who was one of the leading patrons of the arts in San Francisco in the 1920s and 1930s. HE PLAYED A KEY ROLE IN THE EARLY CAREER OF ANSEL ADAMS and was one of Diego Rivera's first American patrons. By providing financial assistance to artists, writers, and institutions, he had a significant impact on the cultural development of the San Francisco Bay Area and beyond.

A lover of literature from an early age, Bender began collecting rare books and helped create the Book Club of California in 1912. Inspired by his cousin Anne Bremer, a professional artist, Bender began collecting art,

Bender enjoyed giving things away even more than he liked acquiring them, and he became a prolific donor to Bay Area museums and libraries. Beginning in 1932 he donated 260 pieces of art to the National Museum of Ireland in memory of his mother. He gave important collections of rare books and fine printing to Mills College, Stanford University, the University of California, and the San Francisco Public Library. Stanford University has a Bender Room in its library.

Bender helped launch the career of many artists and photographers, including Ansel Adams. He financed the publication of Adams's first portfolio (Parmelian Prints of the High Sierras, 1927) and his first book (Taos Pueblo, with author Mary Hunter Austin, 1930).******

A POEM : HOW A POEM CAME TO BE. A Lovely BROADSIDE POEM by LAURA RIDING JACKSON.

"Presentation Copy" SIGNED and INSCRIBED by LAURA RIDING JACKSON to HERB YELLIN, late owner of LORD JOHN PRESS, who published this broadside and also a Fine Printing edition of one of Laura Riding Jackon's books.

HAND INSCRIBED: "For Herb Yellin, gratefully / L. J.". The inscription is below the printed statement "Presentation Copy".

Also SIGNED at the end of her poem, beneath her printed name.

Published by [Lord John Press, 1980]. Presentation Copy. (Presentation Copies are normally printed prior to numbered copies, making them quite hard to find.) Subsequently printed in a limited edition of only 150 numbered copies.

Broadside, printed on fine heavy stock paper, deckled top and bottom edges, 15x22 inches.

NEAR FINE condition, some light creases from handling, bright and beautiful.

From the Broadside: "Within a very few years of the publication of my Collected Poems (1938)... I renounced further trying the way of poetry... saying: I would write no more poems - and I wrote no more poems... (however) I wrote for (a close friend), in the 1978 Christmastime, a poem, marked as a poem for him only, giving it the title HOW A POEM CAME TO BE. I kept no copy of this privately written and given poem, and forgot the writing and the giving of it... I chanced, recently, to tell my friend of receiving a request for a poem to publish in broadside form from the Lord John Press, indicating my feeling some surprise that Mr. Yellin, the Press's director, should not have been aware that FOR FORTY YEARS there had been NO NEW POEMS of mine. But my friend reminded me that about a year ago there HAD been a new poem - the one I wrote for him; and he urged me to let him release it to me from its private status of being a poem for him only... I give here the poem, given him, to be out in the world..."

LAURA RIDING JACKSON, b.1901 d.1991, was an iconoclastic American Poet. She left New England at the age of 25 to live with ROBERT GRAVES and his wife, Nancy Nicholson. The triangle did not suit her, and Laura Riding tried to commit suicide in 1927. Thereafter Robert Graves divorced his wife and lived together with Laura Riding in Majorca, France, England and Switzerland, and even went with her when she returned to the United States. They bitterly broke up in 1939. In 1941 Laura Riding Jackson renounced poetry, married Schuyler B. Jackson, and lived quietly with him in Wabasso, Florida, until her death in 1991. In the 60s, 70s and 80s she wrote a number of pieces explaining her reasons for renouncing poetry, but no poetry. This is apparently THE ONLY POEM written by Laura Riding Jackson since 1941.

You can read much more about LAURA RIDING on Wikipedia and elsewhere on the Internet.

This Large and Lovely BROADSIDE will be shipped carefully rolled in a sturdy mailing tube.

