Search Results: Authors starting with B from William Reese Company - Literature ABAA-ILAB

New York: The Intimate Gallery, 1928.. Printed broadside (28 x 21.5cm), text on recto only. Near fine. First edition of this promotional broadside issued in anticipation of this exhibition held at Stieglitz's Intimate Gallery, 27 March to 17 April 1928. The text prints a note by Stieglitz on the guiding principles of the gallery, as well as a list of the previous ten exhibits. LOWE, p. 434.

New York: The Intimate Gallery, 1928.. [4]pp. Large octavo. Folded leaflet. Fine. First edition of the catalogue of this exhibition held at Stieglitz's Intimate Gallery, 27 March to 17 April 1928. The text prints a Foreword, "Peggy Bacon," by Charles Demuth. Seven pastels and two pencil drawings comprised the exhibit. LOWE, p. 434.

London: Printed for J. Walthoe ..., 1729.. 24pp. Quarto. Extracted from bound pamphlets volume. Moderate foxing throughout, early ms. index number in corner of title; just a good copy. Second edition of the poet's first separate publication, first published in octavo in Oxford in 1722. Written while Bacon was a student in Magdalen College, it bears sympathetic comparison to "The Rape of the Lock." This edition was printed by Samuel Richardson (Sale 71). FOXON B7. ESTC T294990.

Georgetown, CA: Talisman Literary Research, Inc., 1971.. xvi,521pp. Thick octavo. Gilt buckram. First edition of this essential annotated reference to over 2700 works of fiction related to California. Bookplate, top edge faintly foxed, else near fine in dust jacket (crease to front flap).

[Milan: The Artist, 1969].. Three folio prints, (approx 24 x 18"; 60 x 45 cm), executed on plastic, with appliqué, glitter and collage. About fine. Each is image #64 of 75, numbered and signed by the artist. Enrico Baj (1924 - 2003) was one of the central figures of Italian neo- avant garde. He studied at the Accademia di Brera, and in 1951, along with Sergio Dangelo and Gianni Dova, he promoted the Movimento Arte Nucleare. He was temperamentally close to surrealism, pataphysics and dada and was later associated with CoBrA. As an author, he was a leading promoter of the avant-garde, and he worked with Umberto Eco, among other collaborators. These are from a series of six prints showcasing his experiments with plastic media, in a Neo-dada style, 'Plastik- Plastik,' created in 1969 for the Fondazione Marconi.

New York: Peter Blum Edition, 1982.. Portfolio of nine original etchings and one silver gelatin print photograph (images 16 x 20cm printed on 42 x 50cm sheets). The whole enclosed in hinged folding polished wood box (55 x 46 cm), titled in black. Fine. Copy #6 of 35 numbered portfolios (plus ten copies numbered in Roman for special distribution). The etchings combine photo- etching, aquatint, soft ground and sugar lift, and each is numbered and signed in the lower margin. They were printed by Peter Kneubuhler, Zurich. The sequence of images in the portfolio take as their topic a visual "forensic" extrapolation from isolated elements in the enclosed photograph, itself a publicity still from the highly controversial 1948 British film adaptation of J.H. Chase's 1939 novel, NO ORCHIDS FOR MISS BLANDISH. Regarded by many critics as among the worst films of its generation, the film's title was changed to BLACK DICE for a US re-release. Accompanied by a 1980 Penguin paperbound copy of the novel. Substantial… Read More

New York, August 1964.. 48pp. Pictorial wrapper. Illustrated. Photographs. Near fine. An issue of PLAYBILL for the Actors Studio Theatre production of James Baldwin's play, under the direction of Burgess Meredith, at the ANTA Theatre. The production is "Dedicated to the memory of Medgar Evers, and his widow and his children, and to the memory of the dead children of Birmingham." The play opened on 23 April and closed on 29 August 1964, placing this issue in the final weeks of the premiere run. Theodore Mann contributed an article, "Is There a Negro in the House?" and two laid in slips record cast substitutions for a specific performance.

