William Wiley, Signed (26 results)

Hardcover. Condition: Very Good in Good+ dust jacket. Dust Jacket Condition: dj. Signed by editor Bell Irvin Wiley on ffep with additional inscription. Exlibrary marks. Sound binding and hinges. Clean, bright pages. Cloth over boards is clean except for small areas of adhesive tape residue. DJ slightly worn with label at lower spine, clear sleeve. Wood served in the Monticello Guard, Company A, 19th Virginia Regiment Confederate States of America. ; Ex-Library; 9.5" tall; 138 pages; Signed by Author. Signed.

Hardcover. Condition: Good+ in Good dust jacket. Dust Jacket Condition: dj. Signed by Bell Irvin Wiley on title page with additional inscription. Exlibrary marks. Sound binding and hinges. Clean, bright pages. Cloth over boards is clean except for small areas of adhesive tape residue. DJ clean with corner clipped and label at lower spine, clear sleeve. Texas line soldier's account of the Civil War. Ex-Library; 9.5" tall; 162 pages; Signed by Author. Signed.

Hardcover. Condition: Good+ in Good+ dust jacket. Dust Jacket Condition: dj. First Edition. First Edition. Signed by Bell Irvin Wiley, author of introduction, on title page. Exlibrary marks. Sound binding and hinges. Clean, off-white pages. Cloth over boards is clean except for small areas of adhesive tape residue. DJ has light edge wear with label at lower spine, clear sleeve. Poague served in the Army of Northern Virginia, CSA, 1861-1865. ; Ex-Library; 9.5" tall; 181 pages; Signed by Author. Signed.

Softcover. Condition: Near Very Good. Presumed first printing w/no additional printings listed, trade paperback exhibit catalog, inscribed by Wiley and dated 6/91 on the second leaf. The rear hinge is starting but remains firm, and the book has bumps with slight creasing to the spine ends and corners, light sun toning to the spine and cover edges, thin reading creases to the hinges, rubbing with mild edge wear to the covers, and a stray pen mark to the inside of the front cover. Overall, this is a solid, Near Very Good copy.

Hardcover. Condition: Very Good-. Dust Jacket Condition: Good. First Edition. 138 pp. Original brown cloth covers w/ gilt title on spine. Binding very bright and clean. SIGNED BY BELL IRVIN WILEY. Evidence of bookplate removed from front paste-down. DJ moderately soiled and rubbed w/ small chips missing from top edges. Approx. 1" wide x 1" long piece missing from top corner of front panel. Spine a bit sunned. Special Civil War Book Club Edition. Illust. w/ b/w plates. Contents nice. Signed by Editor/Photographer.

Hard Cover. Condition: VG++. Dust Jacket Condition: VG-. First Edition. 138 pgs., 6 1/4" x 9", Wheat hardcover with slightly faded gilt title etc. on spine, INSCRIBED, SIGNED & DATED by Bell I. Wiley,editor on front endpaper, green endpapers, content clean, bright & tight with b/w illus., DJ has light wear with a couple of light brown tape residue marks on top front cover near spine-still a nice front cover, small chip at top of rear cover. Signed by Editor.

William Wiley (illustrator). DESCRIPTION: Two volumes, quarto (4to) size, 10 3/8 x 7 inches. Vol. 1 576 pages, Vol. 2 632 pages. No. 94 of 400 copies. Bound in three-piece goatskin, tan covers with gilt DQ initials designed by William Wiley and dark brown spine with gilt lettering. Printed letterpress in Centaur type designed by Bruce Rogers on all-cotton fiber sheets specially commissioned for this project. Initial letters in color drawn by Mallette Dean for the Grabhorn Press. With 97 illustrations by William T. Wiley made as polymer plates from film, its emulsion scratched by the artist with an etching needle, the plates then printed letterpress. Housed in slipcases with brown paper over covers with tan cloth for top, bottom and spine. Both books protected with archival clear Grafix Dura Lar dust wrappers.______CONDITION: Both slipcases and books in fine ("as new") condition._____DISCUSSION: The raison d'être for this Arion Press edition was the publication of Edith Grossman's brilliant English translation in 2003, now widely considered to be the finest. The Arion Press edition is the only letterpress book with this translation. William Wiley's 97 illustrations make this a livre d'artiste edition as well. His illustrations are playful and appropriate capturing much of the humor and sardonic wit in Don Quixote._____NOTE: This is a bulky, heavy set and additional shipping charges will be necessary for domestic shipment. International shipping cost using USPS International Priority EXPRESS Mail with tracking to most locations in the United Kingdom and Europe is $80 U.S. dollars. Shipping cost to more distant locations may incur additional cost.

