BARBARIAN PRESS (17 resultados)

One of 400 copies. 6 tipped-in examples of page specimens, wood engravings by Robert Gibbings and Wesley Bates and press devices by Louis Turpin and Barry Moser, together with a one sheet prospectus [8 x 21.5 cms] for 'Inishbream' printed in 3 colours, inserted loose. Set in Bembo roman and Fairbanks italic types with various display faces. Designed and printed on Curtis rag paper by Crispin and Jan Elsted with Natasha Herman. 8vo., [16.5 x 25.5 cms], original sewn blue paper wrappers. Very good.

No Binding. Condición: Fine. Peter Lazarov Ilustrador. Single sheet measuring 14 3/4 by 10 1/2 inches. One of three copies available. Frontispiece from Endgrain Editions 3. A dramatic abstract image, featuring classically derived and richly engraved images of a male torso, merging into waves and other figures, set into a textured background in purple and green, printed from inked pressboard. "Difficult to describe, but a dramatic and original production " - Crispin Elsted. Signed by the artist. A fine copy.

Barbarian Press Ilustrador. 4to. cord-tied hand-made paper wrappers. unpaginated. Loose Canons Two. Limited to 120 copies. A fine copy. Printed in Poliphilus & Blado with Caslon Antique for display, hand-set by Apollonia Elsted and printed on Zerkall Cream laid paper by her and Lea Sánchez Milde, it is sewn into wraps of St-Armand Canal paper. From the printer's website: "E A Robinsons work has a documentary alertness about it, especially in his portraits of characters in Tilbury, a town he created to house the folk who inhabit many of his poems and exemplify his convictions about humanity. His poems were widely read and greatly praised during his life, and for some time after: he won the Pulitzer Prize for Poetry three times. Yet particularly after the Second World War his reputation shifted largely into the academies, and he became a figure of the past to most readers - especially to the new generation of poetry readers from the 1950s and 60s who espoused the boisterous, gangling styles of Ginsberg, Kerouac and the Beats, the casual familiarities of Frank OHara or the self-consciousness of Black Mountain and the New York School. For all the unquestionably fine qualities of this New American Poetry (as Donald Allen titled his seminal anthology introducing these poets to the public) Robinsons work was too civil, thoughtful, and wise to survive in such company. His calm, considered voice would have been shouted down, and his observations passed off as inconsequential. The title poem of Loose Canons Two, Ben Jonson Entertains a Man from Stratford, is one of Robinsons several dramatic monologues, a form or device he inherited from an occasional tradition particularly evident in 19th century English poetry, and notably a feature of Robert Brownings work. This poem, written in fluid, colloquially adroit blank verse, is spoken by the playwright Ben Jonson, historically a close friend of Shakespeare who nevertheless found fault with certain elements of his writing and - at least in the context of Robinsons poem - of his character. The unidentified and fictional man from Stratford visiting Jonson in London is clearly someone who also knows Will Shakespeare personally, and Jonsons discussion of their mutual friend is illuminating and persuasive in itself; we are not, however, made aware of his guests responses." cord-tied hand-made paper wrappers.

Barbarian Press Ilustrador. 4to. cord-tied hand-made paper wrappers. unpaginated. Loose Canons One. Second edition. Limited to 120 copies. A fine copy. This title, in a much slighter form, was first issued in 2014 for inclusion in the CODEX portfolio Alchimie du verbe. It is printed in Van Dijck, hand-set by Lea Sánchez Milde on Zerkall Cream laid paper with Rivoli for display, printed by her and sewn into wraps of St-Armand Canal paper. From the printer's website: "Elinor Wylie is an admirable example of the poets whose work will be included in the series. She was widely read and critically admired during her life, her work bringing a new sharpness of tone and occasionally satirical edge to American poetry. Her imagery is pungent and striking, her subjects intriguingly outside the usual, and her voice commanding without being strident. The title poem adds a pertinent, direct perspective to the American sense of relation to the natural world: where in earlier American poetry nature writing had tended to a presumed human domination as opposed to a stewardship or to a mystical inclination which often transformed natural elements into mere metaphysical phenomena (especially in the Transcendentalists), in Wild Peaches the speaker is only human, and sees nature for what it is, in sensual acceptance." cord-tied hand-made paper wrappers.