THE MANUEL TYPOGRAPHIQUE of PIERRE-SIMON FOURNIER le jeune : Together with Fournier on Typefounding, an English Translation of the Text, by Harry Carter. In FACSIMILE. With an Introduction and Notes by James Mosley. THREE VOLUMES.

Published by Technische Hochschule Darmstadt, Darmstadt, Germany, 1995. ISBN: 3886070948.

Three hardcover books, cloth covered boards with paper spine title labels, small 8vo., 4.5x7 inches (11x17.5 cm). Texts in their original French and English. All are ILLUSTRATED with fonts, types, vignettes, etc.

The three facsimile editions are:

Manuel Typographique, Volume I, 1764. Illustrated with 16 folding plates plus 60+ pages of various Greek, Roman, and Financial type fonts. Pagination: [3] including frontispiece and title-page, xxxii, 323, [1] Errata, [1] Approbation, [3] Privilege Du Roi, [16] Folding Plates.

Manuel Typographique, Volume 2, 1766. Illustrated throughout with many pages of types - alphabetical, musical, financial, vignettes, etc. Pagination: xliv, 306.

Fournier on Typefounding, 1930. A facsimile of the English translation of Fournier's Maneul Typographique by Harry Carter, accompanied with his extensive commentary. This third volume also includes an Introduction to this 3 volume edition by Harry Mosley, the editor. 496 pages plus 16 unnumbered 2-page plates.

The Three Volumes are in VERY GOOD condition, Vol. 2 has a some pushing to the covers' spine ends, Vol. 3 has a bend to its upper cover corners that lightly bends the upper corner tips of the inner pages; otherwise all three volumes are tight, bright, sharp, clean and unmarked. A lovely, presentable set.

This three volume set is very hard-to-find.

From the Introduction:

******The chief object of this edition is to publish for the first time a complete facsimile of Fournier's Manuel Typographique. The first volume of this work gives one of only two detailed accounts of the processes of making printing types that were published during the hand press era, and the second volume includes a comprehensive specimen of the types and ornaments of Fournier's own foundry, most of which he cut himself, and it thus provides a record of one of the most remarkable personal achievements in the history of typefounding. The Manuel Typographique is an exquisite example of rococo typography, and the French text is most appropriately read in the dress that its author designed for it.

The work by which this facsimile is accompanied. Fournieron Typefounding, Harry Carter's translation into English of the Manuel Typographique, constitutes the only detailed commentary on Fournier's text that has ever been made. It was originally published in a small edition by the Soncino Press, London, in 1930. A reprint, reproducing the original pages on a slightly enlarged scale, was published in 1973 under the imprint of Burt Franklin, for which Carter wrote a new foreword but did not alter his original text of 1930.******

A COLLECTION OF PRESSMARKS: Gathered From America's Private Presses and From Others Not So Private.

COMPLETE SET OF ALL THREE VOLUMES. Hardcover Books, bound in gold, burgundy and blue cloth covered boards, 5x8 inches, 94, 102 and 100 pages respectively. Volume Three also has an Index to the Pressmarks in all Three Volumes. Each volume is fully ILLUSTRATED with PRESSMARKS from many American Private Presses. There are also two pieces of related ephemera laid-in.

Compiled, Written and Published by James Lamar Weygand aka "The Private Press of the Indiana Kid", Nappanee, Indiana, 1956, 1959 & 1962. First Editions, Limited to 165, 250 and 250 copies. James Lamar Weygand was a noted Indiana private press printer and publisher.

All three volumes are in NEAR FINE condition, just lightly used, tight, bright, clean, clear and unmarked. Lovely copies.

For some reason Volume One (1956) shows up from time to time, but Volumes Two (1959) and Three (1962) rarely appear.

A KEEPSAKE FOR ALFRED A. KNOPF. "Written and Printed by Various Hands Celebrating His Fiftieth Year as a Book Publisher".

