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Displayed below are some selected recent viaLibri matches for books published in 1998

        PARENTHESIS: THE NEWSLETTER OF THE FINE PRESS BOOK ASSOCIATION

      Cheltenham: Premiere Press. 1998-2011. small 4to., stiff paper wrappers. Various pagination.. 20 volumes. Issues number One (May, 1998) to Twenty (Spring 2011). Collections of essays about fine printing with articles such as the "Ten most interesting books produced in England between 1913 and 1939," "American Book Design in the Post-War Years" and "Counterblast to the Monstrous March of Megabytes." Illustrated mostly with woodcuts and wood engravings used for book illustration. Cover illustration of number one cut by Vance Gerry and stencilled by Anthea Steel; number two is by Clive Hicks-Jenkins from The Affectionate Shepeard; number three is "The Duke of Beaufort's Hunt Point-to-Point, Bushton" from The Wood Engravings of Frank Martin. .

      [Bookseller: Oak Knoll Books/Oak Knoll Press]
 1.   Check availability:     Biblio     Link/Print  


        Cities of the Plain

      New York: Alfred A. Knopf, 1998. First trade edition / First printing. Black cloth spine, black paper-covered boards. Very fine in very fine dust jacket. Signed on the half-title page by the author.

      [Bookseller: Orpheus Books]
 2.   Check availability:     Biblio     Link/Print  


        What Was the Name of That Nymph Again?, or Greek and Roman Studies Recalled. Contained within Pegasus Magazine. The Journal of University of Exeter Dept. of Classics and Ancient History, Issue 41: 1998

      University of Exeter Press 1998., 1998. FIRST (and only) EDITION. A scarce early essay on Greek mythology from the later author of the popular Harry Potter series, appearing on pp 25-7. This article, demonstrating the authors interest in fantasy and folklore, was written whilst JK Rowling was at university, and was first published in this student journal shortly after her breakthrough novel in 1997. It remains the author's only non-Harry Potter related writing to be published to date, and is exceptionally scarce, only intended for circulation at Exeter University. Publisher's printed orange wraps, fine condition. Together with Newsletter no.10 form the Classics department, which congratulates Joanne Rowling on 'her marvellously imaginative children's novel'.

      [Bookseller: Adrian Harrington Rare Books]
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        Harry Potter and the Chamber of Secrets

      London: Bloomsbury 1998, 1st UK Trade Edition. (Hardcover) 251pp. + [4]pp. (reviews). Fine in fine dust jacket. Octavo. Pictorial boards and unclipped dust dust jacket. Signed book plate on front free endpaper. Very scarce. Second book in the series after "Harry Potter and the Philosopher's Stone". Signed by J.K. Rowling. Signed First Editions.

      [Bookseller: Aquila Books]
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        Complete HARRY POTTER 7 Volume Set, First American Edition

      Arthur A. Levine Books / Scholastic Press, 1998. First. Hardcover Hardcover. Very Good/Very Good. (Literature) ROWLING, J. K. Harry Potter series: the Sorcerer's Stone, the Chamber of Secrets, the Prisoner of Azkaban, the Goblet of Fire, the Order of the Phoenix, the Half-Blood Prince, and the Deathly Hallows. Arthur A. Levine Books / Scholastic Press, 1998 - 2007. 9.25 x 6.25, hardcover, original jackets. All books state First American Edition and number lines counting to 1. All issue points present. No 'Year 1' on spine and Guardian quote on jacket of Sorcerer's Stone. Previous owner inscription on front end page on Sorcerer's. Chamber of Secrets book has a lean. Other books in great condition, Near Fine/Near Fine.

      [Bookseller: Yeomans in the Fork]
 5.   Check availability:     Biblio     Link/Print  


        Harry Potter and the Sorcerer's Stone

      Arthur a Levine New York: Arthur a Levine, 1998. First printing. Hardcover. Very near Fine/very near Fine. 309 pp. All first issue points present (price of $16.95 intact, purple diamond patterned boards bound in red, only the Guardian blurb on rear panel; full numberline on copyright page). A gorgeous and vibrant copy of this scarce modern fantasy classic. Beautiful copy with only one real flaw - there appears to have been a drop of water spilled causing a tiny area of discoloration on the front top right edge and an even tinier area of discoloration on the same edge of the front board. Otherwise, both the book and dustjacket are in Fine condition.

