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Illustrated by Henri Cartier-Bresson with seven original lithographs and one photogravure. The lithographs are on Arches mould-made cotton paper and were pulled by Bruce Porter at Trestle Editions. The photogravure plate, which is a portrait of Louis Aragon photographed by Henri Cartier-Bresson, was printed by Jon Goodman on French-made Arjo Wiggins stock.

SIGNED on the limitations page in pencil by Henri Cartier-Bresson.

Typography is by Don Carr of the Golgonooza Letter Foundry. Set in Plantin typeface, 12-point on a 19-point base for the text. Display lines are printed in Romulus in various sizes up 48-point. Printed by Daniel Kelcher at The Wild Carrot Press in Hadley, Massachusetts on a fine mould-made stock from the Arches mill. - The book measures 12 1/4 inches x 16 1/4 inches. 163 pages.

Hand bound in full gray-green semi-rough textured fabric woven in Japan. Housed in a slipcase which is covered with the same gray-green fabric and is lined in gray-green ultrasuede.

John Hersey's 1947 journalistic report on the dropping of the atomic bomb on Hiroshima, which was originally published in The New Yorker, is prefaced with a lengthy new poem written for this edition by Robert Penn Warren

Illustrated with eight original silkscreens by Jacob Lawrence, which were silkscreened at Studio Heinrici, New York, on Somerset paper, a 250 gr. soft-white paper made at St. Cuthbert's mill in England.

Benjamin Shiff designed the book. The text was set in 14-point Optima Medium with ten points between the lines at the Golgonooza Letter Foundry in Asheulot, New Hampshire. Printed at the Wild Carrot Press in Hadley, Massachusetts, on a wove paper with a cream-white tint made at the Mohawk mills in Cohoes, New York. LEC Monthly Letter is laid-in loose.

Bound by Robert Burlen & Son in Hingham, Massachusetts, in full black aniline leather. All page edges are black. Endpapers are black. Housed in a black cloth covered slipcase with black interior.

A previous owner has changed the finish of the black aniline leather cover from the original dull matte-finish to a shinier finish. The shinier finish is well done and attractive.

SIGNED on the limitations page by Alfred Eisenstaedt (1898 - 1995).

Illustrated with five photogravures by Alfred Eisenstaedt, made from his original 1952 negatives for photographs illustrating the publication of the complete novel in the September 1, 1952 issue of Life Magazine, which preceded the first book edition by eleven days. The plates for printing the gravures were made by Jon Goodman in Hadley, Massachusetts. The gravures were printed on Arches paper by Sara Krohn at Wingate Studio in Hinsdale, New Hampshire, and by Robert Townsend in Georgetown, Massachusetts.

Book design by Benjamin Shiff. Set in 14-point Romulus on a 20-point base and printed by Typostudio Schumacher-Gebler, Munich, Germany, on off-white mould-made paper from the mill of Cartiere Enrico Magnani in Pescia, Italy. Oblong folio (14-1/2 x 11 inches). LEC letter for this book is laid-in loose.

Bound by Jon Van Isakovics in West Springfield, Massachusetts, in quarter blue goatskin, with linen covered boards. Titling stamped on the spine with gold leaf. Housed in a black linen covered drop-spine box, which is lined with blue ultrasuede. Leather title label on box is stamped in gold.

SIGNED on the colophon by both Edward George Seidensticker and the artist, Tadaaki Kuwayama. The book is illustrated with five original aquatints by the artist, which were printed at the Wingate Studio in Hinsdale, New Hampshire, on hand-made Richard de Bas paper imported from France.

Kevin Begos and Dan Carr at the Golgonooza Letter Foundry designed the book, specifying 13-point Bondoni 135, with 8 points of leading for the text. Printed at the Shagbark Press in Portland, Maine on rough-finish mould-made Italian paper from the Magnani mill in Pescia. The LEC letter for the book is laid-in loose.

Bound by John von Isakovics in Springfield, Massachusetts, in dark gray goatskin. The slipcase is covered in natural linen and lined in ultrasuede.

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SIGNED on the colophon by Jacob Lawrence, who illustrated the book with eight original silkscreens, The silkscreens were printed on fine Whatman paper by the Osiris Printing Studio in New York. From 17 to 21 screens were used for each illustration, for a total of 144 separate stencils, all of which were destroyed after the limited edition printing had been completed. There were 400 sets of silkscreens made for the books, and another 72 portfolio sets which were issued and sold separately.

