Printers' Proofs, First Edition (14 results)

Hardcover. Condition: Fine Condition. Dust Jacket Condition: fine. First Edition. Clear acetate jacket, glossary in pocket at rear. Size: Quarto (4to). Quantity Available: 1. Shipped Weight: Under 1 kilo. Category: Photography; ISBN: 0300233035. ISBN/EAN: 9780300233032. Inventory No: 047325.

Softcover/Paperback. Condition: Very Good. de Kooning, Willem (illustrator). First Edition. Very good condition catalog from the 1991-92 exhibits organized by Salender-O'Reilly Galleries. Interior very tight and unread. Exterior shows shelfwear including compressed spine, and finger smudges over bright yellow cover.

Saddle-stapled wraps. Condition: Very Good. First Edition. 12mo - over 6¾" - 7¾" tall. Signed and inscribed by author. Poems inspired by printing and other themes. Text opens with an anecdotae of Walt Whitman, passed along to Covington by an old printer who had known Whitman. Exceptionally scarce (Worldcat records only a single copy). Textured cream printed wraps (minor darkening and wear).

Soft cover. Condition: Fine. 1st Edition. Blue patterned wrappers, printed paper spine-label. Edition limited to 110 numbered copies. With printer's corrected page proofs of the same, 39 leaves, printed rectos only, three copies of the title-page (on two different papers), all other pages present except title-page verso (copyright page) and limitation page, with Alan Anderson's manuscript corrections on three pages, Gissing's text paginated in pencil only. The author started on "A Freak of Nature" in 1894, completing it in 1895 for a new periodical, The London Magazine, but waited until 1899 to see it published in the new Harmsworth Monthly Pictorial Magazine - as "Mr. Brogden, City Clerk". Pierre Coustillas, in reproducing Gissing's manuscript text, argues that the changes introduced by the Harmsworth Monthly Pictorial amounted to "an artistic betrayal of the original".

Hardcover. Condition: As New. 1st Edition. First edition, first printing. Hardcover. Photographically illustrated laminated paper-covered boards, no dust jacket as issued. Photographs and text by Bill Burke. Unpaginated with numerous four-color and black and white plates, designed by Burke (who also made the duotone and halftone separations) while in residency at Nexus Press in 1987. 15-1/4 x 11-1/2 inches. This first edition was limited to 1000 hardbound copies. Also includes a selection of unbound offset printed proof sheets made while Burke was on Press at Nexus in 1983 producing the book. [Cited in Andrew Roth, ed., The Book of 101 Books: Seminal Photographic Books of the Twentieth Century. (New York: PPP Editions in association with Roth Horowitz LLC, 2001), in Andrew Roth, ed., The Open Book. (Göteborg, Sweden: Hasselblad Center in association with Steidl Verlag, Göttingen, Germany, 2004), and in Martin Parr and Gerry Badger, The Photobook: A History, Volume II. (London and New York: Phaidon, 2006).] Out of print. Extremely scarce. As New. A Mint copy. Since the early 1980s, Bill Burke has photographed extensively in Southeast Asia, focusing primarily in Cambodia, Laos and Vietnam. Burke's haunting and layered examination of the landscape and people is informed by the collective political and social conscience galvanized by the United States' lengthy occupation and annihilation of these regions before, during, and after the Vietnam War. His lifelong desire to connect personally and viscerally to the people he meets sets his work in an altogether separate category from most artists who photograph outside their circumscribed "experience." Neither overtly political nor proscriptive, Burke's work instead recognizes the personal is indeed political. Gone are the cultural stereotypes we have long seen in images of Southeast Asia. Instead we are able to experience the intensity of the individual through Bill Burke's idiosyncratic and careful observation. He obliterates the notion that the "documentary photograph" is a vehicle for "truth" and compellingly shows the viewer that it is always a form of personal or political propaganda. 'I Want to Take Picture' (originally published by Nexus Press in 1987) is a combination artist book and 'travelogue.' It is considered by many to be one of the very best, disturbing and important books in the history of photography. From Bill Burke (1987): "Each day, I was thinking about practicality, is my pass in order, how do I get there, who do I meet that will get me through. The philosophical thoughts came later. When I realized that I had access to the camps and could see the Khmer Rouge, it was like being able to see the Devil. It seamed to be an incredible opportunity." From an interview with Bill Burke by Willis Hartshorn (New York City, June 1987): "Hartshorn: 'Do you find it problematic that in a politically savage environment your pictures are often ambiguous as to who's good and who's bad?' Burke: 'I have no problem with ambiguity. Again, all the information is filtered, everything I know about it is secondhand. I know what the refugees at the border say and what books say. I heard how bad the Khmer Rouge were, and then as I read more I found out the other people had been bad too. The people who were victims at one time were victimizing others at another time. There are two sides, the information is slanted, and it's good that people understand that. . . I would like things to be spelled out clearly so I wouldn't have to think about it. But that's not the way it is. I can't say this is this and that is that. There is no indisputable truth.'".