Softcover. Condición: Fine. Softcover. One of 120 copies Writes the press: Two of our Loose Canons pamphlets featuring neglected poets will be published in 2025: the first, a second edition of the poetry of Elinor Wylie from our earlier version of Loose Canons One, is expanded from 6 poems to 18; Loose Canons Two features poems by Edwin Arlington Robinson, with a focus on his long dramatic monologue 'Ben Jonson Entertains a Man from Stratford'. This revival of the Loose Canons series is devoted to refreshing the reputations of once celebrated poets and poems that over time have become blurred by distance, overlooked, or simply ignored.As will be the case with later additions to the series, each of these issues is intended to give a concise overview of the style and concerns of the poet in question. All the pamphlets will be hand-set in various types from the best editions of the texts, and each will offer a brief biographical note with other information as necessary. They will be sewn into a variety of cover papers and will be of a uniform size. The Loose Canons series will continue intermittently, but dependably. We intend them to provide a mix of writers in English from England, Canada, and America, and we may possibly introduce some translations from other languages as the series gather strength. This volume is an orange textured paper softcover that is sewn into wraps of St. Armand Canal paper. It is handset in Van Dijck with Rivoli for display and printed on Zerkall Cream Laid paper. The book was designed by Crispin Elsted, who also selected the poems. In fine condition. Measures 7.25 x 12 inches. Unpaginated [14 pages]. PRI/041825.

Softcover. Condición: Fine. Softcover. One of 120 copies Writes the press: Two of our Loose Canons pamphlets featuring neglected poets will be published in 2025: the first, a second edition of the poetry of Elinor Wylie from our earlier version of Loose Canons One, is expanded from 6 poems to 18; Loose Canons Two features poems by Edwin Arlington Robinson, with a focus on his long dramatic monologue 'Ben Jonson Entertains a Man from Stratford'. This revival of the Loose Canons series is devoted to refreshng the reputations of once celebrated poets and poems that over time have become blurred by distance, overlooked, or simply ignored.As will be the case with later additions to the series, each of these issues is intended to give a concise overview of the style and concerns of the poet in question. All the pamphlets will be hand-set in various types from the best editions of the texts, and each will offer a brief biographical note with other information as necessary. They will be sewn into a variety of cover papers and will be of a uniform size. The Loose Canons series will continue intermittently, but dependably. We intend them to provide a mix of writers in English from England, Canada, and America, and we may possibly introduce some translations from other languages as the series gather strength. This volume is a gray textured paper softcover that is sewn into wraps of St. Armand Canal paper It is handset by Apollonia Elsted in Poliphilus and Blado with Caslon Antique for display and printed on Zerkall Cream Laid paper. The book was designed by Crispin Elsted, who also selected the poems. In fine condition. Measures 7.25 x 12 inches. Unpaginated [18 pages]. PRI/041825.