      [Bookseller: Evening Star Books]
 6.   Check availability:     Biblio     Link/Print  


        Harry Potter and the Philosopher's Stone [First Austrailan Edition]

      [Maryborough, Vic. Australia]: Bloomsbury, [1998]. First Edition Thus. Hardcover Hardcover. Fine/Fine. The first in J. K. Rowling's blockbuster seven-book Harry Potter series. This copy is the first Australian edition (stated First published in Great Britain in 1997 on copyright page, with full number line). Illustrated boards include the 1997 Gold Award Winner seal on the bottom left cover. An excerpted review by the Sunday Telegraph runs along the bottom front cover, with additional reviews on the back board beneath a publisher's blurb about the story. The dust jacket also contains the Gold Award seal, and notice of same runs along the bottom front cover. The back of the dust jacket contains the same publisher's blurb but not the reviews. Pricing information is ommitted entirely from the jacket and oddly, the ISBN on the jacket is that of the first British paperback edition. In contrast, the printer's imprint page contains only the ISBN of the Brittish hardback. The copyright holder is listed as 'Joanne' Rowling, which was shortened to 'J.K.' in later editions and used throughout the rest of the series. The book is dated 1997, but the presence of the Gold Award winner seal on the cover and a notice of availability of the second book in the series, Harry Potter and the Chamber of Secrets, suggests the book was printed in 1998. A scarce, early Harry Potter. A fine copy in a fine dust jacket.

      [Bookseller: Eureka Books, ABAA]
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        HARRY POTTER AND THE CHAMBER OF SECRETS

      London, Bloomsbury, 1998.. FIRST EDITION first issue 1998, (countdown digits: 10.....1), 8vo, colour illustrated boards, 251 pages. No insdcriptions, lightly grazed patch on rear pastedown, that is inside lower cover, 65 x 10 mm maximum (2½" x ½"), due to binding flaw. Otherwise Fine in Fine DUSTWRAPPER (dw showing no wear and not price clipped). MORE IMAGES ATTACHED TO THIS LISTING.

      [Bookseller: Roger Middleton]
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        Harry Potter and the Chamber of Secrets

      Rowling (J.K.). Harry Potter and the Chamber of Secrets, 1st ed., 1998, slight marginal toning, neat previous owner inscription to front endpaper, original pictorial boards. D/J not price clipped. ISBN: 0747538492. Typeset: 10 9 8 7 6 5 4 3 2 1.

      [Bookseller: 1st Editions]
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        Gonzo: The Art. (Printers proof)

      New York: Harcourt Brace,, 1998. 2pp on one sheet. Sheet size: 31 x 48 cm. Offset lithograph on wove. Laid down and mounted in a black aluminium frame. A proof sheet used to promote 'Gonzo: The Art. Signed and dated twice by Steadman. Together with a photocopy of the original accompanying promotional letter from Harcourt Brace to Gotham Bookmart, New York.

      [Bookseller: Peter Harrington]
 10.   Check availability:     Biblio     Link/Print  


        Gonzo the Art

      Harcourt.Inc., 1998. SIGNED and DATED BY RALPH STEADMAN in Silver Brush stroke. First Edition. Brodart Protected. Very Fine condition. Foreword by Hunter Thompson.. Signed by Author. 1st. U.S.Edition. Hard Cover. Fine/Fine. Illus. by Ralph Steadman. 4to - over 9¾" - 12" tall.

      [Bookseller: Catch and Release Books]
 11.   Check availability:     Biblio     Link/Print  


        Kora in Hell: Improvisations

      San Francisco: Arion Press, 1998. Hard Cover. Number 47 of 300 numbered copies, (there were also 26 lettered copies hors de commerce). Signed by the illustrator. This beautifully designed and printed book was the fifty-sixth of the press. William Carlos Williams (1883-1964) was one of the most important American poets of the twentieth century. He won the Pulitzer Prize for Pictures from Brueghel, published in 1963. As described in the Arion Press announcement, Kora in Hell was the most significant of WilliamsÕs combinations of prose and poetry. The illustrator, Mel Kendrick, is an important American artist who is known primarily for his sculptural work. The book, which is ten inches square, has a black goatskin spine with the title stamped in red. On the boards are laser-cut oak-veneer replicas of woodblocks by Kendrick. The book is printed in Stymie Bold and Franklin Gothic types on Zerkell German Mouldmade paper. Laid in is the Arion PressÕs eight-page announcement of the book. 106 pages, including 42 unnumbered pages for the 21 leaves bearing the prints on rectos. In fine condition. PRI/071911. Fine.