Hardcover. Condition: As New. 1st Edition. First edition, first printing. Signed with drawing (of Burke's left hand with notations) in ink by Burke verso the front free endpaper. Includes an original gelatin silver print of "I Want To Take Picture, Site 8, 1986" (image size 9 x 13-1/2 inches' paper size 11 x 14 inches), which is reproduced on the cover of the book. The print is stamped and signed on verso by Burke, and is in an unnumbered edition of 100. Also includes a "Certificate of Authenticity" printed on Lao Aviation stationary, signed and stamped Burke (scan of this unique ephemera provided upon request). Also includes a near-complete set of unbound printer's proofs made while Burke was on Press at Nexus in 1983 producing the book. Hardcover. Photographically illustrated laminated paper-covered boards, no dust jacket as issued. Photographs and text by Bill Burke. Unpaginated with numerous four-color and black and white plates, designed by Burke (who also made the duotone and halftone separations) while in residency at Nexus Press in 1987. 15-1/4 x 11-1/2 inches. This first edition was limited to 1000 hardbound copies. [Cited in Andrew Roth, ed., The Book of 101 Books: Seminal Photographic Books of the Twentieth Century. (New York: PPP Editions in association with Roth Horowitz LLC, 2001), in Andrew Roth, ed., The Open Book. (Göteborg, Sweden: Hasselblad Center in association with Steidl Verlag, Göttingen, Germany, 2004), and in Martin Parr and Gerry Badger, The Photobook: A History, Volume II. (London and New York: Phaidon, 2006).] Out of print. Extremely scarce. As New, a rare Mint signed copy of the book (book and print are flawless, from the artist's archive). Since the early 1980s, Bill Burke has photographed extensively in Southeast Asia, focusing primarily in Cambodia, Laos and Vietnam. Burke's haunting and layered examination of the landscape and people is informed by the collective political and social conscience galvanized by the United States' lengthy occupation and annihilation of these regions before, during, and after the Vietnam War. His lifelong desire to connect personally and viscerally to the people he meets sets his work in an altogether separate category from most artists who photograph outside their circumscribed "experience." Neither overtly political nor proscriptive, Burke's work instead recognizes the personal is indeed political. Gone are the cultural stereotypes we have long seen in images of Southeast Asia. Instead we are able to experience the intensity of the individual through Bill Burke's idiosyncratic and careful observation. He obliterates the notion that the "documentary photograph" is a vehicle for "truth" and compellingly shows the viewer that it is always a form of personal or political propaganda. 'I Want to Take Picture' (originally published by Nexus Press in 1987) is a combination artist book and 'travelogue.' It is considered by many to be one of the very best, disturbing and important books in the history of photography. From Bill Burke (1987): "Each day, I was thinking about practicality, is my pass in order, how do I get there, who do I meet that will get me through. The philosophical thoughts came later. When I realized that I had access to the camps and could see the Khmer Rouge, it was like being able to see the Devil. It seamed to be an incredible opportunity." From an interview with Bill Burke by Willis Hartshorn (New York City, June 1987): "Hartshorn: 'Do you find it problematic that in a politically savage environment your pictures are often ambiguous as to who's good and who's bad?' Burke: 'I have no problem with ambiguity. Again, all the information is filtered, everything I know about it is secondhand. I know what the refugees at the border say and what books say. I heard how bad the Khmer Rouge were, and then as I read more I found out the other people had been bad too. The people who were victims at one time were victimizing others at another time. There are two sides, the information is slanted, and it's good that people understand that. . . I would like things to be spelled out clearly so I wouldn't have to think about it. But that's not the way it is. I can't say this is this and that is that. There is no indisputable truth.'" Signed by Author.

