And Will Ransom (15 results)

Soft cover. Condition: Fine. First American Edition. Fine in wrappers.

Soft cover. Condition: Very Good +. Reprint. 106 pages with a 46 page appendix are clean, tight and unmarked. Covers are lightly curved.

Soft cover. Condition: Collectible-Very Good. Wrappers. Designed by R. Hunter Middleton. The authors pay a final tribute to the late Frederick W. Goudy who was famous in the field of typographic design; he accomplished at least a dozen type faces that have endured through the years.

Soft cover. Condition: Near Fine. No Jacket. Reprint. This is a very good reprint, 111 pages are clean, tight and unmarked. The covers show slight curling.

Pamphlet. Condition: Very Good. FWG TRIBUTES. By Norman W. Forgue; R. Hunter Middleton; Myron Monsen, Jr.; and Will Ransom. Chicago, Illinois: Privately Printed, 1948. Brown printed wrappers, Very Good condition.

Hardcover. Condition: Good. Quarter vellum gilt with Enid Marx Curwen Press pattern paper-covered sides, 4to., vii, 186 pages. Illustrated with one and two color facsimiles and tipped-in color plates and samples. Printed at the Curwen Press. Covers are soiled and edgeworn, with some loss of the paper and vellum staining at the rear. A good copy only; the interior is bright and fresh, in archival mylar.…

Hardcover. Condition: Very Good. Light brown cloth gilt with cover label, 8vo., xi, 15-95, (6) pages. Largely a continuation of Ransom's 1929 bibliography through 1935. One of 300 numbered copies designed and printed by Norman W. Forgue. From David Chambers collection, with a compliments card to Walter Tracy from James Shand and a TLS from Walter Tracy gifting the book to Chambers, loosely inserted. Quite the provenance. Light wear, spine sunned, else a very good copy.…

Pictorial Boards. Condition: Good. First Edition. First edition. 79 pp. Blue cloth spine over boards with pictorial onlay. Boards rubbed and extremities worn. Offsetting to endpapers and light foxing internally, but this does not affect enjoyment of the text and illustrations. With 13 tipped-in colour plates, musical notation and many line drawings by Rie Cramer and others. 4to. Cramer, Rie (illustrator).…

Hardcover. First edition, limited. Chicago: The Black Cat Press, 1935. 95, [3 - index] pages. Original tan buckram with gilt spine lettering and printed paper cover label. [24 cm.] Spine sun-darkened and with a few small spots and a little speckling, minor foxing to gutters of prelims; about very good. FIRST EDITION. One of 300 copies, this copy unnumbered and stamped "For Review Only" on the colophon. PRESENTATION INSCRIPTION SIGNED BY THE PUBLISHER, Norman W. Forgue, on the front free endpaper. The inscription reads: "To J. L. Frazier, with the cordial regard of Norman W. Forgue." The recipient was Julius Leroy Frazier (1885-1966), who wrote and published "Modern Type Display" (1920) and "Type Lore: Popular Types of Today" (1925). Frazier also worked for a time as an associate editor at the Inland Printer Company. Norman W. Forgue (1904-1983) founded the Black Cat Press in 1932. He was responsible for the typographic design of the present volume and collaborated with the author in its compilation and production. The book is based on Will Ransom's "Private Presses & Their Books" (1929), which is here updated with books printed in the intervening years. The output of the Black Cat Press is included in the bibliography, although the limitation of the present work is curiously listed as 350 rather than 300 (see p. 45).…

, 79 pages, 12 coloured plates comprising 12 songs with 11 tipped in coloured plates and frontispiece, music for each song First Edition , lightly rubbed corners and spine, inscription to front pastedown, missing one tipped in plate, light occasional foxing, binding firm, good condition , quarter cloth with paper covered boards with coloured illustration to front , 28 cm x 22 cm Hardback ISBN.…

Soft cover. Condition: Very Good. Collection of Typophile bibliographies, check-lists and ephemera, 1949-1992. Includes 1) 13 pages reproduced from Will Ransoms list of The Typophiles publications through 1948 in "Selective Check Lists of Press Books", Part Ten; 2) A photocopied letter from Arthur Goldsmith "A Continuation of Will Ransom's Checklist of Typophile Publications", explaining his intention with a view to publication of continuing and expanding Ransom's checklist. It is followed by 3) photocopied drafts consisting of 19 pages extending the listings of Chap books, commentaries, Monographs and Keepsakes through 1966; The letter, documents and following item are from the personal collection of Muir Dawson, without attribution; 4) Single sheet typewritten on onion-skin paper and carbon copy listing Typophile Chapbooks from 1935-1958; 5) Four printed page French-folded "Typophile Chap Books" listing and describing ten available Chapbooks, circa 1951; 6) Four printed page French-folded "Announcing a Series of Typophile Chap Books", 1940, soliciting subsciptions (at $1.00 each book) and describing the first book in the new series; 7) Six-page "The Typophiles.and a Keepsake by Fridolf Johnson, off-print from American Artist; 8) Single sheet membership invitation signed by Horace Hart; 9) 20 page catalogue devoted to Typophile productions from Chiswick Book Shop; 10) "A Checklist of the Typophiles'Chapbooks.The John Begg Collection", 2003, 35 pages; 11) "Bibliography of the Typophile Chap Books 1935-1992" by John F. Rathe, 1992. Also included are 6 reproduced Typophile meeting sign-in sheets from 1947-1949, featuring the signatures of all the stalwart attendees. Checklists show some toning and wear, all else are fine. Enclosed in a supplied marbled paper covered board portfolio with spine label.…

