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No flaws or wear noted. Both book and box are in flawless FINE CONDITION.
PRICE: $1500.00

Illustrated with three multi-color woodcuts by Jane Freilicher. The blocks for printing the illustrations were cut by Keiji Shinohara in Middletown, Connecticut. Each of the three illustrations required the cutting of thirty or more separate blocks of wood - one for each color, shade and tint. The woodblocks were printed by hand by Mr. Shinohara on textured handmade Tosa Hanga paper from Japan.

The book design is by Dan Carr at the Golgonooza Letter Foundry and Press in Ashuelot, New Hampshire. The text was handset and printed in 24-point Garamond on textured handmade paper from the H.M.P. mill in Woodstock, Connecticut.

Bound in full cloth with a leather title label on the front cover. Housed in a matching cloth covered drop-spine box, which is lined with cream colored ultrasuede. A leather title label is affixed to the spine of the box. LEC letter is laid-in loose.

SIGNED by the artist, Balthus, on the colophon.

Illustrated by Balthus with 15 original lithographs. The lithographs were printed from aluminum plates by Bruce Porter at Trestle Editions in Manhattan, on fine Japanese paper in brown-toned black ink, and mounted & tipped onto Arches paper. The off-white mould-made Arches was specially made for this edition by the Arches mill in France and is watermarked with the Balthus coat-of-arms.

Book design is by Michael Bixler. Type was handset and printed letterpress at Michael Bixler's printery in Skaneateles, New York. The text was printed in 13-point Dante and other sizes of Dante were used for the titlepage.

Bound by John von Isakovics at the Jovonis Bindery in West Springfield, Massachusetts, in gray-green goatskin with title lettering stamped in dark green on the front cover. Housed in a natural linen covered drop-spine box which is lined with ultrasuede. The box has a leather title label on the spine. The box measures 18 inches x 14 inches. Book is 16 1/2 inches x 13 3/4 inches. LEC Monthly letter is laid-in loose.

The fold-out etching was printed by Bruce Chandler at The Heron Press. The second etching was printed at Water Street Press. The third drypoint was printed by R. E. Townsend.

Letterpress printed on Cartiere Enrico Magnani mold-made paper by Darrell Hyder with Monotype Van Dijck type that was set at Mackenzie & Harris, Inc. Book design is by Benjamin Shiff and Bruce Chandler.

Bound by Dennis Gouey in a dark blue handwoven silk from Thailand, with a black Nigerian Oasis goatskin label inlay on the front cover stamped with gilt titling. Black cloth covered drop-spine box is lined with the same dark blue silk and has a small inset leather spine label stamped in gilt.

SIGNED on the colophon page by both Berenice Abbott and Malcolm Cowley.

Illustrated with twelve contemporary photographs by Berenice Abbott, Andre Kertesz, Man Ray, Walker Evans and Alvin Coburn, which were reproduced by stone-tone lithography at Rapoport Printing Corporation in New York. SIGNED in ink on the limitations page by both Malcolm Cowley and Berenice Abbott.

Book design by Laurie Hastreiter Rippon. Text is set in 11-point Linotype Fairfield with 4-points of leading. Headings are in Perpetua. Printed by Daniel Keleher at the Wild Carrot Letterpress in Hadley, Massachusetts. Pages size is 6 1/2 inches x 9 5/8. 320 pages.

Quarter bound in dark brown natural-finish cloth woven in Holland, with silver title lettering on the spine. The boards are covered with illustrated Fabriano Ingres paper made in Holland. Housed in a paper covered slipcase with brown cloth ends. Brown title lettering on slipcase spine.

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SIGNED by the artist, Allan Rohan Crite on the Colophon.

Illustrated by Allan Rohan Crite with fifteen relief engravings printed by Sue Ann Evans at Evans Editions in New York, on Japanese Kitakata paper and mounted on Magnani paper from Italy.

Book design by Dan Carr, who set the type at the Golgonooza Letter Foundry in Ashuelot, New Hampshire. The text is in small face, 24-point Caslon with 8-points of leading. Various sizes of Romulus and Perpetua were used for headings and titling. Printed by Dan Keleher at the Wild Carrot Press in Northhampton, Massachusetts, on handmade paper from the Magnani mill in Pescia, Italy. Folio. 16 inches wide x 22 inches tall.