Hardcover. Condition: Near Fine. 1st Edition. First edition, first printing. Signed in black ink with outline-drawing (of Burke's left hand with notation "Left") in silver marker by Burke verso the front free endpaper (with Burke's "ACTUAL SIGNATURE" stamp in black). Includes a "Certificate of Authenticity" printed on Lao Aviation stationary, signed and stamped Burke (scan of this unique ephemera provided upon request). Also includes a selection of unbound offset printed proof sheets made while Burke was on Press at Nexus in 1983 producing the book. Hardcover. Photographically illustrated laminated paper-covered boards, no dust jacket as issued. Photographs and text by Bill Burke. Unpaginated with numerous four-color and black and white plates, designed by Burke (who also made the duotone and halftone separations) while in residency at Nexus Press in 1987. 15-1/4 x 11-1/2 inches. This first edition was limited to 1000 hardbound copies. [Cited in Andrew Roth, ed., The Book of 101 Books: Seminal Photographic Books of the Twentieth Century. (New York: PPP Editions in association with Roth Horowitz LLC, 2001), in Andrew Roth, ed., The Open Book. (Göteborg, Sweden: Hasselblad Center in association with Steidl Verlag, Göttingen, Germany, 2004), and in Martin Parr and Gerry Badger, The Photobook: A History, Volume II. (London and New York: Phaidon, 2006).] Out of print. Extremely scarce. Near Fine (slight shelf wear to covers, else Fine). Since the early 1980s, Bill Burke has photographed extensively in Southeast Asia, focusing primarily in Cambodia, Laos and Vietnam. Burke's haunting and layered examination of the landscape and people is informed by the collective political and social conscience galvanized by the United States' lengthy occupation and annihilation of these regions before, during, and after the Vietnam War. His lifelong desire to connect personally and viscerally to the people he meets sets his work in an altogether separate category from most artists who photograph outside their circumscribed "experience." Neither overtly political nor proscriptive, Burke's work instead recognizes the personal is indeed political. Gone are the cultural stereotypes we have long seen in images of Southeast Asia. Instead we are able to experience the intensity of the individual through Bill Burke's idiosyncratic and careful observation. He obliterates the notion that the "documentary photograph" is a vehicle for "truth" and compellingly shows the viewer that it is always a form of personal or political propaganda. 'I Want to Take Picture' (originally published by Nexus Press in 1987) is a combination artist book and 'travelogue.' It is considered by many to be one of the very best, disturbing and important books in the history of photography. From Bill Burke (1987): "Each day, I was thinking about practicality, is my pass in order, how do I get there, who do I meet that will get me through. The philosophical thoughts came later. When I realized that I had access to the camps and could see the Khmer Rouge, it was like being able to see the Devil. It seamed to be an incredible opportunity." From an interview with Bill Burke by Willis Hartshorn (New York City, June 1987): "Hartshorn: 'Do you find it problematic that in a politically savage environment your pictures are often ambiguous as to who's good and who's bad?' Burke: 'I have no problem with ambiguity. Again, all the information is filtered, everything I know about it is secondhand. I know what the refugees at the border say and what books say. I heard how bad the Khmer Rouge were, and then as I read more I found out the other people had been bad too. The people who were victims at one time were victimizing others at another time. There are two sides, the information is slanted, and it's good that people understand that. . . I would like things to be spelled out clearly so I wouldn't have to think about it. But that's not the way it is. I can't say this is this and that is that. There is no indisputable truth.'" Signed by Author.

