Search Results: Illustrated Books from Bromer Booksellers

Cincinnati: Mosaic Press, 1978. Kintzer, Cynthia. (59)pp. One of 500 copies, signed by the author, artist, and printer. With black & white illustrations by Cynthia Kintzer. Tells the stories behind seventeen of America's haunted houses and the ghosts that supposedly haunt them. Very fine in black buckram with white stamping on front and spine. (15/16 by 13/16; 24x21mm).

Cincinnati, OH: Mosaic Press, 1983. McCurdy, Michael. (64)pp. Signed by the printer, Miriam Irwin. Frontispiece portrait of Sherlock Holmes. What follows is a brief but no less scintillating Sherlockian mystery. Fine in gilt-stamped brown leatherette. This the later edition, of shorter stature and not blind-stamped. (15/16 by 3/4; 24x19mm).

Metro-Goldwyn-Mayer, 1949. Double-feature flipbook, in one direction showing Andy Panda unicyling with confidence, and in the other Buzz Buzzard's stick-up gone awry. Book twelve in a series of "Flip Movies" distributed by Post Cereals in boxes of Grape-Nuts Flakes. Staple-bound in self-wrappers. Mild exterior soiling, else fine. (2 1/2 by 1 9/16; 65x38mm).

Providence, RI: Ziggurat Press, 1989. (Bell, Andrew). Quarto. (32)pp. One of forty-five copies. Illustrated with seven copper engravings, originally executed by Andrew Bell, which accompanied the essay, here likewise reprinted, published in the 1797 edition of the Encyclopaedia Britannica. The former have been printed on handmade Moriki paper, the latter on Rives and Ingres. The result is a publication suitably honorific to its source material, one aesthetically fit to the task and engineered with a mathematical eye apt for both book and building construction. Bound in decorative papers over boards with three exposed brown leather bands, and embossed copper "illustration" inset to upper cover. Trace edgewear, else near fine.

Metro-Goldwyn-Mayer, 1949. Double-feature flipbook, in one direction showing Barney Bear conducting an ill-advised experiment with dynamite, and in the other Tom yo-yoing Jerry. Book five in a series of "Flip Movies" distributed by Post Cereals in boxes of Grape-Nuts Flakes. Staple-bound in self-wrappers. Mild exterior soiling, else fine. (2 1/2 by 1 9/16; 65x38mm).

Manteno, IL: Bronte Press, 1988. Pruchnicki, Suzanne Smith. (12)ff. One of 100 copies, signed and colored by the artist. Contains quotations about gardening from Bacon, Addison, Thoreau, Anacreon, and others, with eight hand-colored illustrations. Fine in green leather, gilt. (2 1/2 by 2 7/8; 54x72mm).

Northampton: Ariosto Press, 1965. Young, Elaine. Octavo. (25)pp. One of 100 copies, signed by the artist. A student of Leonard Baskin, Young riffs on his dynamic and mythical style to create her own fanciful beasts, emblems of particular ornamental characters (the "Bulla" as a Papal Bull "known for its dogma," the "Homo litterarum" as an airy academic, the "Avis invulgaris" as an aristrocrat who "is habitually performing acts of charity and voting against antipoverty legislations"). Young's preface describes the contents as "hallucinogenic material...the result of a diverse program of cognitive meanderings." The first book of the press. Young's name pops up as a contributor on other Baskin-circle projects, including the Apiary Press' Certain Elizabethan and Jacobean Playwrights. Bound in full tan paper over boards with paper label at upper cover. Mild rubbing to exterior, else near fine. Bookplate of Harold Hugo, then president of the Meriden Gravure Company.

London: Ernest Nister, 1895. Square octavo. (12)pp. Four chromolithographed volvelles encourage the young reader to align the pictures with their appropriate letters. The first apparatus, for example, situates a drum with "D," a train engine with "E," and sacks of flour with "F." Accompanying these are verses, the first of which matches the mnemonic movables. This work is known in three institutional copies, none of which are in the U.S. Bound in pictorial boards backed in red cloth. Dampstain to upper rear cover, else near fine in rare publisher's printed dust wrapper, somewhat chipped at corners.

