Gogmagog press (35 resultados)

Condición: Very Good. 6 pages, 2 plates. An authentic standalone article, extracted from a larger volume. Not a reprint or reproduction, but an original work in its own right. Preserved in a modern card cover, prepared for practicality - an unassuming but serviceable presentation that favours function over finery. Size: 14 x 22 cms. Category: The Private Library; Cosmo Books : 29 years on ABE, 47 years taking care of customers. A bookseller you can rely on. Softcover (Booklet - Unbound Pages).…

4to. Publishers' cloth; title blocked in black on spine, both covers with vertical lines blocked in black.184 pp; B&W and colour illustrations.LIMITED EDITION of 1650 (of which 500 for sale) Includes full bibliography of the Gogmagog Press. Handsome production.

First Edition, 4to, 184pp., limited edition, bookplate, frontis., illustrs., (some in colour), orig. decorated cloth, a nice copy.

Red cloth strikingly stamped in black. Sm.folio, c.pp184, fine. Includes c.40 illustrations + 16 colour plates. Authoritative work on one of the most idiosyncratic English presses. Handsome Limited Edition. **** To confirm availability before ordering, please click the link Ask Bookseller A Question.…

Hardcover. Condición: Very Good. 1st Edition. First Edition, one of 1650 copies, of which 500 were for sale. Original red cloth by Smith Settle, boards with black stripes, spine lettered in black, black endpapers. Clear, removable, archival protective cover fitted to the book. Folio in 8s (271 x 182 mm). Title-vignette after Cox. Half-tone portrait frontispiece, 16 colour-printed plates, half-tone illustrations in the text. A book in Very Good condition; top-edges of bookblock very lightly spotted.…

Single sheet folded once vertically, in handmade Japanese paper wraps. Fleuron by Roderick Cave.

(4)pp. 12mo. Printed on recto only and folded within decorated Japanese paper cover.

First Edition. The Definitive Study of Gogmagog Press [GOGMAGOG PRESS]. CHAMBERS, David. FRANKLIN, Colin. TUCKER, Alan. Gogmagog. Morris Cox & the Gogmagog Press. Pinner: Private Libraries Association, 1991. First edition. Octavo (10 11/16 x 7 1/8 inches; 271 x 181 mm.). 184 pp. Illustrated throughout in color and black & white. Publisher's original orange cloth with black stripes. A fine copy, clean and well preserved. The definitive study of Gogmagog Press and its founder Morris Cox, one of the most individual and influential figures in postwar British private-press printing. Drawing on close personal knowledge, archival research, and first-hand technical understanding, the authors chart Cox's uncompromising approach to typography, illustration, and book design, as well as the press's deep engagement with folk art, wood engraving, and English vernacular traditions. Lavishly illustrated with examples of Gogmagog books, ephemera, trial proofs, and working materials, the volume documents not only the finished productions but also the creative process behind them. Issued by the Private Libraries Association, it stands as the standard reference on the press and an essential resource for collectors, printers, and historians of twentieth-century private printing. A cornerstone reference for libraries and collections concerned with private presses, fine printing, and the continuing legacy of English book arts in the modern era.…

2 volumes, illustrated with a total of 10 double-page and one single-page collages. Chambers 70. Copy number 34 of 50 copies, numbered and signed in ink by Tucker and Cox. Green cloth boards, printed on Japanese handmade paper. In green cloth slipcase with black paper sides.

Red-brown Mingei paper boards with black and white title and designs by Cox and acetate dust jacket. Chambers 29. Copy number 58 of 90 copies numbered and signed in ink by the author on the colophon. Printed on Hodgkinson's and Japanese Mingei handmade papers.

Hard Cover. Condición: Very Good+ binding. First Edition. Slim octavo. [13] French fold leaves, illus. Limited edition, number 36 of 40 copies "reserved for members of the Society of Private Printers" from a full edition of 100 copies. Signed by Cox on the limitation page. Bound as issued, in Japanese Hana-asa paper over boards; 3 full page illustrations printed in black on green paper. Printed and bound by the author. Spine is a trifle darkened; some light soiling to the rear cover; binding has a notable forward lean; contents clean. A nice book that truly is a product of its time. Signed.…

Chambers 18. One of 60 copies out of a total edition of edition of 100 copies, bound in Rakusuki paper boards, numbered and signed in ink by the author on the colophon. Printed on damped Japanese Hososhi, with illustrations on blue Mingei.