      [Bookseller: The Kelmscott Bookshop]
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        Description of a Masque

      New York. Limited Editions Club. 1998. Bound in Taupe linen over boards. Black titled grain morocco label to front cover. Encased in a like bound, ultra-suede lined Solander box with grain morocco label to spine. Folio. 12.25" x 16.25". This Edition Limited to 300 numbered copies, of which this is #142. Signed by Ashbery and Freilicher to Colophon. & & Illustrated with three woodblock prints by Kenji Shinohara from original paintings commissioned for this Edition by Jane Freilicher. Printed upon hand-made textured Tosa Hanga Japanese milled paper. John Ashbery (b. 1927) has achieved a unique status among American poets. Even though much of his work is difficult to read, avant-garde, and post-modernist in character, Ashbery has become revered and beloved by many readers. For all the obscurity of his writing, his poetry is tantalizing and inspiring. It properly draws many people into its orbit. Even those who dislike Ashbery's poetry acknowledge its force and importance.& & Ashbery's stature is demonstrated by, among many other ways, this volume of his Collected Poems from 1956 -- 1987 in the Library of America (LOA) series. Ashbery is the first living poet to be honored with a complete volume in the LOA. A second projected LOA volume will cover Ashbery's poetry subsequent to 1987. The Library of America was founded in 1979 to preserve the best of American writing in uniform, accessible editions. It is a series that celebrates America in poetry, history, fiction, philosophy, travel writing, journalism, and more. Ashbery richly deserves his place in it. Ashbery was born in 1927 and was raised in upstate New York. He attended Harvard and Columbia and lived for ten years (1955 -- 1965) in Paris.& & "Notorious for its opacity, John Ashbery's "Description of a Masque" typifies both the avant-garde's unearthing of some odd precursor and its antipurist experiments with syncretism. It is a postmodernist re-vision of a Renaissance spectacle, where the traditional shifts in medium, backdrop, stage properties, cast, and action extend to elements imported from film and TV. The masque and the imaginary neomasque intersect-first, in their rich allusive poetics and, second, in their equal (if ultimately opposed) commitment to the endless conflict between the visual and the verbal media. However, Ashbery's text operates at a further remove from the evoked phenomena, because it translates the multimedia show into words: as "Description," it verbally re-presents the spectacular representation, often re-re-presents what the masque theater itself re-presents from its multiple sources. This work-length engagement in interart transfers does not just enrich our idea of postmodern ekphrasis, or of the relations between ekphrastic and all-literary allusiveness, or of the yoking together of artistic movements across history. (E.g., the borrowing from an obscure de Chirico ekphrasis interposes an early, surrealistic avant-garde between the Renaissance masque and the postmodern writer.) It also proves crucial to making (narrative, hence also thematic) sense of the protean world and discourse world. Along one line, "Description" thus narrates the metamorphoses of the two divine protagonists: the ever-adaptable Mercury and the resistant Mania. Each alludes simultaneously to more than one incarnation of the mythological figure, sometimes in more than one medium. And sequence joins forces with coexistence to variegate and disunify the self, so that on reappearance the figure looks either transformed altogether or a mixture of earlier and new properties, notably including costume. In either case, language here re-presents the changing features even when already unseen, to signify the dynamism of roles and images and past identities hidden in the visual present. Along a convergent line, "Description" narrativizes the speaking observer of the performance-and exactly when the changes in the imaginary scene are fastest. A close analysis reveals the measures taken here to weaken the visual effect, thereby assimilating the object of description to the belated process of enlightenment. To realize that "the setting would go on evolving eternally" is to discover the existential principle behind the appearances of incessant, even meaningless change. Owing to language, insight outranks and reverses sight." - Yacobi& & Jane Freilicher (b. 1942) American painter, respected for her naturalistic landscapes, cityscapes, and still lifes created in an artistic era characterized mainly by abstraction. Freilicher, born in Brooklyn, New York, earned a bachelor's degree in art from Brooklyn College in 1947. She also studied with German American painter Hans Hofmann in 1947 at his schools in New York City and Provincetown, Massachusetts, where she became associated with abstract expressionism, a movement of painters and poets of the 1940s and 1950s.& & Freilicher's work was influenced by her friendship with Fairfield Porter, an American painter and art critic who encouraged her to reconcile her realist's interest in objective observation of nature with her abstract expressionist's interest in a unique inner vision. The Mallow Gatherers (1958, collection of the artist) is an example of Freilicher's ability to celebrate nature while also celebrating the act of painting nature. In the 1960s she began alternating summers in her studio in Water Mill, Long Island, New York, with winters in her New York City residence. The views from each of these homes inspired the landscapes and cityscapes for which she is best known.& & Freilicher exhibited in New York City at the Tibor de Nagy Gallery from 1952 to 1972, and then at the Fischbach Gallery. In Loaves and Fishes (1972, private collection), typical of her work of the 1970s, a table appears implausibly tilted toward the viewer, while a colorful still life fills the foreground. In the late 1970s and 1980s, Freilicher's paintings frequently juxtaposed indoor and outdoor scenes, man-made objects and nature, as in Peonies (1988, Fischbach Gallery), in which flowers on a window sill appear to merge with the distant landscape behind them. In 1995 Freilicher's work was included in the prestigious Whitney Biennial at the Whitney Museum of American Art in New York City. A Very Fine, Pristine, apparently unread copy. Box presents nearly indistinguishable sunning to front and rear panels as well as a small, half-inch smudge to upper rear panel. LEC Letter laid-in.

