Search Results: Authors starting with G from Bromer Booksellers

Chicago IL: Black Cat Press, 1968. 32pp., frenchfold. Limited to 225 copies. Fine in black gilt-stamped leather with gilt portrait of Shakespeare and marbled end papers. (2 3/8 by 2 5/8; 61x66mm).

Boston, 1888. (5)ff. Hand-written rebus with cut-out illustrations pasted on the letterhead of "Howard Gannett, Publisher and Bookseller." Provides humorous prescriptions for obtaining and retaining good health, which include "Sleep without boots near an open (window)" and "Rise before you wake up-- early before the (stars) have gone." The result, after two-years' time, is that "You will feel as bright as the (sun) and as hungry as our bridle (cow), ribs and all." A nonconformist "to this great Discovery" will end up with his legs in the stocks for shaming. Sheets measure 8 1/2 by 5 1/2 inches. Short, closed marginal tear to one leaf on the fold, else fine.

(Gloucestershire, UK): Leslie Gerry Editions, 2016. Gerry, Leslie. Folio. (60)pp. From an edition of 80 copies, this is one of 70 bound in cloth. Illustrated with twenty-two full-color double-page spreads of the people and scenery of Havana. Includes extracts from Irene A. Wright's "Cuba," written in 1910. Gerry's paintings, inspired by a two-week visit to the city in December 2015, attempt to capture "one of the oldest and finest cities in the Americas... a city with an earthy authenticity, full of contradictions." Gerry's art is created digitally by "cutting out" sections of flat color and layering them on top of each other, creating an overall effect of a vibrant, graphic paper collage. Bound in sky blue cloth with the title in gigantic letters, heat printed in red, orange, and yellow. Housed in a matching clamshell box. As new. Prospectus laid in.

(N.p.: Weather Bird Press, 1972. One of fifty copies. Twenty engaging line engravings, including two fold-outs, of various types of chickens. The illustrations, printed in red, black or gold, are reprinted from the "Bantam Newspaper". Bound in brown cloth over boards with paper label. Fine in plain d/w. (2 7/8 by 2 1/4; 73x58mm).

Victoria, Australia, 2010. Gibney, Jennifer. Square 32mo. (14)pp., accordion-fold, decorated on both sides of the page. An original artist's book by Jennifer Gibney, with hand-drawn text and pen illustrations in black, sepia, and sanguine ink, housed within a hand-painted and decorated wooden box. The story concerns a jester-like character who is overwhelmed by the pressures of life until he opens a book and "opens a dream," escaping into the endless possibilities of his imagination. On the lid of the box is a painting of Joe Average with the word "ordinary" repeated over and over on his clothing and hat, trapped beneath a lattice of textured brass strips. A porcelain sculpture of Joe Average, in the same pose as on the illustration on the lid of the box, is laid into the box on top of the book. Gibney is both a painter and a sculptor, with a background in graphics and book illustration, and she drew on all of these areas of expertise to create this unusual book. With a colophon card laid in, signed… Read More

Aurora, NY: Wells College Press, 2014. Roberts, William. Folio. (9)ff. One of thirty copies, signed by the author, Ildefonso Manuel Gil, before his passing in 2003. Each lithograph titled, numbered, signed, and dated by the artist as well. A suite of four lithographs, plus an original drawing, by Roberts embrace the darkness and uncertainty of Gil's fierce anti-war poem and the Goya painting, "El 3 de mayo de 1808 en Madrid: los fusilamientos en la montaña del Príncipe Pío," on which the poem is based. Through his verses, Gil connects the Spanish resistance to Napoleon during the Peninsular War of 1808 to the Spanish Civil War and the horrible legacy of firing squads over a century later. Gil speaks personally; he refused to bend to Francoists during the Civil War, and was subsequently imprisoned and exiled. Translated by Miguel and Nancy Gil. Housed unbound in a clamshell box. Fine.

(Verona: Plain Wrapper Press, 1980. Quarto. 7, (1)pp. One of 155 copies signed by the author. Inscribed by the author to the distinguished New York antiquarian bookseller John Fleming in 1981: "For John Fleming, who is no more in need of instruction in the art of wooing than was J. Pierpont Morgan, upon whose shelves this little book may someday rest." This collection of passionate poems includes two that were written especially for this edition: "Ferragosto" and "Norfolk." Fine in tan paper-covered boards, printed with a leaf-and-berry pattern in brown and yellow and bearing a label with the Press's device. (Smyth, 29).

London: Jonathan Cape, 1931. Gill, Eric. Octavo. viii, 200pp. Illustrated with ten wood engravings by Eric Gill: three full-page, five half-page, and an ornamental device. Spine faded, else very good in green cloth. Laid in is a silhouette woodcut, signed by Gill, titled "Dumb-Driven Cattle." First produced in 1915, the woodcut was used in several publications over the years, the first of which was The Devil's Devices by H.D.C. Pepler in 1915. Print tipped onto paper backing, and showing some adhesive stains. (Gill Bibliography 22; Physick/Skelton 36).

Capel-y-ffin, Abergavenny: Francis Walterson, 1927. Gill, Eric and David Jones. Octavo. (vii), 46pp. One of 200 copies printed at the Shakespeare Head Press for Francis Walterson, signed by both Eric Gill and David Jones. This was the only book to be issued signed by the two. Illustrated with a frontispiece engraved by David Jones titled "The Artist," and two small wood engravings by Gill. Despite the publication date of 1927 on the title page, this title was not actually published until January, 1928. Faint toning to spine and minor edgewear, otherwise fine in blue cloth. (Gill 13).