Book design by Benjamin Shiff. The typeface for the text is the small-face 24-point Caslon, with 8-ponts of leading. Chapter titles are in 20-point Romulus. Verse numerals were drawn and made into type by Dan Carr at the Golgonooza Letter Foundry in Ashuelot, New Hampshire. He also designed the title page, choosing Romulus in 48 and 36 point sizes, and 72 point Perpetua Titling. The text was set into type at Golgonooza. Printed by Heritage Printers in Charlotte, NC on a heavy handmade paper from Cartiere Enrico Magnani of Pescia, Italy. The book measures 16 3/4 inches x 22 inches. The LEC letter for the book is laid-in loose.

Bound by Karl Folkes at the Spectrum Bindery in Florida, New York, and John Isakovics at Jovonis Bindery in West Springfield, Massachusetts. The book is bound in full midnight blue Japanese cotton. The single word "GENESIS" is stamped in gold on the front cover of the book. Housed in a black linen covered drop-spine box lined in black ultrasuede. A blue leather title label is inlaid on the box cover, on which the single word, "GENESIS" is stamped in gold.

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Illustrated with seventeen charcoal drawings, which were made directly on plastic film by the artist, Willem de Kooning. The charcoal drawings on film were transferred directly to lithographic plates at "American Atelier" by Benjamin Shiff, and printed at Trestle Editions, New York, on handmade ochre-tinted Kitakata paper from Japan. The prints were then hand-torn and applied with intaglio presses to sheets of Italian Magnani paper by Wingate Studio, Hinsdale, New Hampshire, and Renaissance Press, Ashuelot, New Hampshire.

Signed on the colophon with Willem de Kooning's authorized facsimile signature reproduced from the handsigned Bon à Tirer print proof.

The 17 illustrations were originally made as charcoal drawings on sheets of plastic film (called Copyrite), to illustrate Frank O'Hara's poem "Ode to Willem de Kooning" in the book, In Memory of My Feelings, a livre de peintre published in 1967 by the New York Museum of Modern Art. However, only three of de Kooning's seventeen drawings were actually used in that book. All seventeen drawings appear for the first time in this LEC edition.

Bound at Jovonis Bookbindery, Springfield, Massachusetts, in full black Nigerian Oasis goatskin. The front cover is stamped in 22 karat gold leaf with the names of the author and the artist. Housed in a drop-spine box covered with black Italian Canapetta Cotton and lined with grey ultrasuede.

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Illustrated hors-texte with twenty-seven original lithographs by Robert Motherwell. The lithographs were pulled at Trestle Editions, New York, on handmade Japanese papers of various colors, and are laid-down on mould-made paper made by the Magnani mills in Pescia, Italy.

Book design by Ben Shiff. The typefaces used for the text are Bauer Bondoni Bold and Bauer Bondoni Italic. Set at Stamperia Voldonega. The text is printed in Spanish in red ink and in English in blue ink, on mould made paper from the Cartiere Enrico Magnani mills. The first poem was printed by Stamperia Valdonega, Verona, Italy. The second poem was printed at The Wild Carrot Press in Hadley, Massachusetts. And the third poem was printed at Heritage Printers in Charlotte, NC. LEC Letter is not present.

The book is bound in full natural linen, with an original lithograph by Motherwell laid-down on the front cover. Housed in a natural linen drop-spine box, which measures 23 1/4 x 18 1/2 inches. Titling is stamped in black on both the spine of the book and on the spine of the box.

Illustrated with seven original color woodcuts by Francesco Clemente. Signed by the artist in pencil on the limitations page. The woodblocks were cut by Michael Berdan and printed by Evans Editions, Inc. in New York.

Book designed by Dan Carr. Set in Monotype Lutetia by Julia Ferrari and Dan Carr at Golgonooza Letter Foundry, Ashuelot Village, New Hampshire. Printed on handmade Japanese Ogawashi paper by Arthur Larson at Horton Tank Graphics. Measures 12 1/4 inches x 8 1/4 inches.

Bound in pale aqua Japanese linen by Kim O'Donnell at Garthegaat Bindery. Blindstamped floral decoration on front board. Housed in a matching linen covered slipcase.

Illustrated with four full page and six half page lithographs by Robert Kipniss. The artist hand-signed the book on the colophon.

Quarter-bound in black buckram, with light blue-grey Fabriano paper covered boards. Gilt lettering on the spine. Light blue-grey paper covered slipcase with black cloth covered ends.

Book design by Kathy Homans. Printed by Michael and Winifred Bixler in Boston.

There is a little fraying along the edges of the black cloth panels covering the slipcase, and there is a 2 inch long split in the cloth on one side of the slipcase. The slipcase is solid & serviceable, and is still presentable.

