Omaha: Abattoir Editions, University of Nebraska, 1982. Edition limited to 150 copies (this, no. 99), 4to, pp. 38, ; text in double column; 2 wood engravings by McCurdy; original brown paper wrappers, wrap-around label on spine and upper cover; fine. Printed by Harry Duncan on Japanese etching paper.
Selections from the Campbell-Logan Bindery Collection, Pt. 1
The eminent and prolific bookbinder Gregor Campbell, Campbell-Logan Bindery, was my landlord for nearly five years, 1984-1989, and he remains a fast friend today. Back then I was adrift, having just come off a divorce, but the stars were aligned as Greg had a large loft for rent in his bindery warehouse in downtown Minneapolis. I moved in on the fourth floor and brought my business along with me. Some of my older readers will remember the space, and how suitable it was for a young bookseller at the time. The building, at 212 N. Second St., a.k.a. the Inkunabula Arts Building, was sold this year, prompting our purchase of Greg’s library, and cataloguing the books this past spring and summer brought back many unexpected and happy memories. Much of this story is recounted in the 2017 issue of Matrix so I won’t rehash too much of it here.
An astonishing whirlpool of bookish talent swirled around 212 for as long as Greg owned the building. Gerry Lange of the Bieler Press lived across the hall from me, and his apprentice Emily Mason, later Emily Mason Strayer of the Kutenai Press was often on the premises. Steve Clay of Granary Books had space on three before his removal to Manhattan. Michael Tarachow of the Pentagram Press also had space on three, and when he moved out Phil Gallo, the Hermetic Press, moved his equipment in, and later became a tenant himself on four. The printmaker and book artist Dave Rathman also lived there for a few years, as did the illustrator Randy Scholes. Amanda Degener and Bridgett O’Malley set up Cave Paper in the basement. Many others were in and out: Gaylord Schanilec, Chip Schilling, Emerson Wulling, the bookseller Steve Anderson, the printer Les Metz, the binder Jill Jevne, the publisher Jim Thueson, the type founder Norm Fritzberg, and so on, seemingly ad infinitum. Many of these names and their work appear in the pages that follow.
Among Greg’s many customers were Henry Morris at Bird & Bull, Harry Duncan at Abattoir and Cummington, and Neil Shaver at Yellow Barn, not to mention the myriad aforesaid local crowd, those with Ampersand Club and/or Minnesota Center for Book Arts credentials. Greg also counted Paul Hayden Duensing, Carol Blinn, W. Thomas Taylor, Leonard Bahr, Robin Price, and John DePol among his friends, and consequently this catalogue contains much of their work as well. Many items have a special and warm association connected to them.
A number of the limited editions herein have necessarily been described as “out of series” — meaning, of course, that the specific copy falls outside the numbering sequence. Out of series does not mean the books are defective, or unsigned necessarily; in those cases we’ve made the shortcomings known. And even if a particular book is described as being out of series it is often identified as a “binder’s copy” or “binder’s proof,” or some such marking indicating its uniqueness in the edition. Many others bear personal inscriptions within.
And, as this is a bookbinder’s library with a smattering of artist books, I will add as a final note that I have long thought the terms “design binding” and “designer binding” sell short the multitalented craftspeople who make them. There’s much more than “design” to the work these artists do, so I have adopted instead the term “artist binding” — the notion being that “artist” better completes the term in a manner appropriate to what’s being created. I’m sure that I’m not about to change the current parlance with this short proposition, but there it is: artist binders create artist bindings. Who’s to say no? Surely not the makers of artist books.
Omaha: Abattoir Editions, University of Nebraska, 1983. Edition limited to 290 copies (this, no. 73), large 8vo, pp. ; printed in red and black; fine in original burnt orange paper wrappers, printed paper label on upper cover; stitched in the Oriental style; fine. Printed by Harry Duncan from Joanna and Perpetua types on Goyu paper.
Omaha: Abattoir Editions & the Cummington Press, University of Nebraska, 1974. First edition limited to 430 copies, square 4to, pp. ; 8 drawings by Mall; original tan cloth, illustrated paper label on upper cover; fine. Printed by Harry Duncan, with Robert Fritzmeier and Nicholas Wees on Ragston paper.