FIFTY FINELY-PRINTED, SMALL-PRESS LEAFLETS, including an introductory pamphlet by Charles Antin. The leaflets were printed by a wide variety of small private presses. All were printed in tribute to the publisher Alfred A. Knopf. There is also a leaflet that lists all the contributors and their presses (so, 51 leaflets total). The leaflets are all loose and held in a Publisher's slipcase.

SIGNED ASSOCIATION COPY. Two letters accompany the keepsake. One is from ALFRED A. KNOPF, and is SIGNED by KNOPF, likely secretarially. The letter is on Alfred A. Knopf stationery and comes with its Knopf mailing envelope. The letter is addressed to FRANK POWERS. It thanks Frank Powers for his contribution to the keepsake collection (Frank Powers / Powers Private Press provided one of the keepsakes). The other letter is from Charles Antin of the Serendipity Press. In his letter he thanks Frank [Powers] for his contribution and says he is enclosing a copy of the keepsake tribute collection. Charles Antin organized the Knopf tribute.

The keepsakes are 4.5x7 inch leaflets, most are 4 pages, some are two sides of a single leaf, some have more pages, and a few have inserts. THEY HAVE BEEN COLLATED with the included LIST OF CONTRIBUTORS (49) and are all present and in proper order. The keepsakes and the list of contributors are held in a purple paper covered slipcase which has a printed wraparound title band.

Contributors include Frank Altschul / Overbrook Press; Merle Armitage / Mohawk Press; Joseph Blumenthal / Spiral Press; Warren Chappell / Salisbury Press; Muir Dawson and Saul Marks / Plantin Press; Frank Powers / Powers Private Press; Ward Ritchie / Anderson, Ritchie & Simon; Patricia Waddel / Pratt Institute; Lili and Erich Wronker / Ron Press; and many others.

NEW YORK: Alfred A. Knopf, 1965. Limited Edition of only 150 copies.

VERY GOOD CONDITION: The slipcase has some rubs and light toning, the leaflets are all bright and clear, the letters are folded. A nice, solid set of keepsakes plus letters from Knopf and Antin.

About FRANK POWERS, one of the keepsake contributors and to whom letters of thanks from Knopf and Antin were addressed (from the Type Directors Club website):

******Frank Powers was one of the founders of the Type Directors Club "TDC", he even originated the term "Type Director" to give the role a more professional standing. In 1946 he became the TDC's first President, followed by two additional presidencies in 1961 and 1962. He also served as a tireless chairman of many TDC committees. Powers Often prepared club announcements on his home printing press, making printing plates from "a jar top, string, cork letters, a medal, linoleum, rubber tile, and cardboard." Frank worked as Director of Typography for J. Walter Thompson for 22 years.

In 1971 Frank Powers became the third member of the TDC to be honored with the TDC Medal "awarded for significant contributions to typography"******

BOOKBINDING - Operations performed when binding a book by hand. Method unchanged since the fourteenth century.

A BROADSIDE on BOOKBINDING by ARNO WERNER, BOOKBINDER.

INSCRIBED and INITIALED at the bottom by ARNO WERNER to LYNNE VEATCH: "From me - a.w. / For Lynne Veatch / 6.15.92".

Broadside, printed on heavy stock paper, 15x23 inches.

Printed by Meriden-Stinehour Press, Lunenburg, Vermont, undated, c.1992.

GOOD condition: There is light shorelining to the upper 1/3 of the blank backside of the poster, some of it faintly shows through to the top few inches of the front of the poster, there is also some waviness to the top few inches as a result of the shorelining; otherwise bright and clear.

This is a SCARCE poster, especially so with ARNO WERNER'S INSCRIPTION to LYNNE VEATCH (see Veatchs - Arts of the Book).

The broadside will be safely shipped in a sturdy mailing tube.

About ARNO WERNER (from his New York Times Obituary):

******Arno Werner, a German-born master bookbinder who was credited with keeping the craft alive in the United States, died on July 28, 1995, at his home in Hadlyme, Connecticut. He was 96.