Hardcover. Condition: As New. 1st Edition. First edition, first printing. Signed in black ink with outline-drawing (of Burke's left hand with notation "Left") in silver marker by Burke verso the front free endpaper (with Burke's "ACTUAL SIGNATURE" stamp in black). Includes a "Certificate of Authenticity" printed on Lao Aviation stationary, signed and stamped Burke (scan of this unique ephemera provided upon request). Also includes a selection of unbound offset printed proof sheets made while Burke was on Press at Nexus in 1983 producing the book. Hardcover. Photographically illustrated laminated paper-covered boards, no dust jacket as issued. Photographs and text by Bill Burke. Unpaginated with numerous four-color and black and white plates, designed by Burke (who also made the duotone and halftone separations) while in residency at Nexus Press in 1987. 15-1/4 x 11-1/2 inches. This first edition was limited to 1000 hardbound copies. [Cited in Andrew Roth, ed., The Book of 101 Books: Seminal Photographic Books of the Twentieth Century. (New York: PPP Editions in association with Roth Horowitz LLC, 2001), in Andrew Roth, ed., The Open Book. (Göteborg, Sweden: Hasselblad Center in association with Steidl Verlag, Göttingen, Germany, 2004), and in Martin Parr and Gerry Badger, The Photobook: A History, Volume II. (London and New York: Phaidon, 2006).] Out of print. Extremely scarce. As New. A rare flawless copy (from the artist's archive; opened only for signature). Since the early 1980s, Bill Burke has photographed extensively in Southeast Asia, focusing primarily in Cambodia, Laos and Vietnam. Burke's haunting and layered examination of the landscape and people is informed by the collective political and social conscience galvanized by the United States' lengthy occupation and annihilation of these regions before, during, and after the Vietnam War. His lifelong desire to connect personally and viscerally to the people he meets sets his work in an altogether separate category from most artists who photograph outside their circumscribed "experience." Neither overtly political nor proscriptive, Burke's work instead recognizes the personal is indeed political. Gone are the cultural stereotypes we have long seen in images of Southeast Asia. Instead we are able to experience the intensity of the individual through Bill Burke's idiosyncratic and careful observation. He obliterates the notion that the "documentary photograph" is a vehicle for "truth" and compellingly shows the viewer that it is always a form of personal or political propaganda. 'I Want to Take Picture' (originally published by Nexus Press in 1987) is a combination artist book and 'travelogue.' It is considered by many to be one of the very best, disturbing and important books in the history of photography. From Bill Burke (1987): "Each day, I was thinking about practicality, is my pass in order, how do I get there, who do I meet that will get me through. The philosophical thoughts came later. When I realized that I had access to the camps and could see the Khmer Rouge, it was like being able to see the Devil. It seamed to be an incredible opportunity." From an interview with Bill Burke by Willis Hartshorn (New York City, June 1987): "Hartshorn: 'Do you find it problematic that in a politically savage environment your pictures are often ambiguous as to who's good and who's bad?' Burke: 'I have no problem with ambiguity. Again, all the information is filtered, everything I know about it is secondhand. I know what the refugees at the border say and what books say. I heard how bad the Khmer Rouge were, and then as I read more I found out the other people had been bad too. The people who were victims at one time were victimizing others at another time. There are two sides, the information is slanted, and it's good that people understand that. . . I would like things to be spelled out clearly so I wouldn't have to think about it. But that's not the way it is. I can't say this is this and that is that. There is no indisputable truth.'" Signed by Author.

Soft cover. Condition: Fine. 1st Edition. Café-au-lait wrappers, printed paper label. Edition limited to 110 numbered copies, this copy with the printer's page proofs, 33 leaves, printed rectos only, all pages present except half-title, title-page verso (copyright page) and limitation page; three pages bearing Alan Anderson's careful manuscript corrections.