The red leather covering the book has a couple of very tiny, inconspicuous rubs. And there's a little darkening of the leather, primarily of the red leather spine.

Illustrated by Paul Hogarth with eight full-page watercolors and over a dozen monochrome vignettes in the text. The color plates were printed by the Thomas Todd Company of Boston, Massachusetts. SIGNED by the illustrator on the limitations page.

Large octavo. 224 pages. Book design by Dennis Grastorf. Set in 12-point Linotype leaded 2 points, and printed at The Anthoensen Press in Portland, Maine, on soft-white wove stock from the Monadnock mill in Bennington, New Hampshire.

Bound by A. Horowitz & Sons in Fairfield, New Jersey, in light brown cloth with black title lettering on the spine. A drawing of a bugle by Deborah Evetts is stamped in black on both the front and back covers. Housed in a brown paper covered slipcase with cloth ends. Gilt title lettering on the slipcase spine. Monthly Limited Editions Club letter is laid-in loose.

Illustrated by Lois Mailou Jones with five specially commissioned paintings, reproduced as silkscreens by the Heinrici Studio in New York on paper specially made at Cartiere Enrico Magnani in Pescia, Italy.

SIGNED on the limitations page by both the author, Leopold Senghor, and the artist, Lois Mailou Jones.

The book was designed by Dan Carr, of the Golgonooza Letter Foundry in Ashuelot, New Hampshire. He handset the text in 16-point English Monotype Bodoni with 10-point spacing between the lines. The book was printed by Dan Keleher at the Wild Carrot Letterpress on a textured Arches paper from Epinal, France.

Beautifully hand-bound by Carol Joyce at the Academy Bindery in Stockton, New Jersey, in purple linen with lettering hand-stamped in gold on the front cover. Housed in a black linen covered drop-spine box, which is lettered in gold on the spine and lined with black ultrasuede. Atlas Folio, 25 inches x 24 inches. Monthly Limited Editions Club letter is laid-in loose.

Illustrated with eleven water colors by Soyer. In addition, there are 23 studies by the artist which are bound into the back of the volume. Princeton Polychrome Press photographically reproduced and offset-printed Soyer's work.

Quarto. Paper size is 7 1/2 inches x 10 1/4 inches. There are 124 pages. Typographic design by Bruce Campbell. Printed in 16-point Centaur with two points of leading on a natural tone wove rag made by the Curtis Paper Company in Newark, Delaware. Printed by the Hampshire Typothetae in Northampton, Massachusetts.

Bound by the Tapley-Rutter Company of Moonachie, New Jersey. Quarter bound in natural finish gray buckram cloth, with gray-green marbled paper (called Elephant Hide) covering the boards. Dark gray topstain. Gray-green paper-covered slipcase. Monthly LEC letter is laid-in.

Illustrated with three beautiful color lithographs by Larry Rivers, one of which folds out. The images were drawn on metal plates, with a separate plate for each color. Thirteen to seventeen separate plates were used to print each image. The lithographs were printed by Frank Martinez at the Water Street Press in Brooklyn on paper made by Cartiere Enrico Magnani of Pescia, Italy. SIGNED in blue ink by Isaac B. Singer and in pencil by the artist, Larry Rivers.

Set in 16-point Van Dijck with 4-points of leading by Mackenzie-Harris of San Francisco. Printed at The Anthoensen Press of Portland, Maine on white wove paper made at the Mohawk mill in Cohoes, New York. Folio, 12 1/8 inches X 9 1/4 inches. 220 pages. LEC Monthly Letter and Errata slip are laid-in loose.

Quarter-bound at the Gray Parrot, Easthampton, Massachusetts, in Nigerian goatskin with boards covered in imported Irish linen. Housed in a gray-beige paper covered slipcase.

SIGNED on the colophon by Aaron Suskind, who illustrated the book with photogravures. Plates for printing the photogravures were produced by Paul Taylor in Hinsdale, New Hampshire, and impressed by Clarie Nelson on Mould-made Richard de Bas paper from France.

Kevin Begos Jr. and Dan Carr designed the book. The typeface for the text is 18 point Monotype Scotch Roman with 12 points of space between the lines. Printed by the Heritage Printers in Charlotte, North Carolina on a textured off-white antique stock mould-made at the mill of Cartiere Enrico Magnini in Pescia, Italy. The book measures 17 3/8 inches tall by 14 3/4 inches wide. 26 leaves including 6 plates with tissue-guards. The LEC letter for the book is laid-in loose.

Bound at Campbell-Logan in Minneapolis, Minnesota with black goatskin spine and fore-edges, and dark green linen covered boards. Housed in a black linen covered slipcase.