London: Richard Bentley, 1840 & 1842.. Two volumes. [6],v,[3],338,[2]pp. with inserted extra-engraved title (a proof before letters), numbered colophon leaf, engraved title, and six etched plates; vii,[3],288pp. with engraved title and seven etched plates. Octavo. Full claret crushed levant, gilt extra, a.e.g., by Riviere, with the side panels and spine of the original binding of the first volume bound at the end. Plates and illustrations by Leech, Cruikshank and Buss. Bindings a bit darkened and slightly discolored at extremities, light rubbing to joints, some foxing to the prelims of the first volume, with an old tide-mark in the lower gutter areas of the plates; otherwise, a very good set. With the armorial bookplate of Sir David Lionel Salomons (1851-1925) in each volume, and a tipped-in bookseller's description in the first volume. The very rare private issue of the first two volumes of Barham's most successful work, specially printed on heavier cream-toned paper, with the special limitation… Read More

[Council Bluffs, IA: The Yellow Barn Press, ca. 2001].. [24]pp. Small folio (32.2 x 23.5 cm). Six loose bifolia, laid into printed wrapper. A few minuscule spots to the upper wrapper, wrapper corners very faintly bumped, otherwise about fine, internals very fine. A sampling from the leaves, "Being left-over pages from the plate section printed offset and the text pages printed letterpress." The edition consisted of 175 numbered copies designed and printed by Neil Shaver in Monotype Perpetua set by the Bixlers on Zerkal paper. A substantial number of the illustrations are wood-engravings by John De Pol.

Athens: Kedros, 1970.. Printed wrapper. Frontis. Wrapper faintly marked, otherwise near fine. First edition. Inscribed by the poet / translator "for Norman [Holmes Pearson] with thanks for the kind words of your dedication page...."

Atlanta: Nexus Press, 1993.. Quarto (29 x 21 cm). Stiff decorated wrappers. Color illustrations and pop-ups. Fine, with instruction sheet and 12 extra tab strips laid in. First edition. One of "hopefully" 600 copies printed on Mohawk Poseidon 80 pound cover stock. Both a "how-to" and an example of the pop-up art by the proprietor of Popular Kinetics Press, undertaken in the course of a Nexus Press residence award. In the author's online résumé of book productions, she indicates the edition actually consisted of 250 copies.

[Bethesda, MD: The Artist, 1983].. Oblong quarto (13 x 24.5 cm). Ringbound decorated stiff wrapper, within acetate wrapper. Color illustrations and diecuts throughout. Very near fine. First edition. A quite early artist's book by the principal of the Popular Kinetics Press, and influential artist in the pop-up genre. Although the printed colophon calls for an edition of 280 copies, the artist has signed and numbered this as one of 200 copies, a number mirrored in her online resume. A textless narrative, printed by color offset lithography, with transitions between panels accomplished via strategic diecuts.

Birmingham: Typis Johannis Baskerville, 1773.. [2],214pp. 12mo. Contemporary calf, rebacked to style, spine gilt extra, gilt label. Neat bookplate on front pastedown, ink ownership signature in upper margin of title, otherwise very good. Am attractive copy of the second Baskerville printing, and the first in 12mo. GASKELL 50.

[Northampton, MA and elsewhere], [No date, 1964, 1967 and 1968].. Seven items, various sizes and formats, leaflets and broadsides. Near fine to fine. An interesting lot of personal and press ephemera, comprised of the following: a) 1967 announcement of the wedding of Lisa and Leonard Baskin, folded leaflet, (10 x 11.4 cm); b) 1968 New Year's greeting from Lisa and Leonard Baskin, folded leaflet (13.5 x 11 cm); c) "Soli Deo Gloria ... Caslon 1785," folded leaflet (15 x 19.5 cm), outer panel comprised of Caslon decorative type ornaments; d) Birth announcement for Hosea Thomas Baskin, 27 December 1968, (18 x 12.8 cm); e) folded leaflet, undated New Year's greeting from the Gehenna Press; f) a folded broadside (30.2 x 17.5 cm), printed in black and red, on Japanese paper, an announcement of an exhibition featuring the newly published THE DEFENCE [sic] OF GRACCHUS BABEUF ... (the book appeared as THE DEFENSE ...), 1964; and a small, separate invitation to the exhibition (18 x 10 cm), printed on Japanese… Read More