Spiral Bound. Condition: Fine. Original exhibition catalog. SIGNED. Slim octavo [25.5 cm] White plastic spiral binding with black wraps. A catalog accompanying the exhibition "William T. Wiley." Santa Barbara Contemporary Arts Forum, August 25 - September 26, 1982. Morgan Gallery, Shawnee Mission, KS, October 8 - November 6, 1982. University of Wisconsin-Eau Claire, Eau Claire, Wisconsin, November 16 - December 8, 1982. Signed by Wiley in pencil, with "Best Wishes," on the title page.

Paperback. Condition: Very good +. Original exhibition catalogue. Very slim oblong quarto [21 cm x 27 cm] Saddle-stitched illustrated wrappers, with mild age-toning to the wrappers. Signed by William T. Wiley in pencil on the title page. The artist writes, "Best wishes, Wm. T. Wiley, 1983.".

Soft cover. Condition: Good. WILLIAM T. WILEY (illustrator). 1st Edition. FIVE WILLIAM T. WILEY ART EXHIBITION CATALOGS, plus a Memorial Tribute pamphlet. TWO of the ART EXHIBITION CATALOGS are SIGNED & INSCRIBED by WILEY to his good friends MICHAEL and SANDRA GOOD. (The items come from the estate of MICHAEL and SANDRA GOOD. Sandra Good, a noted bookbinder, was a past President of the Hand Bookbinders of California. Michael Good was an antiquarian bookseller and a one time President of the ABAA.) The catalogs are in GOOD to VERY GOOD condition, the Robert Hudson / William Wiley catalog is scraped and worn at the spine, otherwise the items just show light signs of handling and age. The exhibition catalogs are: STRUCK! SURE? SOUND / UNSOUND. Wm. T. Wiley. The Corcoran Gallery of Art, Washington D.C., 1991. Softcovers, 7x11 inches, 44 pages. Illustrated. SIGNED & INSCRIBED by WILEY on the half-title page: "For Mike and Sandy / Love / Wiley / 91". ROBERT HUDSON: SCULPTURE / WILLIAM T. WILEY: PAINTING. Rose Art Museum, Brandeis University, Waltham, Massachusetts, 1991. Softcovers, 10x11 inches, 50 pages. Illustrated. SIGNED & INSCRIBED by WILEY on the front endpaper: "For the GOODS / With Love / Wiley / 91". WILLIAM T. WILEY - AFTERBURNER. Rena Branstein Gallery, San Francisco, 1994. Softcovers, 8.5x11 inches. Illustrated. 32 pages. STEAL THE WITNESS FOR THE TIME BEING. William T. Wiley. Fuller Goldeen Gallery, San Francisco, 1984. 8.5x11 inches. Illustrated. 31 pages. WILLIAM T. WILEY - SELECTIONS FROM TWO EXHIBITIONS. John Berggruen Gallery, San Francisco; Charles Cowles Gallery, New York. 2007. 10x10 inches. Illustrated. 72 pages. PLUS: A Celebration of the Life of William T. Wiley - San Geronimo Valley Community Center, July 17, 2021. Small, single fold pamphlet (4 pages), 5.5x8.5 inches. Signed by Illustrator(s).

Hardcover. Condition: Very Good. Dust Jacket Condition: No DJ as Issued. SIGNED, dated (1893) and personally inscribed by James Dredge to whom the book is dedicated. Date of publication not listed but late 19th Century imprint. Slight cocking to binding with wear to cover including small chip to spine head . Some dust soiling along edges of page block with some foxing on endpapers. Book remains in very good condition, tightly bound with unmarked contents. Signed by Author(s).

Condition: Good. 4to. Original wraps . 4to - 12 color plates; 8" wide x 10.75" tall; approx. 23 pages. One of 1500 copies of this catalogue. Saddle stitched. Presentation copy signed by Wiley.Tiny nicks at top.

Hard Cover. Condition: Very Good. Dust Jacket Condition: Very Good. Bissinger, Karl, Wiley, William T. (illustrator). First Edition. Fine Hardcover with paper slipcase sleeve Limited # 334 of 350 numbered copies Signed by the photographer Karl Bissinger, and the artist William Wiley (beneath the last mounted etching). Signed.