Harper Woods: Adagio Press, . Edition limited to "approximately" 300 copies signed by Bahr (this, no. 46); 8vo, pp. ; printed in ochre and black; original ochre printed wrappers, publisher's printed mailing envelope with this title on the address panel; fine. Original prospectus laid in. A printer's thoughts on various aspects of his craft. This is Emerson Wulling's copy with notes by him on this pamphlet (not flattering) laid in. Not in Lundeen.
Harper Woods, Michigan: Adagio Press, [1976-79]. Editions limited to approximately 325 copies each (these nos. 286 and 219 respectively), signed by Bahr, 2 volumes, 8vo, pp. 15, ; , 31-60; fine in original printed blue paper wrappers and printer's mailing envelope with respective titles printed on the address panels. Original prospectuses laid into each. Experimenta in a variety of colors and fonts.
Harper Woods: Adagio Press, 1963-65. Limited to 96 sets, printed octavo envelope (slightly worn) containing 1) An introduction to the Adagio Press, 1/475, 1963; 2) A Tribute to Anton Bohm and his Work at the Sans Souci Press, 1/275, 1964; 3) The Spirit of Liberty: an Address by Judge Learned Hand, 1/375, 1964; 4) Tribute, as if from a Dead Author, n.d.; 5) The Spring of the Year, by Samuel Johnson, 1/157. 1965; 6) Interpretations & Insinuations, or the Image of the Adagio Press as seen Graphically by its Friends, 1965; plus Leonard Bahr's business card signed by him on the verso. All 8vo or smaller, all fine or better in original printed wrappers. Lundeen 15.
Harper Woods, MI: Adagio Press, 1982. Edition limited to approximately 200 copies signed by Bahr (this, no. 16), 8vo, pp. ; printed in red, black and blue; fine copy in original brown printed wrappers, publisher's mailing envelope with this title printed on the address panel. Original prospectus laid in.
Harper Woods, Mich. Adagio Press, 1969. Edition limited to approximately 329 copies printed by Leonard F. Bahr, this one of 242 with the two tipped-in Doves Press leaves on ordinary paper; folio, 54pp., mounted photograph of Walker and Cobden-Sanderson laid in, as issued, printed in red, blue and black throughout. Fine copy in original vellum-backed paper-covered boards. The best and most important work of the press. This is copy 246, with a warm inscription by the printer and proprietor of the Adagio Press on the colophon "For Greg Campbell, who knows how to 'finish' a good book, with warm regards, Leonard F. Bahr, May 28, 1985." This copy also with the original invoice from Adagio to Greg Campbell, Campbell-Logan Bindery laid in. Accompanied by: [Adagio Press.] A letter from Stella: an epilogue to the publication of C-S The Master Craftsman, Harper Woods, 1971. Edition limited to 432 copies, this is copy no. LXI, 8vo, pp. ; fine in original brown paper wrappers, and with the publisher's slip laid in, as issued. Stella Cobden-Sanderson's letter of appreciation on receiving C-S The Master Craftsman. Lundeen 22.
[Detroit]: Book Club of Detroit, 1959. Edition limited to "approximately" 260 copies signed by Strouse and printed at the Adagio Press by Leonard H. Bahr, and with a presentation by Bahr himself on the colophon: With kind regards to Fred Bott, Leonard F. Bahr 12/9/59." Thin 8vo, pp. ix, , 38, ; printed in blue and black; errata slip tipped in at p. 9; fine in a fine dust jacket. With an introduction by Ben Donaldson and a bibliography of 21 items "from the library of Norman H. Strouse not to be duplicated by the Morgan Library." Lundeen 2.
[Detroit]: Book Club of Detroit, 1959. Edition limited to "approximately" 260 copies signed by Strouse and printed at the Adagio Press by Leonard H. Bahr; Thin 8vo, pp. ix, , 38, ; printed in blue and black; errata slip tipped in at p. 9; fine in original black cloth-backed paper-covered boards, printed paper label on spine; dust jacket not preserved. With an introduction by Ben Donaldson and a bibliography of 21 items "from the library of Norman H. Strouse not to be duplicated by the Morgan Library." Lundeen 2.
Decatur, GA: Wisteria Press, 1997. Edition limited to 297 copies signed by the author and illustrator; this, the bookbinder Greg Campbell's copy, Campbell-Logan Bindery and out-of-series; 8vo, pp. , 40, ; frontispiece and full-page text illustration by Barry Moser; bound in a lap case style binding using black and white Iris cloth; fine. Designed by Dwight Agner (The Press of the Nightowl) and printed by Michael and Winifred Bixler.