      [Bookseller: Heldfond Book Gallery, ABAA-ILAB]
 13.   Check availability:     Biblio     Link/Print  


        The Naval Achievements of Great Britain, from the Year 1793 to 1817

      London: Sim Comfort Associates, , 1998. Folio. Publisher's blue half morocco, marbled boards, title gilt to spine, ship, fouled anchor, and capstan devices to compartments, double gilt rules to the corner and spine edges. In the plain card slip-case. 57 colour plates. Very good. First published in 1817, this is the facsimile limited edition reprint, this copy number 16 of 150 de luxe copies, signed by the publisher on the limitation leaf. A wonderfully produced reprint of the most renowned contemporary visual record of Nelson's navy. The reproduction of the colour closely matching the subtle tones of the originals. The illustrations of battles and duels fought during the wars with France and the United States include three views of Trafalgar, and two each of Copenhagen and the Nile, also a spectacular "dark" plate of the destruction of the French Fleet at Toulon on the night of December 18th, and a fine representation of the Capture of the Chesapeake. The present publisher contributes a lively 4pp. introduction on the background to the publication of Jenkins's original edition and this facsimile.

      [Bookseller: Peter Harrington]
 14.   Check availability:     Biblio     Link/Print  


        Description of a Masque

      Limited Editions Club. New York. Limited Editions Club. 1998. Bound in Taupe linen over boards. Black titled grain morocco label to front cover. Encased in a like bound, ultra-suede lined Solander box with grain morocco label to spine. Folio. 12.25" x 16.25". This Edition Limited to 300 numbered copies, of which this is #142. Signed by Ashbery and Freilicher to Colophon. Illustrated with three woodblock prints by Kenji Shinohara from original paintings commissioned for this Edition by Jane Freilicher. Printed upon hand-made textured Tosa Hanga Japanese milled paper. John Ashbery (b. 1927) has achieved a unique status among American poets. Even though much of his work is difficult to read, avant-garde, and post-modernist in character, Ashbery has become revered and beloved by many readers. For all the obscurity of his writing, his poetry is tantalizing and inspiring. It properly draws many people into its orbit. Even those who dislike Ashbery's poetry acknowledge its force and importance. Ashbery's stature is demonstrated by, among many other ways, this volume of his Collected Poems from 1956 -- 1987 in the Library of America (LOA) series. Ashbery is the first living poet to be honored with a complete volume in the LOA. A second projected LOA volume will cover Ashbery's poetry subsequent to 1987. The Library of America was founded in 1979 to preserve the best of American writing in uniform, accessible editions. It is a series that celebrates America in poetry, history, fiction, philosophy, travel writing, journalism, and more. Ashbery richly deserves his place in it. Ashbery was born in 1927 and was raised in upstate New York. He attended Harvard and Columbia and lived for ten years (1955 -- 1965) in Paris. "Notorious for its opacity, John Ashbery's "Description of a Masque" typifies both the avant-garde's unearthing of some odd precursor and its antipurist experiments with syncretism. It is a postmodernist re-vision of a Renaissance spectacle, where the traditional shifts in medium, backdrop, stage properties, cast, and action extend to elements imported from film and TV. The masque and the imaginary neomasque intersect-first, in their rich allusive poetics and, second, in their equal (if ultimately opposed) commitment to the endless conflict between the visual and the verbal media. However, Ashbery's text operates at a further remove from the evoked phenomena, because it translates the multimedia show into words: as "Description," it verbally re-presents the spectacular representation, often re-re-presents what the masque theater itself re-presents from its multiple sources. This work-length engagement in interart transfers does not just enrich our idea of postmodern ekphrasis, or of the relations between ekphrastic and all-literary allusiveness, or of the yoking together of artistic movements across history. (E.g., the borrowing from an obscure de Chirico ekphrasis interposes an early, surrealistic