Barbarian Press Ilustrador. 10 x 6.875 inches [254 x 175mm]. The pages are French-folded, stabbed, and laced with waxed linen cord into wraps of Colorplan New Blue cover. Slipcased with a folder containing an editioned proof of a woodcut, signed & numbered by Edith Krause. 78 pages. Woodcuts by Edith Krause. Edited by Susan McCaslin. Limited to 110 copies printed by Crispin and Jan Elsted of Barbarian Press. A fine copy. Text hand-set in Joanna roman and italic and printed in black and blue on Hahnemühle Biblio mouldmade. 30 woodcuts printed from the blocks. A Flock of Poems on Birds by 16 Canadian Poets, selected by Susan McCaslin, with 30 Woodcuts by Edith Krause From the printer's website: "Early in 2023 we were approached by woodcut artist Edith Krause and poet Susan McCaslin with a ready-made book project in hand for which they needed a printer. It had been many years since we had printed a book for another publisher, and it was a practice we had not planned to renew - especially since we had a considerable list of our own book projects in various stages of planning or production. However, we were struck at once by Ediths delightful woodcuts of birds, and it seemed to us that the project deserved to be encouraged. We were deeply engrossed in work on Bordering on the Sublime, but Apollonia felt she could find the time to print the book, and Crispin and Jan were able to take a short break from their work to help with initial planning. Crispin consulted on the design of the book (choosing the typeface, devising a page layout, setting a title page, and planning a binding) and Jan and Apollonia devised the imposition of the pages and subsequent details of placement and colour. Jan and Apollonia, Edith and Susan sorted out the logistics of acquiring materials and established the nature of the collaboration, and work began. The book provides a diverting anthology of poems about birds by sixteen contemporary Canadian poets, some of them well established figures, such as Lorna Crozier, Susan McCaslin, Harold Rhenish, and Bill Richardson, and others younger emerging poets. The result is a rich cross-section ranging from the lyrical to the satirical, the humorous to the elegiac. Edith Krause provides an introduction to the project itself; ornithologist Rob Butler, a thoughtful ecological preface; and wildlife biologist Phil Henderson, a short reflection on the relationship between the poems and the birds in the book. Since we had no part in commissioning or selecting the poems that form the text we were not prepared to be its sole publishers, but the collaboration model we agreed on allowed the book to be produced as a co-publication. Ediths 26 woodcuts of birds, each representing a letter of the alphabet, provided the core of the project. In addition she created four further woodcuts to accompany the three prefatory essays and an extra poem, and provided a title page block, a selection of woodcut feathers for the endpapers, and a press device. The poems and other texts were handset by Apollonia, with help from Kirsten Way and Lea Sanchez Milde, while the lions share of the presswork, comprising all the poems and the prose elements, was done by Apollonia. Jan printed the preliminary pages and the second colour title lines. We decided that we would make a departure with the binding of An Avian Alphabet, and imposed the texts and images so that the pages could be French-folded (i.e. with the fold at the foredge), then stabbed (that is, drilled) and laced into the covers with waxed coloured linen cord in an exposed sewing, and slipcased. A further image of a raven in a signed and numbered edition is included in a folder with the book. The creation of this project has been a happy partnership, and we believe it will give much pleasure to those who acquire it." The pages are French-folded, stabbed, and laced with waxed linen cord into wraps of Colorplan New Blue cover. Slipcased with a folder containing an editioned proof of a woodcut, signed & numbered by Edith Krause.

Barbarian Press Ilustrador. thick 4to. full blue leather, with patterned endpapers and contained in a drop-back box. Unpaginated (but approximately 340 pages). First edition, limited to 430 copies of which this copy is one of 50 special copies bound thus and containing a signed, tipped-in frontispiece by Rosemary Kilbourn. Dampstaining to the bottom edge of the front and rear leather boards, as well as a portion of the clamshell box. Else in fine condition. Prospectus loosely inserted. Contains an astounding 121 wood engravings chosen by the artists and printed directly from the blocks onto individual leaves. Printed and published by Crispin and Jan Elstead at the Barbarian Press in British Columbia. Printed on Zerkall mould-made white wove and ivory laid paper. Includes a new press device by Barry Moser, a specially cut frontispiece by Rosemary Kilbourn, and a title page designed by Ted Staunton. With introductory essays on Canadian and American wood engraving by Patricia Ainslie and Paul Ritscher, bibliography, and brief biographies of the artists. full blue leather, with patterned endpapers and contained in a drop-back box.