The edition was bound by Carol Joyce of the Academy Bindery, Kim O'Donnell of Garthegaat Bindery, and Dea Sasso of Light of Day Bindery. Bound in full burgundy linen with gold lettering. Housed in a black Italian cotton covered drop-spine box made by Portfoliobox of Providence, Rhode Island. Gold titling is stamped on a burgundy morocco title label, which is affixed to the slipcase spine. LEC Letter is laid-in loose.

No flaws or wear noted. FINE CONDITION.

Introduction by Thomas Flanagan. A special preface was written for this edition by the author, Seamus Heaney, winner of the 1995 Nobel Prize in Literature.

Illustrated by the famous Op Art artist, Henry Pearson (1914-2006), with seven section-title page illustrations and one illustration on the colophon, all of which were printed in earth-toned brown, directly from Pearson's relief engravings, by Daniel Keleher at the Wild Carrot Press in Hadley, Massachusetts.

SIGNED on the colophon page by Seamus Heaney, Henry Pearson, and Thomas Flanagan.

Set by Finn Typographic Services in Stamford, Connecticut, in Janson type for the text and Hammer's American Uncial for the titles. Printed by the Pickering Press in Maple Shade, New Jersey, on a laid finish paper made by the Mohawk mills in Cohoes, New York. Page size is 7 1/4 inches x 12 inches. Top Page edges are gilded. LEC letter for this book is laid-in loose.

Bound by Robert A. Burlen & Son of Hingham, Massachusetts, in full aniline leather, with the author's name stamped in gold on the spine. An engraving by Henry Pearson is blindstamped on the front cover. Top page edges are gilt. Housed in a paper covered slipcase with the author's name stamped in gold on the spine.

Please note that the short diagonal line in the leather near the top of the spine, visible in the picture, is just a natural grain mark in the leather hide from which the cover was made. It is not a scratch or flaw in the leather.

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There is a slight fold in the leather at the top of the spine. There is a very tiny bit of wear at the bottom right corner of the slipcase spine. No other flaws or wear to book or slipcase. A beautiful copy in NEAR FINE CONDITION.

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

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, Italy.

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

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Illustrated with six original multi-color woodcuts from original paintings by Setsuko Ideta. (Setsuko Ideta is married to Balthus.) The work of cutting and then hand-printing the blocks on a fine imported Japanese paper was performed by Keiji Shinohara in his California studio. SIGNED by Setsuko Ideta on the colophon both in pencil and with her chop.

The typographic design and letterpress printing were performed by Michael and Winifred Bixler in Skaneateles, New York. Hand-set and printed in 14-point Centaur, with 4 points leading, on a finely textured Japanese paper. LEC Letter is laid-in loose.

Bound by Barbara Kretzmann and Winifred Bixler at the Bixler's Skaneateles studio. A modified version of the traditional Japanese style pouch-binding or Fukuro toji was designed by Barbara Kretzmann of Ithaca, New York. Finely hand-bound in full violet Japanese cloth with a traditional paper title strip on the front cover, and housed in a black cotton cloth covered drop-spine box with another paper title label on the box cover.

Illustrated with eight lithographs in color by the renowned architect & artist, John Hejduk (1929 - 2000). SIGNED in pencil by the artist on the colophon page.

Large Quarto, 12 inches tall by 9 inches wide. 183 pages. Set in eighteen point Monotype Gill Sans by Dan Carr & Julia Farrari at Golgonooza Letter Foundry. Printed on mould-made Rives Buff paper. Printed by Ted and Melissa Braggins at Pondside Press. Book design by Kim Shkapich. No LEC Letter.

Bound in full calf by John von Isakovics. Black linen cloth covered slipcase lined with black ultrasuede.

Illustrated with six photogravures by Berenice Abbott. The plates used to print the gravures were made by Jon Goodman from the photographer's original negatives. The gravures were printed by Sarah Krohn & Wingate Studio on handmade H.M.P paper.

Quarter bound by Kim O'Donnell at the Garthegoat Bindery in black goatskin, with boards covered in a lightly nubby silk. The slipcase is covered with black linen cloth and lined with ultrasuede.