avant-garde between the Renaissance masque and the postmodern writer.) It also proves crucial to making (narrative, hence also thematic) sense of the protean world and discourse world. Along one line, "Description" thus narrates the metamorphoses of the two divine protagonists: the ever-adaptable Mercury and the resistant Mania. Each alludes simultaneously to more than one incarnation of the mythological figure, sometimes in more than one medium. And sequence joins forces with coexistence to variegate and disunify the self, so that on reappearance the figure looks either transformed altogether or a mixture of earlier and new properties, notably including costume. In either case, language here re-presents the changing features even when already unseen, to signify the dynamism of roles and images and past identities hidden in the visual present. Along a convergent line, "Description" narrativizes the speaking observer of the performance-and exactly when the changes in the imaginary scene are fastest. A close analysis reveals the measures taken here to weaken the visual effect, thereby assimilating the object of description to the belated process of enlightenment. To realize that "the setting would go on evolving eternally" is to discover the existential principle behind the appearances of incessant, even meaningless change. Owing to language, insight outranks and reverses sight." - Yacobi Jane Freilicher (b. 1942) American painter, respected for her naturalistic landscapes, cityscapes, and still lifes created in an artistic era characterized mainly by abstraction. Freilicher, born in Brooklyn, New York, earned a bachelor's degree in art from Brooklyn College in 1947. She also studied with German American painter Hans Hofmann in 1947 at his schools in New York City and Provincetown, Massachusetts, where she became associated with abstract expressionism, a movement of painters and poets of the 1940s and 1950s. Freilicher's work was influenced by her friendship with Fairfield Porter, an American painter and art critic who encouraged her to reconcile her realist's interest in objective observation of nature with her abstract expressionist's interest in a unique inner vision. The Mallow Gatherers (1958, collection of the artist) is an example of Freilicher's ability to celebrate nature while also celebrating the act of painting nature. In the 1960s she began alternating summers in her studio in Water Mill, Long Island, New York, with winters in her New York City residence. The views from each of these homes inspired the landscapes and cityscapes for which she is best known. Freilicher exhibited in New York City at the Tibor de Nagy Gallery from 1952 to 1972, and then at the Fischbach Gallery. In Loaves and Fishes (1972, private collection), typical of her work of the 1970s, a table appears implausibly tilted toward the viewer, while a colorful still life fills the foreground. In the late 1970s and 1980s, Freilicher's paintings frequently juxtaposed indoor and outdoor scenes, man-made objects and nature, as in Peonies (1988, Fischbach Gallery), in which flowers on a window sill appear to merge with the distant landscape behind them. In 1995 Freilicher's work was included in the prestigious Whitney Biennial at the Whitney Museum of American Art in New York City. A Very Fine, Pristine, apparently unread copy. Box presents nearly indistinguishable sunning to front and rear panels as well as a small, half-inch smudge to upper rear panel. LEC Letter laid-in.

      [Bookseller: Heldfond Book Gallery, ABAA-ILAB ]
 15.   Check availability:     ABAA     Link/Print  


        Pandora - Limited B.E. Trice Edition

      Alfred A. Knopf New York: Alfred A. Knopf. Fine+; Signed by Author. 1998. First Edition; First Printing. Hardcover. A special Limited Edition of 250 numbered copies preceding the trade edition, this one (being #119) SIGNED by AUTHOR Anne Rice. This book has never been read and is, together with matching slipcase in Very Fine condition; The first in a new series of novels linked together by the fledgling vampire David Talbot, who has set out to become a chronicler of his fellow Undead. Anne Rice opens in present-day Paris in a crowded café, where David meets Pandora. She is two thousand years old, a Child of the Millennia, the first vampire ever made by the great Marius. David persuades her to tell the story of her life .