Neat and attractive book-label with initials "WP" at the bottom of the front endpaper. Neat and attractive book-label with initials "WP" at the bottom of the front endpaper Chambers 19. Copy number 13 of 65 copies numbered and signed in ink by the author on the colophon. Printed on Barcham Green Dover Castle handmade paper, bound in natural felt boards with orange flame pattern at covers. Japanese endpapers, matching paper slipcase with silk draw ribbon. Prospectus laid-in.…

Spine of dust jacket slightly faded, otherwise a fine copy. Spine of dust jacket slightly faded, otherwise a fine copy First edition of Cox's first commercially published book. Chambers d. The original book with red cloth binding and dust jacket designed by Morris Cox.

Hardcover. Condición: Fine. 1st Edition. Set in Bodoni Ultra Bold. 50 copies printed in black, red and blue (illustrations in various colours) on Hosho paper. Number 14 of 50 copies. Quarter vellum with boards covered inside and out with heavy Hosho paper, printed in yellow-green; spine printed in Braggadaccio in black and rd. Grey-blue endpapers. Stone coloured slipcase edged with pale yellow plastic with grey and black monotypes on the sides; orange ribbon pull. A fine copy. Twenty-six expressive and simple abstract colour-prints explore the lines of force which fascinated Morris Cox in the reticulations of a cracked plate when he made A Bird s World (1959). His nature-printing uses fern leaves and cake foil as poetry. This early book is particularly important insofar as it expresses the artist s trust in whatever line of force appears and would lead to greater experiments, most particularly with blind drawing . His purpose was ambitious, "to bring the act of printing as near as possible to the immediacy necessary to the mechanics of true creation". The foreword should be read carefully, because it becomes his creed.…

Each volume with the prints joined into continuous strips and folded to make nine double-page openings Each one of 100 copies signed by Morris Cox on Japanese Hosho hand-made Four volumes A fine set in original acetate dust-wrappers Chambers 14-17 Original pictorial boards, spines with printed labels.…

Chambers 13. Copy number 53 of 60 copies numbered and signed in ink by the author on the colophon. Printed on Barcham Green Roger Powell handmade paper, bound in quarter natural linen with paper boards containing actual dried grasses under transparent tissue paper. Prospectus laid-in.

4 volumes, each volume illustrated with 3 embossed reverse/direct offset prints joined in continuous strip. A very fine set of what is generally regarded as one of the artist's masterpieces, with prospectuses laid in. A very fine set of what is generally regarded as one of the artist's masterpieces, with prospectuses laid in Chambers 14, 15, 16, & 17. Winter is copy number 14 of 100 copies on Japanese "Hosho" paper, numbered and signed in ink on the colophon by the author, with grey-green Ingres paper boards printed with a monotype in black, dark green, and white, with acetate dust jacket, with 2 copies of the prospectus laid-in. Spring is copy number 14 of 100 copies on Japanese "Hosho" paper, numbered and signed in ink on the colophon by the author, with dark brown Ingres paper boards printed with a monotype in black and turquoise, and acetate dust jacket, prospectus laid-in. Summer is copy number 14 of 100 copies on Japanese "Hosho" paper, numbered and signed in ink on the colophon by the author, with salmon pink Ingres paper boards printed with a monotype in black and grey, and acetate dust jacket, with two copies of the prospectus laid-in. Autumn is copy number 19 of 100 copies on Japanese "Hosho" paper, numbered and signed in ink on the colophon by the author, with dull purple Ingres paper boards printed with a monotype in black, pale blue, and white, with acetate dust jacket, prospectus laid-in. …

Chambers 33. Copy number 17 of 35 copies numbered and signed in ink by the author and Colin Franklin on the colophon. Printed on Japanese Hosho and Kuzo-shi papers bound by Morris Cox and Gemma O'Connor in natural silk boards with brown designs, in paste-patterned paper slipcase with orange draw ribbon.…

Chambers 25. Copy number 2 of 24 copies, numbered and signed by the author on the colophon. Corrie Guyt's copy. Printed on Japanese handmade Yamato-Chiri and Mingei papers, bound in green silk boards with acetate dust jacket. Laid in is a long TLS, 1 page, 4to, 28 November 1975, from the author to "Corrie" who provided some of the silk for the bindings: "You will see that I have bound the book in some of your Hong Kong silk and the title-page has utilized one of your lace pieces!".…

8vo, original quarter maroon cloth and board with printed label on spine, mylar dust jacket. First edition of the first book to have the Gogmagog Press imprint. Chambers 2. Copy number 21 of 30 copies on cream wove paper, out of a total edition of 45 copies, bound in quarter maroon cloth, with natural boards, numbered and signed in ink by the author on the colophon. Regrettably lacking the small label from the front cover, with glue residue in its former place (approximately 1 x 2 inches), otherwise a fine copy.…

Chambers 2. First edition of the first book to have the Gogmagog Press imprint, a set of unbound proof sheets laid into a blue paper folder, with a short typed note signed by Cox reading, "The Slumbering Virgin / A set of proofs / presented to Arnold Yates, Esq., / by the author / Morris Cox / August 1960" laid-in. …

Chambers 21. Copy number 34 of 50 copies numbered and signed in ink by the author on the colophon. Text on brown Cha-uke and prints on white Shoji Japanese handmade papers. Bound in brown Sugikawa paper boards with acetate dust jacket. Prospectus laid-in.