His work, often executed in painstakingly hand-tooled morocco leather, was marked by a sturdy yet elegant simplicity. Until 1982 he was chief bookbinder for rare editions at the Houghton Library at Harvard University. His association with the library went back almost to its opening in 1942. In the catalog of Houghton Library's 1981 Retrospective of Werner's work, James E. Walsh, the keeper of printed books, wrote: "There is scarcely a shelf in the Houghton Library that does not contain one or more pieces of Arno's work."

Arno Werner was born in 1899, in Mylau, Saxony, one of 10 children of a weaver. He was apprenticed to a bookbinder at 13. He came to New York in 1925 with $25 and his tools in a cigar box.******

(1) THE TYPE SPECIMEN OF THE VATICAN PRESS 1628. A Facsimile. AMSTERDAM: Menno Hertzberger & Co., 1967. Hardcovers, 5x7.5 inches. Pagination: 40 pages (title page, contents, introduction); 5 leaves (tables); 8-74 pages (the Facsimile). The title page of the facsimile is printed in red and black. GOOD MINUS condition: the covers are toned at the spine and edges, there is a light bump at the top of the spine and the front hinge is split at the top 1 inch; internally, the glue is old and cracking which means pages or signatures could come loose if opened wide (this is the case with every copy of this book I have seen - the binder used poor glue) but all the pages are currently holding, otherwise the pages are sharp, bright, clean, clear and unmarked.

(2) TYPE SPECIMEN OF DELACOLONGE / LES CARACTÈRES ET LES VIGNETTES DE LA FONDERIE DU SIEUR DELACOLONGE [Lyons 1773]. Facsimile with Introduction and Notes by Harry Carter. Amsterdam (Van Gendt & Co.), London and New York,1969. Hardcovers, 4.75x7.25 inches. Pagination: 82 plus the 120 Facsimile (facsimile pages printed on rectos only). GOOD MINUS condition: there is wear and a bit of splitting at the top and bottom spine folds, the inner pages are lightly toned and, like the above copy, poor glue was used in binding this book and the binding is crackling when when opened somewhat wide), otherwise the book is complete, tight, bright, clean and unmarked.

(3) THE TYPE SPECIMENS OF CLAUDE LAMESLE, a Facsimile of the First Edition printed at Paris in 1742. With an Introduction by A.F. Johnson. [AMSTERDAM]: Menno Hertzberger & Co., 1965. Hardcovers, 5.5x8.5 inches. Pagination: 11 pages + the Facsimile (approx 120 pages?) A facsimile of the original title page and a plate at the end are printed in red and black. GOOD condition: The covers are toned at the spine and edges, the spine ends are bumped, internally tight, bright, clean, clear and unmarked.

(4) XIXth CENTURY ORNAMENTED TYPES AND TITLE PAGES, by Nicolette Gray. LONDON: Faber and Faber, 1938. First edition. Hardcover Book in Dustjacket, 5.5x8.75, red top page edges, 213 pages. VERY GOOD book, some pushing at the top of the spine, light sunning to the edges, offsetting to the endpapers, otherwise tight, bright, clean, clear and unmarked; in a GOOD MINUS price-clipped dustjacket that is toned and has edge and spine-end wear.

(5) SCHRIFTPROBEN : ORIENTALISCHER TYPEN Wie Auch PHONETISCHE AKZENTE (WRITING SAMPLES : ORIENTAL TYPES as well as PHONETIC ACCENTS), Gluckstadt [Germany]: J.J. Augustin, 1933. Originally published in Hamburg in 1632. Text in German. Hardcovers, 5x8 inches, 104 pages. There is a pocket in the rear holding an 8 page booklet with additional fonts, it is printed in blue and black. GOOD condition, slight wear to the cover spine ends and corner tips, pages are age toned, otherwise tight, bright, clean and clear.

(6) SPECIMEN OF MODERN PRINTING TYPES, Edmund Fry. A facsimile. London: Printing Historical Society, 1986. Hardcovers, 6.5x10 inches. Pagination: 18 + the Facsimile (approx. 120 pages?) VERY GOOD condition.