Hardcover. Condition: Fair. No Jacket. 1st Edition. Soiled boards, rubbed on the four front corners, the front showing a windmill bordered in blue; the spine, with slight rubbing to extremities and faded black lettering. Internally gift inscription on front free endpaper.; half title and title page spotted, occasionally recurring in milder form. All tipped in plates present, clean and undamaged Size: 4to - over 9¾" - 12" tall. Pictures By Rie Cramer and Others (illustrator).…

xxvi, 114, [8] pp. Untrimmed. 9" x6" Boards light soiled and blue markings in text [apparently used by Ransom for his Select Check List of Press Books]. A VG copy. Moss green papered boards with dark green cloth binding. Gilt title lettering stamped to spine and white on-lay with black title lettering to front board 1st Edition. INSCRIBED by the author to fellow bibliographer, Will Ransom. Signed.…

Hard Cover. Condition: Near Fine. Limited Edition of 226 Copies. Hard cover, 12 mo (4 1/4 x 7 1/4 inches) in quarter blue green Michallet paper-covered boards over decorative "daisy" design paper, the title label in red applied to the left side of front board. Inside, are cream laid endpapers. The watermarked Arches paper also carries the Eragny Press watermark (best seen to the ffep.): a roughly circular monogram made up of an Art Nouveau initials "E "and "P" intersected by images of two vertically-oriented acanthus leaves. Top edge trimmed, others untrimmed. 30, [2] pp., First (and only) Edition. Letterpress, hand printed in Black, red and green, using woodblock designs created by Lucien and Esther Pissarro, with the frontispiece illustration by Author and artist Diana White, entitled "Oh that Ishtar Might Hear Me." Text is printed in Lucien Pissarro's own Brook font, created after the use of type from the Vale Press, with whom Pissarro was also engaged upon his arrival in London in 1893, was famously destroyed (i.e.,thrown in the Thames) by Charles Ricketts in 1903. Limitation page states: "This edition is strictly limited to 226 copies, of which 200 are for sale." Additional to the colophon information: "The Frontispiece has been designed by Diana White & engraved on the wood by Esther Pissarro. The double border and initial letters were designed by Lucien Pissarro and engraved by Esther Pissarro. The book has been printed by them at their Eragny Press, The Brook, Hammersmith. Finished in December 1903." **CONDITION: Near Fine. Slight browning, toward the outer edge of daisy paper (only) on boards. Corners, foot of spine very lightly rubbed. Front paste downs show ghost of tanning from an insert, and ffep. bears brief pencil notation of a former owner. A few original small printer's smudges not affecting text or designs, as expected; the Pissarros were self-trained printers, purchasing their own Albion presses in order to trim the costs of production; the challenges of printing the pages with a series of colored woodblocks led to a high degree of "spoilage" during the production, apparently, so a few random ink marks seems acceptable. A few single spots of foxing to some prelims, explained by Gentz (p. 56) as a result of the Leighton Brothers binders using acidic boards and sometimes too much glue. One end paper unopened. Else, very clean, bright , beautiful and binding is firm. Comes in a handsome custom clamshell box, in quarter olive green morocco over kelley green cloth, gilt, title to spine. Box: Near Fine.**BRITISH ARTIST and AUTHOR, DIANA WHITE (1868-1950), was at the Crystal Palace Art School in London with a young Esther (nee Bensusan) Pissarro. White played a multi-tasking role in the making of this book; as translator/"preparer" of the text, she was also responsible for creating and engraving the woodblock frontispiece illustration, (printed in black,) entitled "Oh, that Ishtar Might Hear Me." Only three Eragny Press books used illustrations by artists other than the Pissarros themselves, so this was unusual. White is said to have relied on the initial translation of the tablets by others from the original Akkadian, or cuneiform; the original blocks are part of the collections of the British Museum. White continued working as a translator, as well as an artist and illustrator, but this was her most famous work. **Gentz relates that the final production of the book was left in the hands of the two women, as Lucien Pissarro was called away to France to attend the death of his father, renowned Impressionist painter Camille Pissarro, between November and March, 1903. Further, correspondence between Lucien and his wife encouraged her to print fewer numbers than stated in order to "juice" the rarity resale value, thus helping the perennially precarious family bottom line. (Gentz p. 195.) In the end it was the agreement with their sales agent, John Lane, which seems to have led to a scrupulous adherence to the truth in this matter. **Refs: Amin, Osama Shukir Muhammed, World History Encyclopedia: "Goddess Ishtar Descent to the Underworld Tablet" (online), 2014. Marcella C. Gentz, A History of the Eragny Press 1894-1914 (2004). Lora Urbanelli, The Book Art of Lucien Pissarro (1997). Will Ransom, Private Presses and Their Books, (1929).**LOC 16013456. Gentz, EP19, p. 194. Ransom, Eragny Press checklist No. 17, p. 263.**Provenance: F. Zara (1961) Will Ransom, (1942) J.C. Howgate. [Ransom's printed library label to rear pastedown with additional owners names.] Scarce. Esther Pissarro (engraver, printer); Lucien Pissarro (principle artist, engraver and printer); Diana White (artist, engraver) (illustrator). Book.…

First edition. Issued as the twenty-seventh title in the Typophile Chap Book series. Small octavo. pp vi, 197, [1]. Pictorial title-page printed in red and black. Includes writings by William Morris, Emery Walker, S.C. Cockerell, T.J. Cobden-Sanderson, Alfred W. Pollard, Edward Johnston and C.H. St. J. Hornby on various aspects of private press printing. The book is designed by Ward Ritchie. One of 400 copies for Typophile subscribers (there were a further 300 printed for the Book Club of California).Spine slightly faded. Very good indeed. Not issued in dustwrapper. …