The text was handset in Monotype Bell by Winifred and Michael Bixler, and printed at the Wild Carrot Press on paper made by Cartiere Enrico Magnani. 249 pages. Six plates. No LEC Letter.

The six stories contained in this book first appeared in the New Yorker between 1944 and 1959. The story titles are: Up In The Old Hotel; The Bottom Of The Harbor; The Rats On The Waterfront; Mr. Hunter's Grave; Dragger Captain; The Rivermen.

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SIGNED on the colophon page in pencil by the photographer, Edward Ranney. Illustrated with photogravures from plates made by Jon Goodman using Ranney's original negatives.

The book was designed by Dann Carr. Set in Monotype Centaur and printed on velin arches by Julia Ferrari and Dan Carr at Golgonooza Letter Foundry, Ashuelot Village, New Hampshire. Printed with the original Spanish and the English translation in separate columns on the same pages.

Bound oblong in full green linen. Leather spine label stamped with titling in gold. The book measures 15 1/8 inches by 12 1/4 inches. Housed in a black linen covered drop-spine box. No LEC letter or prospectus included.

No flaws or wear. FINE CONDITION.

In addition to the 550 copy limited edition book, twelve numbered exhibition suites and sixty numbered portfolios of the illustrations were issued separately.

Elephant folio. 23 inches tall x 17 1/2 inches wide.

Illustrated with seventeen charcoal drawings by the artist, Willem de Kooning (1904 - 1997). The charcoal drawings, which were made by the artist directly on mylar film, were transferred from the film to lithographic plates at American Atelier by Benjamin Shiff, and printed at Trestle Editions, New York, on a handmade ochre-tinted Kitakata paper from Japan. The prints were then hand-torn and applied with intaglio presses to sheets of Magnani paper from Pescia, Italy at Wingate Studio, Hinsdale, New Hampshire, and Renaissance Press, Ashuelot, New Hampshire.

The drawings were originally made in 1966 to illustrate Frank O'Hara's poem "Ode to Willem de Kooning" in the 1967 livre de artiste, In Memory of My Feelings, published by the New York Museum of Modern Art.

However, only three of the seventeen were actually used in that book. All seventeen are in this 1988 Limited Editions Club edition.

Bound at Jovonis Bookbindery, Springfield, Massachusetts, in full black Nigerian Oasis goatskin. The covers are stamped in 22 karat gold leaf. Housed in a drop-spine box covered with black Italian Canapetta Cotton and lined with grey ultrasuede.

The lithographs in the 550 limited edition books are unsigned. De Kooning had never signed the charcoal drawings on mylar made in 1966. And, in 1988, when the lithographs were finally made from the mylar sheets, he was 84 years old and suffering from Alzheimer's disease. In 1989, he was declared mentally incompetent by a New York court.

So in lieu of original signatures, De Kooning's authorized facsimile signature, taken from the handsigned Bon à Tirer print proof, was reproduced on the colophon pages of the 550 books, as well as on each numbered lithograph in the separately issued 72 portfolios of loose prints.

Signed by the artist, Leonard Baskin, on the limitations page. Illustrated with a one original lithograph, and with nine plates reproduced from drawings by Baskin.

Leonard Baskin also designed the book and chose 12-point Monotype Janson with two points of leading for the text. Printed at the Stinehour Press in Lunenburg, Vermont.

Bound at the Stinehour Press in gray-brown Curtis paper covered boards, with paper title labels on the front cover & spine. Housed in a gray-brown paper covered slipcase with a paper title label on the spine. LEC monthly letter is laid-in loose.

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Illustrated with six original etchings by Yuri Kuper, printed in Paris on Hahnemuhle paper by Aldo Crommelynck.

Elephant Folio, 20 inches tall x 16.5 inches wide. 84 pages. Bound by John von Isakovics in quarter grey Nigerian oasis goatskin leather, with hand-made paper covered boards. Board fore-edges are also leather. The hand-made paper covering the boards is the same as that used for printing the text. It was hand-made by incorporating minute pieces of cutup Russian newspapers in with the rags and cotton pulp, and then individual Cyrillic letters were floated on the mixture.

Housed in a grey linen-rayon cloth covered slipcase which is lined with ultrasuede. No LEC Letter.