(7) ANECDOTES TYPOGRAPHIQUES, by Nicolas Contat dit Le Brun; together with LA MISERE DE APPRENTIS IMPRIMEURS, by DUFRESNE. Reprints of works originally published in 1762 and 1710, this volume published by the Oxford Bibliographical Society, 1980. Hardcovers, 6x9.5 inches, 163 pages. The Introduction is in English, the reprints of the French works are in their original French. VERY GOOD condition.

(8) FREGI & MAJUSCOLE INCISE E FUSE DA GIAMBATTISTA. Small, paperbound facsimile of the book originally published in Parma in 1771. This facsimile published by the Harvard College Library from its Bentinck Smith Typographical Collection. Softcovers, small format, 4.5x7.75 inches. Pagination: XII, 58, plus 3 pages of notes at the rear. VERY GOOD condition.

This 8 volume lot will require additional shipping costs.

GUTENBERG AND THE BOOK OF BOOKS with Biographical Notes, Reproductions of Specimen Pages and a Listing of Known Copies. By Henry Lewis Johnson.

NEW YORK: William Edwin Rudge, MCMXXXII (1932). This is the scarce FOLIO SIZE 1932 edition published by RUDGE, with all its plates intact. It includes the separate folder with a facsimile leaf from the Gutenberg Bible of Psalm 23: "This folder contains a facsimile of a page of the Gutenberg Bible including the Twenty-Third Psalm, suitable for framing".

Hardcover folio book with four called for reproductions, a paper folder with a facsimile leaf from the Gutenberg Bible, and an original card clamshell case that houses them both. The reproductions of ILLUMINATED PAGES and the FACSIMILE REPRODUCTION from the Gutenberg Bible are GORGEOUS.

Condition: NEAR FINE BOOK, light age toning to the page edges, otherwise sharp cornered, tight, bright, clean, clear and unmarked. The book's plates are beautiful and each is protected with a tissue guard. The separate paper folder has some toning and light soiling, the facsimile leaf it holds is bright, clean and lovely, and would look great mounted and/or framed. The original cardboard case holding both items is well-worn, with some staining, scratches, and tearing; nonetheless it is still doing its job of protecting the treasure within.

Rare with ALL FOUR PLATES and the separate FACSIMILE OF PSALM 23 all present.

INTERNATIONAL BUYERS PLEASE NOTE: This large format and rather heavy

book will require additional shipping charges. After placing your order you will be notified of the charges and be able to accept or reject them before payment is taken. Thanks!

LA BIBLE MORALISÉE DE LA BIBLIOTHÈQUE NATIONALE D'AUTRICHE. Codex Vindobonensis 2554 Reproduite en Facsimile Intégral.

TWO VOLUMES.

Published by Akademischen Druck u. Verlagsanstalt, Graz (Academic Printing and Publishing House, Graz), in association with Club Du Livre, Paris. Printed by the Akademischen Druck u. Verlagsanstalt, Graz, Austria, 1973. ISBN: 3-201-00833-8.

LIMITED EDITION. This is one of only 1000 copies produced as "Volume XL" in the series "Codices Selecti" of the Akademischen Druck u. Verlagsanstalt, Graz, out of a total printing of 3000 copies. Of the 3000 copies, the first 1000 unnumbered copies were for the Austrian Publisher's "Codices Selecti" series, and 2000 numbered copies were reserved for the Club du Livre, Paris.

Two volumes, 10.5x14 inches. The illustrated facsimile volume is bound in dark leather that has been blind stamped with intricate patterns, 133 pages. The text volume is bound in linen covered boards with a polished calf spine, there is gilt titling to the front cover and spine. The two volumes do not have a slipcase.

The facsimile volume reproduces the original illuminated manuscript held in the Austrian National Library. It is printed in gilt and bright colors, reflecting the brilliant gold and hand inked colors of the original illuminated manuscript. The borders reproduce the age marks of the original vellum leaves of the Austrian National Library copy. It is GORGEOUS, the photographs do not do it justice.