Hardcover. Condition: Fine. Hardcover. Number 156 of 350 numbered copies for sale and 26 lettered copies hors de commerce. Signed by Karl Bissinger under his photograph facing page 117 and signed by William Wiley on the mounted etching facing page 102. This elegant book compiled 29 photographs taken in Marrakech and vicinity by Bissinger in late 1949 while on assignment for a travel feature published by Flair magazine in February 1950. The six etchings by Wiley were made to illustrate scenes from this book. The book was designed and produced by Andrew Hoyem. It is bound in illustrated red paper covers with a black cloth spine. Printed on Mohawk Superfine paper for the text and photographs, Rives Lightweight for the etchings and Fabriano Ingres for the leaves mounted with the prints. The type is Goudy Old Style. Lacking the called for slipcase. In fine condition. Measures 8.25 x 11 inches. 123 pages plus colophon. PRI/111924. Signed.

hardcover. Condition: fine. William T. Wiley (illustrator). Limited. Photographs by Karl Bissinger; Mounted etchings by William T. Wiley. 123 pages. Slim 4to, black leather-backed pictorial boards. San Francisco: Arion Press, 2001. Limited Edition. Fine. No. 11 of 350 copies. Signed by Bissinger on page 117, and by Wiley on page 102.

Hardcover. Condition: Fine. Dust Jacket Condition: No Dust Jacket. Cloth-backed decorative boards, spine label, paper sleeve with flap. #97 of 350 numbered copies. Signed by Bissinger under the photo p. 116; signed by Wiley to the mounted etching p. 103. Six etched plates tipped in to leaves. One illustration on stiff paper laid in, which shows the whole scene of which the six etched plates show parts. Fine condition; the paper sleeve has a small tear mid spine, short tears at corners. ; quarto; Signed by Author.

Condition: Very Good. 2006. Hardcover. 67pp Illustrated. Large format. Edition limited to 300 copies, this is copy no. 214, signed by Wiley. Clean copy in illustrated quarter cloth with matching slipcase. Slipcase showing light wear to top edge. Small tear to front cover, else as new. . . . .

Leather. Condition: New. Wiley, William T. (illustrator). Limited Edition. Both volumes octavos, Book I with 576 pages and Book II with 632 pages; Book I with 42 prints and Book II with 55 prints. The type is Centaur roman and Arrighi italic, handset and in Monotype composition by Mackenzie & Harris. The size of the text type is 16 point, cast on a 14-point body, leaded two points, so that the effect is solid 16 point. The initial letters, a set of capitals intended for use with Centaur type, were drawn by Mallette Dean for the Grabhorn Press. For the prints, Wiley scratched the images onto negatives that were then directly exposed to make polymer plates that, when printed by letterpress, produce relief prints with the linear qualities of etchings. The type is printed in black, the initials in red-brown, and the illustrations in sepia. The paper is an all-cotton fiber sheet, especially made for this project by Mead Specialty Papers. The binding, done in-house, is hand-sewn, with hand-sewn linen headbands, a dark brown goatskin spine titled in gold, and tan goatskin sides, stamped in gold on the front board with a DQ monogram designed by Wiley. The slipcases have tan cloth edges, dark brown paper sides, and a dark brown paper label with titling in gold. Each Book issued in an edition of 400 numbered copies, plus 26 lettered copies hors de commerce, signed by the artist. When Edith Grossman's superb new English translation of Cervantes' novel was published in 2003, we immediately began to think about producing a fine edition of this masterpiece of world literature. Six years were to pass before we had an artist and the necessary permissions in place for one of the largest undertakings of Arion Press. The artist William T. Wiley was our choice, but he took some convincing, because he felt his pictorial work was too much in line with the satire of the knight and his squire. Finally he consented and produced ninety-seven prints for the two-volume set. Book I was produced in 2009 and Book II in 2010. Timing is everything. By the time the second volume was published, the Great Recession was in full swing. The large investment in paper, type-setting, printing, leather, and bookbinding was daunting. But we knew that this project was an important publication for Arion Press, so we pressed on. The project was satisfying; proofreading one of the most humorous books ever written was a joy. PLEASE NOTE: as of this writing, all of the bound copies have been sold. There are several copies remaining in sheets, which we are working on being bound in the same style as the original copies. If you would like to be placed on the waiting list for this title, once the newly-bound copies are available, please contact us. ___POSTAGE: International customers, please note that due to the size and weight of this set additional postage may apply; please contact us for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help.

