Where the Money Grows by GARRETT, Garet (1878-1954) - 1911

Toronto: McClelland and Stuart, 1977. Oblong folio. (14 x 17 inches). Original two-colour lithographed portrait of Thomson by Town, signed and numbered in pencil by the artist, 185 mounted coloured illustrations after Thomson, 81 uncoloured illustrations, most after or of Thomson. Original brown reversed calf, the upper cover and spine blocked in gilt, light blue watered silk endpapers, glassine wrapper, publisher's hessian-covered slipcase The edition deluxe, number 78 of 135 numbered copies, signed by Town and Silcox, with an original lithograph "Portrait of Tom Thomson": "What finally matters most in painting, is looking and savouring" (preface). A fine record by artist Harold Town and noted art historian David Silcox of the life and work of the influential early 20th-century Canadian artist Tom Thomson. He died early, but his work proved to be a direct influence on the group of Canadian painters that would come to be known as the Group of Seven. His work continued to affect (less directly) the… Read More

New York: Sylvan Cole Gallery, 1985. Quarto. (13 1/4 x 10 inches). Portfolio with complete text and 8 etchings, printed by Stephen Sholinsky at Stem Graphics, New York, and published by Associated American Artists, New York. Each etching signed by Bishop and numbered I/VII. Publisher's gray clamshell cloth box, upper cover and spine lettered in gilt. One of seven sets of artist's proofs, with each of the 8 etchings signed and numbered by Bishop, a groundbreaking twentieth-century social realist. Upon packing up her Union Square studio in 1983, Bishop discovered a small group of original copper printing plates from 1930-1959 which had only been used for one or two proofs and had otherwise not been printed. As the colophon relates: "Until this printing, only proofs of these images were ever printed. This printing was done on Rives Heavyweight paper by Stephen Sholinsky of Stem Graphics, New York . . . The total number of impressions pulled from each plate is 60." There is a regular edition of 50,… Read More

New York: Random House, 1944. 8vo. 60 colored woodcut illustrations designed by Rogers. Printed in Frederic Goudy's Deepdene Italic type. Publisher's cloth, covers lettered and stamped in silver. Without the slipcase. One of five hundred copies of Rogers's Euclid printed for Random House at the Press of A. Colish. Bruce Rogers was an American typographer, type designer, and book designer. He preferred working with serif typefaces, including Bell and Montaigne (which he invented), and his greatest achievement in typography was the serif typeface Centaur. At the age of 74, Rogers created this limited edition of 500 copies of Euclid's Book I with sixty beautiful, colorful woodcut diagrams. The preface contains an excerpt from an essay by writer Paul Valéry which discusses the contributions of the ancient Greeks to geometry. Sidney J. Kolpas, "Mathematical Treasure: Bruce Rogers's Euclid," Convergence (February 2019).

London: The Nonesuch Press, 1937. 8vo. (9 1/8 x 5 5/8 inches). 36pp. Illustrations throughout. Folder with extra suite of 17 electrotypes in rear pocket. Publisher's patterned cloth boards. Limited to 1000 numbered copies, this no. 691, printed by the Curwen Press from design by Meynell. This fascinating work looks at the illustrations of the iconic English poet, painter, and figure in the field of visual arts, William Blake. "17 wood engravings by Blake and 3 designed by him and cut by a journey engraver, 8 of the egravings also reproduced from Blake's original proofs, all printed from line blocks. 16 drawings for the engravings reproduced in collotype" (Dreyfus). Dreyfus 110.

London: Nonesuch Press, 1926. 2 volumes, 8vo. (9 3/4 x 5 7/8 inches). 53 collotype illustrations after Blake. Uncut and unopened. Publisher's vellum-backed patterned boards. Limited to 1450 copies, this edition printed on Van Gelder rag paper, plates printed at the Chiswick Press. The first volume is "Paradise Lost," the second miscellaneous poems. Edited by the late Canon Beeching, pictures chosen by Geoffrey Keynes, and includes a section of Notes on Blake's Illustrations by Keynes.