Soft cover. Condition: Fine. 1st Edition. Pale green wrappers. Edition limited to 135 numbered copies. With the printer's page proofs, 28 leaves, printed rectos only, all present except title-page verso (copyright page) and limitation page, six pages with Alan Anderson's manuscript corrections; in blue card wrapper hand-titled by him and inscribed "Proof sheets". Lecture delivered at London University, 25 February 1984. "Such an extremity of pessimism [in Nineteen Eighty-Four] suggests some weaknesses of the book," writes Symons. "'I ballsed it up rather, partly owing to being so ill while I was writing it, but I think some of the ideas in it might interest you,' he wrote to me shortly before publication . . . It's the intensity with which Orwell felt that gives the book its terrible grandeur. So far from being ballsed up because he was so ill, it would be nearer the truth to say that the awful vision of a hopeless world could only have been produced by a sick man.".

Soft cover. Condition: Fine. 1st Edition. Green wrappers, printed paper label. Edition limited to 125 numbered copies. Together with the printer's corrected proofs, 33 leaves, printed rectos only (lacking only half-title, title-page verso/copyright page, p. 34), with Alan Anderson's manuscript corrections on the title-page, pp. 9, 10, 11, 15, 17, 19, 20 and 22. Printed from an unpublished manuscript of 1909-10. "My friend would be content with nothing but a day s rough shooting . . .".

Condition: Near fine overall. Four printer's color proof sheets for Berta and Elmer Hader's THE RUNAWAYS, an engaging example of how a picture book comes together for publication. These four proofs represent the cover and first gatherings of THE RUNAWAYS. The lively illustrations reveal a sense of the plot: a bulldozer forces animals (including opossums, skunks, raccoons, and a variety of birds) to flee their forest home and seek shelter on a farm. Many of the Haders' books in this period featured conservationist themes and were often based in the scenery around their little stone house on Willow Hill, which was just outside New York City. These proofs demonstrate an important part of the editing process: the review and reorganization of illustrations. These textless sheets place an emphasis on the illustrations, allowing the Haders to give feedback on their color and print quality. Comparing the changes across the four sheets is a thought-provoking bibliographical exercise, allowing a peek into the Haders' and the publisher's book-making processes. 23'' x 35'' (unrolled). Four rolled sheets of color illustrations, two copies of each layout. Two sheets stamped in margin "JUN 5 1956," two stamped in margin "JUN 6 1956." With loose note in pencil "The Runaways / 2 perfect proofs / 2 cut proofs" likely in one of the Haders' handwriting. Two proofs with sections neatly excised as part of the editing process. Sheets with a touch of edgewear; one with mild toning to one end. Bright.

Three original printer's proofs for the first Back Bay edition in 1997, preceded by the first edition published by Pushcart Press in 1992. One cover design dated 2/27/97, the other dated 3/4/97. All designs with manuscript ink and pencil annotations regarding cropping. The author's first book, a coming-of-age novel following a group of friends in suburban New Jersey. Two proofs 13.5 x 10.5 inches, one approximately 5.5 x 8.5 inches. Generally Very Good plus overall.

Broadside. 10.5" x 7.25". Broadside. 10 proofs. A wonderful group of proofsheets printed in Sabon Antiqua on Plover Fineweave paper with an illustration of the Hamady farm at the head. Some have editorial marks in red, one has the "Printer's Devil" header affixed. Variation among the proofs include header and body text color and placement. All in a manilla envelope with "Proofs: Laura's Birth Announcement" in ink in Hamady's hand. A fascinating look into the design process of Hamady and this accentuated by the nature of the deeply personal subject matter. If ever a printer wanted to "get it right," it would be here. This is remarkable set of proofsheets for their insights in the personal and artistic life of an important American printer. Not in Two Decades of Hamady & the Perishable Press.