(N.p., but Germany, 1930. Wolf, Gustav. Twenty-two wood-engraved prints, loose. All signed by Wolf. The prints are held in a custom chemise and dropback box, on the spine of which is gilt titling and the claim that the collection went unpublished, a statement corroborated by von Borries' 1982 catalog raisonné. The prints, produced in a unknown number of copies, were meant for an unrealized edition, the title of which, "Dinge," was decided by Wolf; von Borries cites a title page in his copy. That copy also had two more prints for a total of twenty-five, as well as a colphon. The edition, and perhaps even the ability to produce full suites of proof images, was certainly stunted by the nascent rise of the far right in Germany, which induced Wolf to flee and abandon many of his projects. The set, in any state of completion, is a remarkable survival; the Nazi's destroyed much of Wolfe's "degenerate" art. Each print is an extraordinary, grotesque example of Wolf's occult expressionism, as much an… Read More

(N.p.): Fatima Cigarettes, 1914. A marketing flipbook, one in a series depicting "the latest accepted dances"—this one shows, in color, the Aeroplane Steps of the Hesitation Waltz, and the scene is followed by brief written instructions. Bound in pictorial wrappers. Some exterior rubbing and staining, expected creasing, else good. (2 by 2 1/2; 51x65mm).

(Amherst, MA): Swamp Press, 1981. A heady flipbook, showing a guillotine in action. The colophon, printed at the rear cover, states that this "2nd edition in our Scholar Series Flip Books is recommended for its historical poignancy." Staple-bound in wrappers somewhat toned, else near fine. (2 1/4 by 3; 55x77mm).

New York, New York: The Thistle Press, 1955. Eichenberg, Fritz. Two folio-sized portfolios. (8); (8)ff. A total of sixteen prints each measuring 12 1/2 by 17 inches. Known to book collectors as a master wood engraver, Eichenberg also executed a series of drawings that appeared in Dorothy Day's "The Catholic Worker" newspaper, a lay publication concerned with the intersection of religion and social justice. Although Eichenberg was a devout Quaker, these drawings, with their combination of traditional Christian imagery and social awareness, had broad appeal, and were printed in a number of publications associated with various denominations. Among the prints included are "The Adoration of the Shepards," "The Annunciation," "The Lord's Supper," "The Visitation," "The Labor Cross," "Saint Luke," and "Rest on the Flight." The sixteen photoengravings for these prints were made from Eichenberg's original drawings, and are reproduced in their intended dimensions, without the resizing that was necessary for… Read More

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.

Manteno, IL: Bronte Press, 1991. Wilkey, Elmira Smith. (32)pp. One of 70 copies, signed by editor and illustrator Elmira Smith Wilkey. Full-page handcolored illustrations throughout vibrantly illuminate the fantasy of the fable. Errata slip bound in. Fine in blue paper over boards with paper label and ribbon. (2 1/8 by 2 7/8; 55x72mm).

Long Island City, NY: John Optiz, Inc, 1938. A flipbook showing J-O Insect Powder annihilating unsuspecting, yet unwelcome, bed bugs. When flipped in the opposite direction, the book presents a rhyming lyrical advertisement for the company. Staple-bound, faintly toned, else near fine. (2 3/8 by 2; 60x52mm).

Long Island City, NY: John Optiz, Inc, 1938. A flipbook showing J-O Insect Powder exterminating, in cold blood, a dandified roach. When flipped in the opposite direction, the book presents a rhyming lyrical advertisement for the company. Staple-bound, faintly toned, else near fine. (2 3/8 by 2; 60x52mm).

Long Island City, NY: John Optiz, Inc, 1938. A flipbook showing J-O Insect Powder rescuing a dog from fleas. When flipped in the opposite direction, the book presents a rhyming lyrical advertisement for the company. Staple-bound, faintly toned, else near fine. (2 3/8 by 2; 60x52mm).

Long Island City, NY: John Optiz, Inc, 1938. A flipbook showing J-O Insect Powder annihilating a pesky group of flies with a single breath. When flipped in the opposite direction, the book presents a rhyming lyrical advertisement for the company. Staple-bound, faintly toned, else near fine. (2 3/8 by 2; 60x52mm).

Tilton, NH: Hillside Press, 1974. Hokusai, et. al.. 55pp. One of 250 copies. Punctuated with illustrations of terrific monsters and characters under their spell. Bound in orange pictorial cloth. Fine. (2 3/8 by 2; 60x50mm).

NY: Harper & Brothers, 1939. Thurber, James. Oblong small quarto. First edition. Inscribed by Thurber at the front flyleaf. When Thurber published the book in 1939, just a few months after the beginning of World War II, all hopes that civilization might break the cycle of war had been dashed. Illustrated with Thurber's simple and expressive cartoons, the story makes a bold statement about the destructiveness of war. At the same time, it is also a call for hope, imploring humanity to appreciate and nurture the beauty in the world. This cautionary parable is dedicated to Thurber's daughter "in the wistful hope that her world will be better than mine." In orange pictorial boards, which show some light rubbing along edges and spine. Mild chipping along edges of original dust jacket, but none of the usual spine fading common to this title. Near fine. From the library of screenwriter David Lloyd, with his name at the top of one of the prefatory leaves.