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Smithfield: J. L. Marks, 1840. 32mo. 12pp. Frontispiece woodcut showing a rather gothic take on Blue Beard defending himself from animate skeletons. One of several editions issued by Marks, this rather scarce, with no apparent holdings recorded in OCLC. Bound in tan printed wrappers with publisher's advertisements at lower. Some exterior soiling and motes of chipping, else very good.
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The Wonderful History of Blue Beard
by (Perreault, Charles)
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The Kelmscott & Doves Presses
by Pollard, Alfred W.
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Vancouver, B.C.: Heavenly Monkey, 2019. Jackson, Martin. Tall quarto. 18, (10)pp., + two tipped-in leaves. From an edition of 55 copies, this is one of twenty comprising the "Written" issue, featuring original calligraphy by Martin Jackson on the printed pages. Signed by Jackson on the colophon page. The text is Alfred W. Pollard's essay, which first appeared in 1921 as the introduction to the catalogue of William Andrews Clark's Kelmscott and Doves collections, printed by John Henry Nash. Pollard offers a summary of the typographical and aesthetic aims of both presses, the common denominator of each being Emery Walker; this edition presents the opportunity to examine a specific example from both presses—each of which Pollard references in his essay. The leaves included here are from the Kelmscott edition of The Golden Legend and from The English Bible, considered by many to be the masterpiece of the Doves Press. With a "Note from the Printer" which examines several of Pollard's statements about…
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Cracker Jack Chronicles
by Poska, Valentine J.
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San Antonio, TX, 1985. (20)pp. accordionfold. An ode to the ubiquitous baseball snack. Held in matchbox with Cracker Jack labels to upper and lower panels. Trace rubbing to box, else near fine. (2 1/8 by 1 1/2; 55x39mm).
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Borglum in Texas
by Poska, Valentine J.
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San Antonio, TX: Windcrest Press, 1991. 80pp. One of 75 copies, printed to commemorate the 50th anniversary of the dedication of Mount Rushmore and with opening and closing postage stamps issued for the occasion. Frontispiece portrait of John Gutzon de la Mothe Borglum, the designer. Bound in maroon cloth over boards, with B stamped in gilt to upper cover. Fine. (2 3/4 by 1 7/8; 70x49mm).
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Going, Going...Gone!
by Price, Richard
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Bosham, UK: Circle Press, 2013. King, Ronald. Square small quarto. 7 unbound triptych sheets. One of thirty copies, signed by Richard Price and Ronald King. Price's verses appear alongside King's illustrations, which have been deeply embossed into the papers, mostly in blind but with choice additions of color. Each triptych articulates the case for animals presently threatened by or having already succumbed to the catastrophes of climate change: the armadillo, the emperor butterfly, the chimpanzee, the dodo, the elephant, the fox, and the goose. That the alphabetical bestiary format remains unfinished implies the continuing urgency of the matter. Sheets housed loose in embossed paper wrappers, held in chemise and slipcase. Fine.
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Nos Tours Favoris
by Galeri Universelle des Prestidigitateurs Amateurs et Professionels
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Lyon: A. Drioux, 1912. Two octavo vols. 170pp., paginated continuously. Illustrations throughout diagram various acts of sleights of hand and visual illusion; these accompany portraits and biographies of some of the leading magicians of the era, each of whom made famous a particular trick during their tours. Prestidigitative luminaries include Ottokar Fischer, Adolphe Blind, Arthur Margery, and Angelo Lewis. First volume in plausibly its original binding of half pebbled green morocco with gilt spine-title and marbled edges. Second volume in a later binding of full green cloth over boards, spine-title in gilt. Both volumes show external rubbing and minor bumps to corners, boards of first volume slightly splayed, else near fine and quite rare.
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Plasticke Obrazy Zoologicke
by Prunera, Rudolfa
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Prague: Nakladem Zoologicke zahrady v Praze-Troji, 1937. Octavo. 4pp., + 40 plates, each one printed in red and green for 3-D viewing, enabled by the astonishingly rare survival of four 3-D glasses held in a sleeve inserted into the front board. Each plate shows a different animal, altogether an exciting and almost realistic personal zoo. The history of three-dimensional printing owes its lineage to the parallel history of experiments in depth perception, and its incorporation into print culture begins with the stereoscope. But here the specific technique of "anaglyphic" printing arrived in the late 19th century, based on earlier principles but adding to the equation manipulations of light and color. Shortly thereafter, anaglyphic films entered the market. By the time of this compendium's publication, the technological procedure had become more widely diffuse, but nevertheless retained its novelty value (as it still does today, in the grandeur of IMAX cinema). The timing, too, deserves further…
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