      [Bookseller: Books Tell You Why ]
 16.   Check availability:     ABAA     Link/Print  


        Snowflake Bentley - 1st Edition/1st Printing

      Boston: Houghton Mifflin Company. Fine in Near Fine dust jacket. 1998. First Edition; First Printing. Hardcover. 0395861624 . An attractive First Edition/First Printing, Fine condition in about Fine dust-jacket with short closed tear and light creasing to spine ends; "Of all the forms of water, the tiny six-pointed crystals of ice called snow, that form in such quantities within the clouds during storms, are incomparably the most beautiful and varied. " - W. A. Bentley1999 Caldecott Medal winner for best illustrated children's book .

      [Bookseller: Books Tell You Why ]
 17.   Check availability:     ABAA     Link/Print  


        ORIGINAL ART: MORE TALES OF UNCLE REMUS - RABBIT MAKES A MONKEY OF LIO

      1998. PINKNEY,JERRY (HARRIS,JOEL CHANDLER)illus. ORIGINAL ART: MORE TALES OF UNCLE REMUS - RABBIT MAKES A MONKEY OF LION - by Joel Chandler Harris. We are pleased to offer this art by Pinkney used in his edition of More Tales of Uncle Remus published in 1988 by Dial. This is a great watercolor that appears as a double page spread on p. 6-7. The image is 17" wide x 10 1/2" high on art paper 18 1/2 x 11 1/2" and is signed. Rabbit is seen emerging from his house in the tree trunk and he is talking to a bird on a branch. Jerry Pinkney has been illustrating children's books since 1964 and has the rare distinction of being the recipient of three Caldecott Honor Medals -- in 1995 for John Henry by Julius Lester (Dial), in 1990 for The Talking Eggs by Robert D. San Souci (Dial) and in 1989 for Mirandy and Brother Wind by Patricia C. McKissack (Knopf). He has won the Coretta Scott King Award three times and a Coretta Scott King Honor twice. Mr. Pinkney has received four awards for his body of work: the Drexel Citation for Children's Literature, the David McCord Award , the Philadelphia School of Art and Design Alumni Award, and the Keene State College Children's Literature Festival Award. In addition to his work on children's books, he is an extremely successful artist who has had eleven one-man retrospectives at venues ranging from the Museum of the National Center of Afro-American Artists to the Art Institute of Chicago. His current one-man show entitled, "Building Bridges, the Art of Jerry Pinkney" was organized by the Pittsburgh Children's Museum and will be traveling through 1998. Mr. Pinkney has illustrated for a wide variety of clients, including National Geographic , the National Parks Service, the U.S. Postal Service, the American Library Association and the Association of Booksellers for Children.... Many of Mr. Pinkney's children's books celebrate multicultural and African American themes. 'Working on both the Uncle Remus tales and John Henry has shown me an important link between pivotal and opposite African American folk heroes. Brer Rabbit, the sly trickster, originated during slavery and was the first African American folk hero. Slaves who wanted to get the better of their

      [Bookseller: Aleph-Bet Books, Inc. ]
 18.   Check availability:     ABAA     Link/Print  


        TWENTY-SIX WORDS.

      Amherst, 1998. 5 1/4 x 4 3/4. (57) pages bound in an open-accordion style which extends to 21 feet. Bound by Dennerline in leather-edged boards with inset original, abstract acrylic paintings. Paper slipcase with die-cut "A" and "Z." Fine. From an edition of 10 signed copies, this (no. 4) is one of two painted by Dennerline. The other copy was exhibited in the GBW exhition "Abecedarium," for which this book was created. (The edition binding was leather edged paste-paper sides bound by Peter Verheyen.) Twenty-six words "selected from a dictionary" are illustrated with double-spread lithographs in red, the word printed letterpress in black. Half the edition was printed on beige Rives paper (as this copy), and half on grey Rives. A wonderful artist's alphabet book.

      [Bookseller: The Veatchs Arts of the Book]
 19.   Check availability:     Direct From Bookseller     Link/Print  

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