Chambers 22. Copy number 49 of 50 copies numbered and signed in ink by the author on the colophon. Printed on Japanese handmade Kozu-shi, bound in black paper boards covered in Japanese Amime net-mesh handmade paper with a pink Japanese handmade paper spine and acetate dust jacket.

Chambers d. First edition thus, privately issued. These poems were "first published under the title of The Whirligig and Other Poems in 1954 by Routledge & Kegan Paul (London). Cox rebound the original sheets from that edition with an original signed print, and issued the book privately. Copy number 19 of 35 copies, numbered and signed in pencil by the author on the print, bound in Japanese handmade Kyoseishi paper boards with prospectus laid-in.…

Chambers 12. Copy number 27 of 50 copies numbered and signed in ink by the author on the colophon. Printed on Hosho Japanese handmade paper, bound in quarter vellum and heavy Hosho yellow-green paper boards. Stone colored cardboard slipcase with grey and black monotypes at the sides and orange ribbon-pull. Prospectus laid-in.…

Condición: A very fine copy. 4to, original full gilt-decorated vellum with ribbon ties. A very fine copy. First edition. One of three copies specially bound in full decorated vellum by Gemma O'Connor out of a total edition of 75 copies; like the other copies in the edition of 75, the book is printed on Hosho and coloured Japanese paper, with an original blind-drawn frontispiece, and signed by Cox, Franklin and O'Connor. The rest of the edition was bound in quarter vellum and Japanese patterned paper boards. "For many years he [Cox] had practised shutting his eyes, concentrating, drawing. . . . All sorts of effects were achieved in blind drawings, a whirling ballet in line on white. Each was signed, dated and given a BD stamp of affirmation in red". Chambers, Franklin & Tucker 30, p. 156-158. The present book represents some of Cox's finest achievements using this idiosyncratic mode of drawing. Far from a mere curiosity, Cox's blind drawings clearly reflect a spiritual accomplishment of a high order; though the result of an unconventional discipline, the drawings are marked with the elegance of line and subtlety of feeling that come only from long submission to the constraint of technique.…

Tall, narrow 8vo, pictorial cloth, patterned slipcase. Spine a little bit sunned, otherwise a fine copy. Spine a little bit sunned, otherwise a fine copy First edition. One of 35 numbered copies "designed, cut, modelled, hand-printed & bound" and signed by Cox. "Plates & text printed on Japanese Hosho & Kuzo-shi papers. Binding material woven in Hong-Kong, supplied by Mr Corrie Guyt". Chambers 33. Presentation copy from Cox to Guyt, who supplied the binding materials, with Guyt's bookplate on the front paste-down and with an autographed note signed ("Xmas 1980, To Corrie - With best wishes & warm affection, Morris") and a typed note signed ("28 November 1980, My dear Corrie, You will see that this book of Studio samples and its Introduction is only for people who already know something about me and my work. And who better than you to be among the first to receive it! See letter by separate post. Yours ever, Morris") from Cox to Guyt, laid in. "This brilliant performance has the appearance of a retrospective exhibition of work across half a century, showing every technique of colour-printing which we have come to know in his work; but these are, as the sub-title explains, '50 Original Colourprints', and the Introduction mentions they 'were all conceived, made and printed within the course of one year's extensive work'. . In his introduction we have the longest most revealing of all his explanations as to method and discovery, a brief artistic memoir. At the end we accept the final word as to his printing which 'has never ceased to thrill me with its potential for spontaneous artistry'." - Chambers pp. 160-161.…

ONE OF 1,650 COPIES (of an edition of 1,715 copies), 16 colour-printed plates illustrating Cox's work used in his press books, and further monochrome illustrations of the artist and of his work throughout the text, the pagination, in large numerals, printed in grey on the outer margin of each page, pp.184, royal 8vo, publisher's scarlet cloth ruled in black, black endpapers, small faint spot on upper board, slight mark on lower board, pastedown with bookplate of Sebastian & Penelope Carter, very good. The definitive guide to Morris Cox's extraordinary output. Sebastian Carter, writer on many aspects of printing and private press, ran the Rampant Lions Press, founded by his father, Will Carter, until its closure in 2008. …

Chambers 18. Copy number 17 of 40 copies out of a total edition of edition of 100 copies, bound in Japanese Hana-asa paper, numbered and signed in ink by the author on the colophon, with prospectus laid-in. Printed on damped Japanese Hososhi, with illustrations on blue Mingei.