Toronto: McClelland and Stuart, 1977. Oblong folio. (14 x 17 inches). Original two-colour lithographed portrait of Thomson by Town, signed and numbered in pencil by the artist, 185 mounted coloured illustrations after Thomson, 81 uncoloured illustrations, most after or of Thomson. Original brown reversed calf, the upper cover and spine blocked in gilt, light blue watered silk endpapers, glassine wrapper, publisher's hessian-covered slipcase The edition deluxe, number 78 of 135 numbered copies, signed by Town and Silcox, with an original lithograph "Portrait of Tom Thomson": "What finally matters most in painting, is looking and savouring" (preface). A fine record by artist Harold Town and noted art historian David Silcox of the life and work of the influential early 20th-century Canadian artist Tom Thomson. He died early, but his work proved to be a direct influence on the group of Canadian painters that would come to be known as the Group of Seven. His work continued to affect (less directly) the… Read More

New York: Sylvan Cole Gallery, 1985. Quarto. (13 1/4 x 10 inches). Portfolio with complete text and 8 etchings, printed by Stephen Sholinsky at Stem Graphics, New York, and published by Associated American Artists, New York. Each etching signed by Bishop and numbered I/VII. Publisher's gray clamshell cloth box, upper cover and spine lettered in gilt. One of seven sets of artist's proofs, with each of the 8 etchings signed and numbered by Bishop, a groundbreaking twentieth-century social realist. Upon packing up her Union Square studio in 1983, Bishop discovered a small group of original copper printing plates from 1930-1959 which had only been used for one or two proofs and had otherwise not been printed. As the colophon relates: "Until this printing, only proofs of these images were ever printed. This printing was done on Rives Heavyweight paper by Stephen Sholinsky of Stem Graphics, New York . . . The total number of impressions pulled from each plate is 60." There is a regular edition of 50,… Read More

New York: Random House, 1944. 8vo. 60 colored woodcut illustrations designed by Rogers. Printed in Frederic Goudy's Deepdene Italic type. Publisher's cloth, covers lettered and stamped in silver. Without the slipcase. One of five hundred copies of Rogers's Euclid printed for Random House at the Press of A. Colish. Bruce Rogers was an American typographer, type designer, and book designer. He preferred working with serif typefaces, including Bell and Montaigne (which he invented), and his greatest achievement in typography was the serif typeface Centaur. At the age of 74, Rogers created this limited edition of 500 copies of Euclid's Book I with sixty beautiful, colorful woodcut diagrams. The preface contains an excerpt from an essay by writer Paul Valéry which discusses the contributions of the ancient Greeks to geometry. Sidney J. Kolpas, "Mathematical Treasure: Bruce Rogers's Euclid," Convergence (February 2019).

London: The Nonesuch Press, 1937. 8vo. (9 1/8 x 5 5/8 inches). 36pp. Illustrations throughout. Folder with extra suite of 17 electrotypes in rear pocket. Publisher's patterned cloth boards. Limited to 1000 numbered copies, this no. 691, printed by the Curwen Press from design by Meynell. This fascinating work looks at the illustrations of the iconic English poet, painter, and figure in the field of visual arts, William Blake. "17 wood engravings by Blake and 3 designed by him and cut by a journey engraver, 8 of the egravings also reproduced from Blake's original proofs, all printed from line blocks. 16 drawings for the engravings reproduced in collotype" (Dreyfus). Dreyfus 110.

London: Nonesuch Press, 1926. 2 volumes, 8vo. (9 3/4 x 5 7/8 inches). 53 collotype illustrations after Blake. Uncut and unopened. Publisher's vellum-backed patterned boards. Limited to 1450 copies, this edition printed on Van Gelder rag paper, plates printed at the Chiswick Press. The first volume is "Paradise Lost," the second miscellaneous poems. Edited by the late Canon Beeching, pictures chosen by Geoffrey Keynes, and includes a section of Notes on Blake's Illustrations by Keynes.