[Np], 1968-1969.. Six bas-relief medallions (17 cm diameter, 6.75 inches). Rich brown patina, titled and signed on the faces in the casting, and titled and dated on the versos, with hanger hooks. Fine. Each denoted an 'A/P' (Artist's Proof) incised on the verso. The standard edition consisted of 250 castings of each. The subjects are "Icarus" (dated 1968 on the face); "Cerbervs"; "Athena's Shield (Medusa); "Andromache"; "Apollo" and "Minotaur." Because of significant weight, additional shipping charges apply.

Paris: Alexandre Mesnier, 1833.. Two volumes. [6],vi,307;[4],323pp. Mid 19th century mottled calf and boards, spines gilt extra, half-titles bound in. Some modest foxing, bindings lightly rubbed at edges, with small scuff to one joint; a good set, in an interesting binding. First edition. Bazin (1797 - 1850), left the practice of law for historical pursuits, and this work is highly regarded for the portrait it provides of the "Monarchie de Juillet." Of special note is the essay describing the cholera outbreak in Paris.

[New York]: E. P. Dutton, [1909].. liv,624pp. Thick quarto. Green cloth, spine and upper board elaborately gilt extra. Plates, illustrations, ornaments and pictorial boards. Neat 1909 ownership inscription on free endsheet, trace of tanning to endsheets, a couple small rubs at tips, but a near fine, bright copy, and unusual thus. Folding cloth case, Second edition, US issue, of the work that constituted Beardsley's first great illustrative commission, originally issued in 12 parts 1893-4, and then in two volumes. In addition to sixteen full-page plates, four double-page plates and numerous other illustrations, this first edition in one volume includes ten additional chapter headings inadvertently omitted from the first edition. One of 500 copies for the US, from a total printing of 1500 copies. LASNER 22b.

San Francisco: Five Tree Press, 1976 & 1977.. Two folio broadsides (45.5 x 30.5 cm). Tiny bump to one corner, slight tanning to margins of first from having been matted, otherwise very good or better. First printing of each in broadside form, the second with an explicit limitation of 200 copies, the second without limitation. Both are signed by the poet, activist bookseller.

[Frankfurt am Main]: Suhrkamp Verlag, 1963 & 1964.. Two volumes. 529,[6];423,[6]pp. Uniform publisher's charcoal gray linen, silk markers. A couple of marginal finger smudges toward the rear of the first volume, otherwise very good or better, in modestly nicked and chipped dust jackets with some hand soiling to the spines. First collective edition of these translations printed parallel with the French or English texts, including the first appearance in book form of "Act Sans Paroles II." The German translations were accomplished by Elmar Tophoven. An excellent association set, inscribed in each volume by Beckett to his friends Jack and Gloria [MacGowran]: "for Jack & Gloria with love & gratitude Sam Paris Feb. 1964" and "for Jack & Gloria with love from Sam Paris Jan. 1965." Jack MacGowran (1918-1973) was closely identified with several major roles in Beckett's plays, including that of Lucky in Godot at the Royal Court Theatre and the Obie winning off-Broadway anthology, "MacGowran in the works of… Read More

Paris: Galerie Maeght / Pierre a Feu, June 1948.. 15,[1]pp. Folio (38.5 x 28 cm). Pictorial self-wrapper. Illustrations and photographs. 5 cm split at toe of spine with parallel 2.5 closed tear at bottom edge of front wrapper, just barely touching the lower corner of the image, usual uniform slight tanning, otherwise very good or better, partially unopened. An early number of this venerable serial devoted to then contemporary artists. This issue is devoted to Bram and Geer van Velde, and features original monochrome lithographs (printed by Mourlot Frères) on the front and rear wrapper panels. Beckett's essay on the artists is the cornerstone of the textual component, and he translated some of the "Paroles de Bram van Velde" printed on page 13. FEDERMAN & FLETCHER 256.