The book is flawless. The box has a pinhead size spot at the upper left edge of the box's spine. No other flaws or wear noted to the book or to the slipcase. A beautiful, flawless FINE CONDITION book in a NEAR FINE CONDITION slipcase.

Illustrated with color woodcuts from three specially commissioned paintings by Balthus. Master Japanese blockmaker Keiji Shinohara prepared multicolor woodcut blocks from the paintings and printed the illustrations on handmade Kozo Uwazen paper. The three color woodcuts are tipped-in along one edge onto mounting pages.

Type composition in Lutetia was performed by Julia Ferri and Dan Carr at the Golgonooza Letter Foundry. Pages were printed at the Wild Carrot press. Quarter-bound by John von Isakovics in Nigerian goatskin and linen covered boards. Housed in a linen covered drop-spine box, which is lined with ultrasuede. The LEC Letter (publisher's notes for this volume) is laid-in loose, still in its original envelope.

Alice Neel (1900 - 1984) illustrated the book with two lithographs and one etching. The two lithographs were printed by The Water Street Press. The etching is a self-portrait of Alice Neel. Michelle French made the etching plate, and the etchings were pulled by Suzanne Williams, Maureen Kane and Michelle French. The two lithographs and the etching were printed on 100% cotton mould-made paper from the Cartiere Enrico Magnani mill in Pescia, Italy.

SIGNED by both Alice Neel and Raphael Soyer on the colophon page.

Folio. 15 3/8 x 11 3/8 inches. 32 pages. Printed by the Anthoensen Press. Designed by Ben Shiff and hand-set in monotype Dante by Michael and Winifred Bixler. Printed on Cartiere Enrico Magnani mould-made paper.

Bound by John Isakovics and Dennis Gouey with a red Nigerian goatskin covered spine. Extreme fore-edges of the boards are also covered with goatskin. The paper covering the boards was hand-marbled by Faith Harrison. Housed in a black cloth covered drop-spine box made by John Isakovics. The box has a red leather label on the front which is stamped with gilt titling. The bottom of the box is lined with dark red velvet, while the top of the box was purposely left unlined.

LEC prospectus/letter is laid-in loose.

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

The book was designed by Dann 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. Large Quarto, 12 1/4 inches x 8 1/4 inches in slipcase.

Bound in pale aqua Japanese linen by Kim O'Donnell at Garthegaat Bindery, with blindstamped artwork on the front board. Housed in a matching linen covered slipcase.

Illustrated with two full page original multi-color woodcuts from paintings by Balthus, one of which serves as the frontiespiece for the book. SIGNED by the artist on the colophon page.

The woodblocks were cut by the master Japanese blockmaker, Keiji Shinohara, who printed the woodcuts on handmade Kozo Uwazen paper. The volume measures 13 inches by 16 inches. The text was also printed on handmade paper. Bound by Carol Joyce with a red Nigerian goatskin spine and boards covered in beige linen.

This copy was issued to the original owner without a box during the special catalog offering of twenty-two recently published titles, which was held by the Limited Editions Club around 1998-2000.

Leopold Senghor (1906-2001) is a major poet, but he was also the first President (1960–1980) of the free and independent country, Senegal.

Illustrated by the famed Harlem Renaissance artist, Lois Mailou Jones (1905-1998) 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.

The book is SIGNED on the colophon by both the author, Isaac B Singer (1902 - 1991) and by the illustrator, Larry Rivers (1923 - 2002).

Illustrated by Larry Rivers with three color lithographs, one of which folds out. The artist drew the images directly onto 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 on the colophon page 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. The book was 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.

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

Slipcase is very slightly rubbed and very slightly soiled. Leather spine is a little faded. The top fore-edge corner of the textblock is lightly bumped (click for image).

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SIGNED on the colophon by Aaron Siskind (1903-1991), who illustrated the book with six photogravures. The gravures were printed using plates made from the original negatives by Paul Taylor in Hinsdale, New Hampshire. Clarie Nelson printed the gravures 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. Hand set by Dan Carr and Julia Farrari at the Golgonooza Letter Foundery in Ashuelot, New Hampshire. 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. LEC letter 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.

Slight wear at one corner of the slipcase. No other flaws or wear noted to book or slipcase. FINE CONDITION book in a NEAR FINE CONDITION slipcase.