Hardcover. Condición: Fine. Hardcover. One of 140 copies. This is the 53rd book issued by the very fine Barbarian Press that Crispin and Jan Elsted founded in 1977. The book beautifully exemplifies their philosophy in the creation of books and the fine craftsmanship they bring to each. This handsome volume prints Thomas Gray's "Elegy Written in a Country Churchyard" and Oliver Goldsmith's "The Deserted Village." They are accompanied by an afterword by Crispin titled "Lives of the Poets." The well known illustrator Christopher Wormell provided the lovely black and white wood engravings for the text, and also for a separate suite of the six engravings, housed in a black cloth covered folder. Bound in black half silk with gray decorated paper by Alanna Simenson at the Mad Hatter Bookbinding Company. Both the book and the portfolio of prints are housed in a black cloth covered slipcase. The text type is Bell with Fry's Ornamented for display, and printed on Zerkall ENE Extra Smooth paper. The cover paper is St-Armand Canal. The book was designed and hand-set by Crispin Elsted. Apollonia Elsted printed the poems, and Jan Elsted printed the remaining text and the engravings, which were printed from the wood. In fine condition. Measures 6.75 x 10.25 inches. Unpaginated [about 46 pages]. PRI/120224.

Barbarian Press Ilustrador. folio. quarter sienna leather with patterned paper-covered boards, gold-stamped leather label on spine, slipcase. 132 pages. Endgrain Editions Three. Privately printed in an edition of 190 copies, of which this book is one of 60 copies handbound by Simone Mynen and containing a signed and numbered proof of the frontispiece in a handmade paper folder. Fine in fine slipcase. With an introduction by Lazarov, a Publisher's Foreword by Crispin Elsted and a Printer's Note by Jan Elsted. A volume of approximately fifty engravings by Lazarov, a Bulgarian-born wood engraver. His unique and striking work displays "an immaculate and detailed technique sometimes reminiscent of 19th century steel engraving." Lazarov's disparate range of influences include Classical architecture and statuary, Japanese block printing, Russian Constructivism, and Surrealism. For the frontispiece of this book he combined traditional wood engraving with a background of pressboard printed in contrasting colors. The artist is also responsible for the abstract pattern found on the covers. Designed and type set by Crispin Elsted. The type is Joanna, with Optima for display; it is printed on mouldmade wove papers from Zerkall Mill. The engravings were all printed from the wood by Jan Elsted. This is the first of the Endgrain Editions to appear in the larger format. quarter sienna leather with patterned paper-covered boards, gold-stamped leather label on spine, slipcase.

Endgrain Editions Four. One of 120 regular copies, of a total edition of 175. Tipped in wood engraved frontispiece 'Jacob and the Angel), 133 wood engravings by Simon Brett printed on Zerkall smooth white paper each with a title printed in green. Printed in Gill's Joanna type cast by Michael & Winifred Bixler. Folio, bound by Alann Simenson in original quarter green Japanese cloth with patterned paper sides designed by Brett. A complete chronological list of all of Brett's engravings from 1961 providing an extraordinary visual catalogue of the work of one of Britain's greatest wood engravers.

Barbarian Press Ilustrador. folio. quarter sienna leather with patterned paper-covered boards, gold-stamped leather label on spine, slipcase. 132 pages. Endgrain Editions Three. Privately printed in an edition of 190 copies, of which this book is one of 60 copies handbound by Simone Mynen and containing a signed and numbered proof of the frontispiece in a handmade paper folder. Prospectus loosely inserted. Fine in fine slipcase. With an introduction by Lazarov, a Publisher's Foreword by Crispin Elsted and a Printer's Note by Jan Elsted. A volume of approximately fifty engravings by Lazarov, a Bulgarian-born wood engraver. His unique and striking work displays "an immaculate and detailed technique sometimes reminiscent of 19th century steel engraving." Lazarov's disparate range of influences include Classical architecture and statuary, Japanese block printing, Russian Constructivism, and Surrealism. For the frontispiece of this book he combined traditional wood engraving with a background of pressboard printed in contrasting colors. The artist is also responsible for the abstract pattern found on the covers. Designed and type set by Crispin Elsted. The type is Joanna, with Optima for display; it is printed on mouldmade wove papers from Zerkall Mill. The engravings were all printed from the wood by Jan Elsted. This is the first of the Endgrain Editions to appear in the larger format. quarter sienna leather with patterned paper-covered boards, gold-stamped leather label on spine, slipcase.