Hardcover. Condition: New. William T. Wiley (illustrator). Large octavo, 11 by 8 inches, 124 pages, plus 12 unnumbered pages for the colored leaves to which the etchings are attached. The type is Goudy Old Style, printed by letterpress. The photographs appear on verso pages, the etchings on recto pages. The etchings are 9.25 by 6.25 inches. The paper for the text is Mohawk Superfine. The paper for the etchings is Rives Lightweight. The paper for the mounting of the etchings is Fabriano Ingres. The photographs were printed in duo-tone and four-color offset lithography. The edition is limited to 350 numbered copies for sale, signed by the artist and photographer. This is one of 50 copies of the edition for sale accompanied by the extra print. The etching by William T. Wiley, "Canetti in Marrakesh", is printed in two colors, black and red, on Rives Heavyweight paper. The size of the plate is 29.5 by 20.75 inches; the size of the paper is 38 by 27 inches. The intaglio plates were prepared and proofed by Timothy Berry of Teaberry Press in San Francisco and printed by Robert Townsend of R. E. Townsend Studio in Georgetown, Massachusetts. The edition is limited to 50 prints for sale, numbered and signed by the artist, each with a copy of the book, plus five artist's proofs and five publisher's proofs. The only work of travel writing by Elias Canetti, "The Voices of Marrakesh" was first published in German in 1968. It is a record of a visit to Morocco by the author best known for his sociological work, "Crowds and Power", an ambitious study of the roots of Fascism, and "Auto-da-Fé", a novel set in Vienna on the eve of World War II. Canetti won the Nobel Prize for Literature in 1981. He was born in 1905, in Bulgaria, lived in Zurich and Vienna as a young man, settled in England in 1938, and died in 1994. The "Voices of Marrakesh" became a classic of literary travel writing and redefined the genre. Canetti provides no historical overview of the city or the country. His description of places and things is vivid, yet economical to the point of minimalism. The events Canetti describes could have taken place 100 years ago or yesterday or tomorrow. Wiley began by making some small watercolors of incidents in "The Voices of Marrakesh", then a large preliminary drawing for an etching. He added an underlying map of the walled city of Marrakesh, which is printed in an earthy red, while the drawn images are printed in black. For the book, the etching is partitioned into six pieces, each segment illustrating a story told by Canetti. Karl Bissinger took the photographs that appear in "The Voices of Marrakesh" while on assignment for Flair magazine in 1949, for a travel piece on Morocco that was published in 1950. Of the pictures taken by Bissinger in Marrakesh and vicinity a selection of 29 photographs was made for this book, 28 in black and white, appearing on every fourth page in the text, and one, as the frontispiece, in color. ___POSTAGE: Please note that due to the size of the extra print additional postage will apply; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help.

Limited editions. Hardcovers. 576 and 632 pages. The 86th and 89th publications from Arion Press. Both books are number 53 from an edition of 400 copies with Centaur roman and Arrighi italic type and done on an all cotton fiber paper done by Mead Specialty Papers. Features Edith Grossman's translation of de Cervantes novel. Includes a total of 97 illustrations by William T. Wiley between the two books. Both books are fine copies with cloth boards and goatskin spines and housed in near fine slipcases with some very slight soiling. Each book is signed by Wiley on the limitation page. An attractive edition of this classic. Please note that this is a heavy and oversized book and will require extra shipping. Signed.

Hardcover. Condition: Fine. Hardcover. Number 286 of 300 numbered copies for sale with 26 lettered copies for complimentary distribution. Signed by William T. Wiley on the colophon. This exuberant and mordantly witty edition of this book was published on the hundredth anniversary of Beckett's most famous work. William T. Wiley (1937 - 2021) was an influential artist and educator who helped found the funk art movement and establish the San Francisco Bay Area art scene as an unfiltered alternative to what he saw as the flagrant commercialism of New York, The funk art movement took its name from "Funk," a seminal exhibition organized by the curator Peter Selz in Berkeley in 1967. It included, among others, Mr. Wiley, the painter Joan Brown, the sculptor Robert Hudson and the ceramist Robert Arneson. None, it seemed, could ever fully agree on what funk art was, only on what it was not [from the NYT obituary of Wiley] For this Arion Press publication, Wiley made fifty-two cartoon-like drawings. In his program note, Hoyem writes that the audience should remember that this is not the play Godot. It is a book about the play with a critic's appreciation and an artist's comments. It is an artist's book by Wiley inspired by Waiting for Godot. The synopsis is only a guide. This book was designed by Andrew Hoyem, who provided the program note that appears before the curtain rises, and a synopsis that runs in five-line segments beneath the Wiley illustrations. The binding of the book and its slipcase have yellow paper sides and blue cloth spines and labels, imprinted with the titling and images by Wiley. Printed on mouldmade Hahnemüle paper using Century Expanded type. The wordplay on the slipcase includes the palindrome "To Dog Godot" and is surrounded by a field of Irish potatoes. [from the accompanying prospectus] This Arion Press edition was provided for free to purchasers of the bilingual Grove Press edition of Waiting for Godot. It is present here. In fine condition. Measures 10 x 15 inches. 68 pages. PRI/112524. Signed.

