Search Results: Titles starting with P from Bromer Booksellers

Boston, 1991. Davidson, Laura. Unique book art object, signed and dated by the artist, made from wood, acrylic, paper, ink, and metal keys. Constructed as a temple, the statuesque object has two swinging doors on which Davidson has inked a Hindu tale; this and other designs are presented over excised maps and travelogues, creating a multimedia collage. The pillared templed stands upon a platform ornamented with six keys, each labeled "a" through "d" (there are multiple for "b") to mirror the coordinate grid of the map. The whole is a companion piece to Davidson's first editioned book, To Open, completed in the same year. Fine. Housed in custom box. (12 by 10 1/4 by 3 5/8 in.; 340 x 264 x 94 mm).

Verona: Officina Bodoni, 1969. Octavo. 151pp. One of 125 copies. Illustrated with a medal of young Bembo as a title device; a fold-out reproduction of "Il Noniano"; an engraving from "Bembo's Works," Venice 1729; and a facsimile leaf of Aii of Bembo's "De Aetna," printed by Aldus in 1496. The Latin version is followed by an English translation by Betty Radice and a Postscript by Giovanni Mardersteig. The Latin is set in Griffo type, and the English and Postscript are in Monotype Bembo, both based on the roman alphabet developed by Francesco Griffo for Aldus. Bound in quarter-morocco with red paper over boards, gilt-stamped with the press's device. Some toning to spine, else fine in matching slipcase. Prospectus laid in.

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… Read More

London: William Pickering, 1825. Nine 64mo vols. 306; 279; 294; 326; 321; 348; 320; 315; 270, liv pp. Frontispiece, title-page vignette, and thirty-eight engraved plates depicting memorables scenes across Shakespeare's oeuvre: the death of Julius Caesar, Macbeth with his knife on his way to murder Duncan, pastoral tableaux from Love's Labours Lost and Much Ado About Nothing, and a cherubic Puck from A Midsummer Night's Dream. A table of contents introduces the first volume, orienting the reader through the plays. All volumes bound in full brown calf with double gilt rule to both covers, four raised bands to spine with gilt ornament and titling, gilt to edges and dentelles, and black ribbon marker (all intact). Toning across spines, some cracking at joints professionally repaired, else a near fine, near miniature set.

Glasgow: David Bryce & Son, 1896. 240pp. Reduced facsimile of the first edition, which had been printed in Kilmarnock by John Wilson in 1786. Bound in wrappers, and held in a quite monumental covered in red morocco and gilt-tooled and -titled, with matching chemise. Mild soiling, else fine. (Garbett, p. 27; Spielmann 69). (1 3/16 by 7/8; 30x20mm).

Bourne, MA: Theater on the Bay, 1995. Gorey, Edward. Broadside. Signed by Gorey. Gorey's illustration shows the titular ingenue contorted to balance the mustachioed head of John the Baptist on one foot. Fine. (Measures 17 by 11 inches).

Cotuit, MA: Cotuit Center for the Arts, 1998. Gorey, Edward. Broadside. Signed by Gorey. Gorey's illustration depicts decorative soup bowls and figbashes rampant, in the English manner. Fine. (Measures 17 by 11 inches).

Tuscon, AZ: Amos Paul Kennedy, Jr., 2017. Kennedy, Jr., Amos Paul. Five-color letterpress poster on chipboard, exhibiting Kennedy's characteristic layering and use of eclectic and upcycled wood type. Douglass's quote originated in a speech he delivered on August 4, 1857, in Canandaigua, NY, at an address on West Indian Emancipation. A stamp at the lower left corner cites the University of Arizona's letterpress studio. Trace, inconsequential bumps to lower corners, else fine. (19 by 12 1/2 in).