Barbarian Press Ilustrador. thick 4to. full blue leather, with patterned endpapers and contained in a drop-back box. Unpaginated (but approximately 340 pages). First edition, limited to 430 copies of which this copy is one of 50 special copies bound thus and containing a signed, tipped-in frontispiece by Rosemary Kilbourn. Contains an astounding 121 wood engravings chosen by the artists and printed directly from the blocks onto individual leaves. Printed and published by Crispin and Jan Elstead at the Barbarian Press in British Columbia. Printed on Zerkall mould-made white wove and ivory laid paper. Includes a new press device by Barry Moser, a specially cut frontispiece by Rosemary Kilbourn, and a title page designed by Ted Staunton. With introductory essays on Canadian and American wood engraving by Patricia Ainslie and Paul Ritscher, bibliography, and brief biographies of the artists. full blue leather, with patterned endpapers and contained in a drop-back box.

Barbarian Press Ilustrador. 4to. quarter cloth with printed paper-covered boards, printed spine label with slipcase. 160 pages. Printed in an edition limited to 180 copies of which this is one of 150 standard copies. A fine copy in fine slipcase. This bibliography, which marks the silver anniversary of the Barbarian Press, lists all the books published by the Press, including those listed in the hard-to-find tenth anniversary edition. Robert Bringhurst provides an essay on the private press in Canada; Simon Brett contributes the chapter "Illustrating for Grown-ups"; and Sjaak Hubregtse writes about collecting Barbarian Press. A photo essay by David Evans dwells on the beauties of the tools, the materials, and the processes of making books. Foreword by Anthony Rota. quarter cloth with printed paper-covered boards, printed spine label with slipcase.

Hardcover. Condición: As New. No Jacket. 1st Edition. First edition, limited edition Published in an edition of 430 copies, of which 300 are for sale. Of these, 250 are bound in quarter cloth with patterned paper over boards, and slipcased; 50 are bound in full leather, with patterned endpapers & a signed, tipped-in frontispiece, & contained in a drop-back box. The remaining 130 copies constitute a Contributor's Edition. This copy is #132 of three hundred copies. 85 unnumbered pages, 121 unnumbered leaves of plates : chiefly illustrations ; Unpaginated. Illustrated with wood engravings by Elfriede Abbe, Barry Moser, John DePol, Leonard Baskin, Sarah Chamberlain, Wendy Simon, and many other Canadian and American artists. An important survey of wood engraving in Canada and the USA with Introductory Essays by Patricia Ainslie (Canada) and Paul B. Ritscher (USA). An important survey of wood engraving in Canada and the USA, The most important book on wood engraving in North America ever. A very fine as new copy in a like slipcase.

Hardcover. Condición: Fine. Simon Brett Ilustrador. Simon Brett. Hardcover. Endgrain Editions Four. Limited to 120 copies in the regular edition. This is the first addition to the Endgrain Editions since 2003, and it is a major return to the series. It is a celebration of the work of Simon Brett documenting his fifty plus years as an engraver. Simon is acknowledged as one of the masters of wood engraving of the past half-century. With 134 engravings printed from the wood, an introduction by the artist, and a chronological catalogue of the more than 1,000 engravings Simon has so far engraved, this is a major work of 250 pages, and is certain to be an important reference on Simon's work as well as being a splendid book from this important private press. Text printed in Joanna with Fry's Ornamented for display in green and black on Zerkall Cream laid with engravings printed on Zerkall White Smooth. Bound in quarter green cloth with paper patterned boards and title label to spine. In fine condition. PRI/062014.

ONE OF 350 COPIES, printed in English Scotch Roman in black and red on Zerkall mouldmade paper, title with engraved illustrated border, 5 further full-page wood-engravings and several smaller devices all by Edwina Ellis, colophon with bear at printing press device in red, pp. xii, 49, [1], 4to, original red cloth, printed label to backstrip and a large label with an Ellis engraving to upper board, the backstrip cloth a touch faded, cloth slipcase, very good. A typically elegant production by the Barbarian Press, illustrating a dramatic version of Dickens' classic text first staged in 1844.