A complete copy, comprising: Sixteen 10.5 x 12 inch etchings by William T. Wiley and sixteen poems by Michael Hannon. Sheets unbound, and with tissue guards, laid loose as issued in two green cloth clamshell portfolios with recessed, tipped-in etching. ONE OF 20 COPIES, this is copy number 1. "The design for the book was done in collaboration with the artists. Debbie Smith set the type by computer. Owasso Graphic Arts etched the type-high plates which were printed on a Vandercook 2832 letterpress by Hoopsnake Press. William Wiley made his drawings on copper plates which were etched by Tim Bell. Additional drawings and alterations were done on photo-sensitive plates. All of the edition printing and etchings was done by master printer Paul Wenzel at Flying Horse Editions. The boxes are linen over board with a Lana paper liner. These were designed and constructed by Larry Cooper to fit the printed folios. Each book is numbered and signed by the poet and the artist on the colophon page." Scarce: WorldCat/OCLC locates only one copy, at the University of Central Florida. A fine set.

ARION PRESS; WILEY, William T. (illustrator). One of 300 Numbered Copies, Signed by the Artist [ARION PRESS]. WILEY, William T.,[artist]. Godot. An Imaginary Staging by William T. Wiley of Waiting for Godot by Samuel Beckett San Francisco: The Arion Press, 2006. Limited to 300 numbered copies, this being number 168. Signed by the artist on the colophon. Folio (15 x 10 inches; 381 x 255 mm). 68 pp. With fifty color illustrations by Wiley in black, blue and yellow, and two black and while illustrations including a frontispiece portrait and a tailpiece. Publisher's quarter blue cloth over printed pictorial yellow paper boards. Yellow paper spine label, lettered in black. Housed in a cloth and paper pictorial slipcase. Mint. With prospectus laid in. "This book is published in 2006 in honor of the hundredth anniversary of the birth of Samuel Beckett. It is not the play Waiting for Godot. It is a book about the play: a critic's appreciation, a synopsis of the drama, and artist's comments, and fifty color prints inspired by the play. There are two other prints, in black only: a frontispiece portrait of the playwright and an explosive tailpiece." (From the Prospectus). HBS 65447. $850. Signed.

Unbound. Condition: Fine. Ink and watercolor on paper. Image measures approximately 5½" x 4" on 8½" x 11" paper, held in a 12" x 13" mat using photo corners (i.e. easily removable). Fine with tiniest bit of creasing to the paper. Signed "Wiley 2006" beneath the image. An image of two figures, similar to Wiley's "Buster Time" but without wings, in cowboy garb; each wears one boot, one wears a hat and the other holds their hat in their hands. Behind them is a setting sun, a tree, and a suitcase with the initials "MBA" ("MSA?"). Wiley is an important American artist; he had is first solo show at the San Francisco Museum of Modern Art in 1960, and in 2009 the Smithsonian American Art Museum held the exhibition "What's It All Mean: William T. Wiley in Retrospect." Wiley died in 2021.

Portfolio. Condition: Fine. Limited edition. Limited edition. Portfolio. Eleven folios printed on Lana Cover Paper enclosed in a green linen box with recessed, tipped-in etching on the front. There are six , 10.5" x 12" etchings by William T. Wiley and sixteen poems by Michael Hannon. Limited to 20 deluxe editions printed and bound for Flying Horse Editions. This is #10. "The design for the book was done in collaboration with the artists. Debbie Smith set the type by computer. Owasso Graphic Arts etched the type-high plates which were printed on a Vandercook 2832 letterpress by Hoopsnake Press. William Wiley made his drawings on copper plates which were etched by Tim Bell. Additional drawings and alterations were done on photo-sensitive plates. All of the edition printing and etchings was done by master printer Paul Wenzel at Flying Horse Editions. The boxes are linen over board with a Lana paper liner. These were designed and constructed by Larry Cooper to fit the printed folios. Each book is numbered and signed by the poet and the artist on the colophon page.".

Framed, inside dimension 13-1/2 x 9-3/4 inches. Text "Scrappy Tale" in ink, beneath a drawing, signed and dated, and alternatively titled "Justwo a muse me".