The accompanying 72 page text volume is in German and French on facing pages. It contains a commentary on the Codex Vindobonensis 2554, by Reiner Haussherr, and a descriptive LIST of the ILLUSTRATIONS in the facsimile.

Both volumes are in NEAR FINE condition, just a touch of wear to the spine ends, the illustrations are bright and glittering lovely.

Excellent facsimile of the stunning illuminated manuscript in the Austrian National Library.

About the BIBLE MORALISÉE (from Wikipedia):

******The BIBLE MORALISÉE, also known as the "Bible Historiée", the "Bible Allégorisée" and sometimes "Emblémes Bibliques", is a later name for the most important examples of the medieval picture bibles, called in general "biblia pauperum", to have survived. They are heavily illustrated, and extremely expensive, illuminated manuscripts of the thirteenth century, and from the copies that still survive it is clear that they existed in at least two versions with different contents. They were similar in the choice and order of the Biblical texts selected, but differed in the allegorical and moral deductions drawn from these passages.

Though large, the manuscripts only contained selections of the text of the Bible, along with commentary and illustrations. Each page pairs Old and New Testament episodes with illustrations explaining their moral significance in terms of typology.

There are seven surviving fully illustrated manuscripts of the Bible moralisée group; all date from the thirteenth to the fifteenth centuries and were designed for the personal use of the French royal family. Four were created in the early thirteenth century, when church art dominated the decorative arts. As common in stained glass and other Gothic art of the time, the illustrations are framed within medallions. The text explained the theological and moral meanings of the text. Many artists were involved in the creation of each of the BIBLES MORALISÉES, and their identities and shares of the work remain unclear.******

INTERNATIONAL BUYERS PLEASE NOTE: This book is heavy and will require substantial additional shipping charges. After placing your order you will be notified of the additional charges and be able to accept or reject them before your payment is processed. Or you can contact us ahead of time to find out the shipping charge to your country. Thanks.

JOE D'AMBROSIO - NINETEEN YEARS AND COUNTING, A RETROSPECTIVE BIBLIOGRAPHY, 1969-1988.

ARTIST'S BOOK by JOE D'AMBROSIO, Book Designer, Book Binder, Fine-Printer, Artist.

Self-published and self-made artist's book. First edition and only edition, 1989. Limited to 75 numbered copies and 10 artist proofs. This is copy #41. SIGNED and NUMBERED by D'Ambrosio on the title-page.

FINE and UNIQUE binding, the covers are marbled paper covered boards with a hinged leather spine and a burnished copper plate overlaid on the front; the dustjacket is gray denim cloth with marbled-paper trim; the endpapers are handmade marbled paper. An extraordinary binding.

The book is 6x9 inches and has 129 pages plus the Colophon page.

There are 60 mounted color photographs illustrating D'Ambrosio's fine printing works, books and broadsides, which he produced from 1969-1988.

Condition: FINE book in NEAR FINE dustjacket that has light signs of edge and corner wear. A lovely copy.

Joe d'Ambrosio, b.1934 d.2009, was a fine-printer and book artist who first began designing unusual printed items in Chicago in 1969.

MARTIN STONE, BOOKSCOUT, by PETER B. HOWARD.

SIGNED and INSCRIBED in pencil by PETER HOWARD on the title page: "for David and Beth / Peter Howard".

Published by SERENDIPITY BOOKS, Berkeley, 2000. Limited to 200 copies, so stated on the copyright page.

An essay by the late, renowned bookseller Peter Howard, about his friend, Martin Stone, a rock guitarist and an incredible antiquarian book scout.

Booklet, softcovers, sewn binding, 7.5x10 inches, 15 pages.

NEAR FINE Condition: just lightly handled, tight, bright, clean and unmarked.

Peter Howard, who owned Serendipity Books of Berkeley, California, and was at one time the President of the ABAA, died in 2010. Peter, wherever you are I want you to know that the Roast Suckling Pig you brought out every two years at the time of the San Francisco ABAA Book Fair was Yummy!