1935. Three octavo sheets, each one with Gill's notations in graphite and colored pencil. Two sheets list thirty-seven of Gill's sculptures, including his Westminster Stations. Next to the sculptures' names are an array of further identifying notes - personal owner (Rupert Brooke, et al.), location (Glasgow, USA), and insitutions (Tate Gallery), mainly - as well as numbers corresponding to the endnotes provided on the third sheet. This last sheet appears to be a series of tasks that Gill set out for himself in order to fill administrative gaps; a number of the comments mention photographs to be taken or correspondence to associates. Prominent stain from now-removed staples at center-head of the pages, else a near fine glimpse at Gill's approach to the business of being an artist.

Ditchling: St. Dominic's Press, 1923. Jones, David and Eric Gill. Octavo. vii, 26pp. First edition. Printed in red and black, with a preface and notes by Eric Gill and Hilary Pepler. Illustrated with three wood engravings by David Jones and six by Gill. This is the fortieth St. Dominic's Press publication, and one of the few to be accurately dated by the printers. In a variant binding of gray cloth. Boards lightly soiled, inner hinge starting before first signature, else fine. (Cleverdon 31; Gill 87; Taylor & Sewell A111).

NY: Glenn Horowitz, 1986. Two copies. 16mo. 27pp. Each one of 150 copies. Both signed by all authors at colophon, and inscribed by Horowitz at front free endpaper. Printed at the Kelly Winterton Press. A collection of transcripts of speeches given in memory of Bernard Malamud, the novelist and short story writer best known for his baseball novel The Natural. First copy bound in dark gray cloth with light gray paper label. Second copy bound in light gray paper wrappers. Both fine.

(N.p., n.d.). Forty distinct samples, detailing a variety of patterns and colors, with particular attention to variations of the snail pattern. All but one cut down from larger sheets into strips; the other is wrapped around them. Some rubbing to edges, else a near fine collection, housed in an envelope.

(Vancouver, B.C.: The 704 Press, 1997. 8ff. One of twelve copies, this one out of series. Printed by Rollin Milroy "under the guidance of Jan and Crispin Elsted at Barbarian Press," this represents Milroy's first printed book—a surreal poetic sequence by the Back to the Future actor, who would issue a longer novel under the same title. From the title page alone, with the title blind stamped between the author's full name, we see Milroy's emergent aesthetic, which, given its limitation and size, seldom appears in commerce. Bound in pale blue handmade paper over boards with the title printed on upper cover. Fine. (3 1/8 by 2 1/4; 79x57mm).

Worcester, MA: Achille J. St. Onge, 1966. 85pp. One of 1,926 copies. A volume in honor of the fortieth anniversary of the launching of the first liquid-propellant rocket in 1926. With a black & white frontispiece portrait of Goddard, as well as an eight-cent Goddard U.S. postage stamp, tipped in. Bound in full blue calf with gilt lettering and a portrait of Goddard to the front cover, gilt lettering to spine. Endpapers illustrated with rocket blueprints. Spine a touch sunned, else fine. A.e.g. A copy of this book was taken on the first space launch to the moon and is now in the collection of the Clark University library in Worcester. (Bondy, p. 170; Bromer/Edison, p. 165). (2 7/8 by 2 1/16 in.; 73x52mm).

Maastricht: Halcyon Press, 1931. Buckland Wright, John. Octavo. (256)pp. From an edition of 140, this is one of 125 copies on Pannekoek paper. All plates are signed by the illustrator, John Buckland Wright, and the publisher, A. A. M. Stols, has signed the colophon page. This is the third book bearing Buckland Wright's artwork, and it marks his first use of copper (rather than wood) engravings for book illustrations. The style employed here is slightly atypical of Buckland Wright, who depicts more bucolic elements rather than his customary eroticism. Reid notes that this book "is far scarcer than the printed limitation suggests" as "only a relatively few sets of the engravings were printed." Bound in full blue morocco by Louis Malcorps, with cover decoration in gilt after a design by Buckland Wright. T.e.g. Housed in the publisher's marbled slipcase, which shows some light shelfwear. (Reid A3).

NY: Coward-McCann, Inc, 1955. First American edition. Golding's first novel presents a terrifying portrayal of human nature, latent in all and emergent in conch-bearing stranded children. It has gone on to influence subsequent survival tales for decades, and saw two film adaptations - the first in 1963, and more recently in 1990. Golding was awarded the Nobel Prize in 1983. Two-tone paper boards show light toning to extremities and slight roll to spine foot, else near fine in like dust wrapper.

Cincinnati, OH: Mosaic Press, 1982. Moore, Roy. (48)pp. One of 100 deluxe copies, bound in light blue leather with a sterling silver toy soldier embedded in the front cover and a folding wooden stand. Signed by the authors, Bernard and Estelle Toby Goldstein, and the publisher, Miriam Irwin. With five black & white illustrations of toy soldiers by Roy Moore. Very fine. (Bradbury, p. 158). (1 1/16 by 3/4; 28x20mm).

Cincinnati, OH: Mosaic Press, 1982. Moore, Roy. (48)pp. Signed by the publisher, Miriam Irwin. With five black & white illustrations of toy soldiers by Roy Moore. Very fine in gilt-stamped blue leather. (Bradbury, p. 158). (1 1/16 by 3/4; 28x20mm).

Dallas: Somesuch Press, 1982. Rorer, Abigail. 30pp. One of 250 copies, signed by the printer, Barbara Blumenthal, and the illustrator, Abigail Rorer, who contributed the frontispiece portrait of acclaimed Goldwater. Bound in full blue cloth over boards, with paper label to upper cover. Minute rubbing to corners, else fine. (2 5/8 by 2 1/2 in.; 69x64mm).