About MARTIN STONE (from Wikipedia):

******Martin Stone (11 December 1946, Woking, Surrey - 9 November 2016, Versailles, France) was an English guitarist and rare book dealer. He was a resident of Fingest in Buckinghamshire and, later, of Paris.

Educated at Whitgift School, Stone initially wanted to be a journalist and began as a cub reporter on The Croydon Advertiser, interviewing Jimmy Page when he was still a session musician. Stone's passion for the guitar led him to become a musician. His guitar talent was such that he was considered a possible replacement for Brian Jones in the Rolling Stones. Martin Stone played in many groups, including Junior's Blues Band, Stone's Masonry, Almost Presley, The Action, Savoy Brown Blues Band, Mighty Baby, Chilli Willi and the Red Hot Peppers, Southern Comfort, The Pink Fairies, and The 101'ers. His last album, which he called his legacy album is LIVE FROM THE TERMINAL CAFE with Michael Moorcock and the Deep Fix (Cleopatra Records, Autumn 2019).

Subsequent to his musical efforts Stone achieved international notoriety as a bookscout. He is a major player in John Baxter's memoir A Pound of Paper: Confessions of a Book Addict. He is the subject of a limited edition book Martin Stone, Bookscout by the California rare bookseller Peter Howard of Serendipity Books. He appeared in the television documentary Without Walls: The Cardinal And The Corpse (Iain Sinclair / Chris Petit 1992). He is also known to be the basis for the character Nicholas Lane in Sinclair's novel White Chappell, Scarlett Tracings (1987).

Stone was married in 1980 to Ruth Bullock and their daughter is the actress Sophie Leigh Stone.******

MY BROTHER, RAYMOND CARVER: By James Carver.

Published by Sore Dove Press, San Francisco, 2015, in an ARCHIVAL BOXED EDITION LIMITED TO 12 COPIES, this being hand numbered copy #3 of 12.

Each box measures 8.5x12 inches and was handcrafted using archival materials. FINELY PRODUCED by a noted SMALL SAN FRANCISCO PRESS.

The text, by James Carver, brother and only sibling of Raymond Carver, is on 35 loose 5x7 inch cards, printed on one side only. The last card is the Signature / Limitation card which has James Carver's signature and the statement that this is copy 3 of only 12 produced. In the text, James Carver tells about growing up with his brother Raymond and reveals biographical information that has not appeared elsewhere, not even in the last major biography of Carver. There are also 10 5x7 inch b&w photographs taken from Carver's personal family photo album. Some of these photos are shown here for the first time.

FINE CONDITION, basically as new.

This is for TWO COPIES (buyer gets both copies) of:

NEGRO CIVIL RIGHTS IN CALIFORNIA: 1850, by David L. Snyder.

Keepsake printed by Roger Levenson at the TAMALPAIS PRESS for the members of the Sacramento Book Collectors Club 1969. Small-press fine-printing,"Special Publication No. 10", limited to only 300 copies.

Fine-printing pamphlet, white rag paper covers, red title lettering, side-stapled, 7x10 inches, 12 pages.

A brief history and vivid example of the limited legal rights of Negroes in California to testify against white men. This situation lasted until the testimony law was repealed in 1863. Included in this keepsake is a holograph reproduction of the 1850 sworn testimony of Sarah Carroll who claimed that William H. Potter stole jewelry and money from her. The keepsake also has a transcript of her testimony, as well as the results of her testimony (William Potter was arrested). Sarah Carroll was a brave woman.

Both keepsakes are in VERY GOOD or better condition, one has some light creasing to its top edge, else tight, bright, clean and unmarked.

About this keepsake (from WorldCat):

*******Sarah Carroll, a "free woman of color" brought a complaint against W.H. Potter on the charge of grand larceny for the theft of $700 and other articles of value. The documents of the case appear in this publication in both type and facsimile.******