Decatur, GA: Wisteria Press, 1997. First edition, limited to 297 copies signed by Brown and Moser, this copy out-of-series but marked on the colophon in a nice calligraphic hand: "Dwight Agner's copy," and one of the special lettered edition, approx. 8.75" x 6.5", pp. , 40, ; frontispiece and full-page text illustration by Barry Moser; full original calf, gilt title direct on spine; one inch scrape to the upper cover, else fine. Designed by Dwight Agner (The Press of the Nightowl) and printed by Michael and Winifred Bixler.
Winchester: Alembic Press, 1985. Edition limited to 150 copies (this, no. 41), revised edition, 12mo, pp. 70; wood engravings by Jill Barker printed in red throughout, fine in original brown calf-backed marbled boards, gilt-lettered spine. Brief lists of bookbinders, booksellers, libraries, museums, wood engravers, etc.
Oxford: Alembic Press with Peter & Donna Thomas, 1990. Edition limited to 114 copies (this, no. 98), 8vo, pp. 25, ; printed in blue and black on handmade paper from the Wookey Hole Mill; 2 woodcuts by Donna Thomas; fine in original blue handmade paper wrappers, printed paper label on upper cover; fine.
Minneapolis & Saint Paul: Ampersand Club, 1972-present. A collection of approximately 125 Ampersand Club invitations ranging in size from large folio to 16mo, all but a handful printed letterpress by such printers as: Jim Eckman, Norm Fritzberg, Phil Gallo, Allan Kornblum, Gerry Lange, Paul Maravelas, Russell Maret, Paulette Myers-Rich, Will Powers, Dave Rathman, Gaylord Schanilec, Wilbur "Chip" Schilling, Richard Stevens, Emily Mason Strayer, Michael Tarachow, Emerson Wulling, and certainly many others, inviting Ampersanders to talks, lectures, and/or hostings by: the Hon. Governor Elmer L. Andersen, Harriet Bart, Betty Bright, Clifford Burke, Greg Campbell, Steve Clay, Pat Coleman, Amanda Degener, Scott Helmes, Johathan E. Hill, Jerry Farrell, Maria Fredericks, Rosemary Furtak, Molly & John Harris, Michael Hancher, Bob Jackson, Gunnar Kaldewey, Daniel Kelm, Stuart Klipper, Abe Lerner, Harry Lerner, Austin McLean, Jack Parker, Robin Price, Maggie Ragnow, John & Rose Randle, Jeff Rathermel, Karen Runyon, Dale Schwie, Ken Storm, Jr., Claire Van Vliet, Jeff Weber, Jody Williams, as well as the aforementioned Gallo, Powers, Maravelas, Maret, Powers, Rathman, Schanilec, Schilling, and the rest of the gang. The Ampersand Club has a long tradition of providing letterpress invitations to its events which occur more or less monthly Spetember through April, and concluding with an annual dinner meeting in May. Tradition holds that printers print anonymously, so the names of presses and printers are not included in the invitation copy. Over the years Gallo has printed no fewer than 50 (a dozen or so are included here). In his notes for his own Hermetic Press archive Gallo notes: "The invitations tend toward the decorative, this most particularly with the early ones when there was a camraderie of competitiveness among the printers: Gerald Lange, Michael Tarachow, Norm Fritzberg, Allan Kornblum, and Gaylord Schanilec. Consequently these invitations display a wide range of handset foundry type faces, designed not only to be sparkling works, but to spark typographic conversations." While this collection is a long way from being complete, and many as yet undetermined as to printer or press, this offering of 125 is by far the largest group of such invitations ever to come on the market.
[Minneapolis]: Ampersand Club, 2005. First edition limited to 626 copies, this copy no. 1 of 100 numbered copies signed by Gaylord Schanilec, printed on the occasion of the 75th anniversary of the Ampersand Club by Gaylord Schanilec; 8vo, pp. , 43, ; wood-engraved frontispiece portrait of the author by Schanilec, black & white photograph portrait of Elmer Andersen tipped in at p. 36, title page printed in blue and black; original gray cloth with a red leather spine label and a gray cloth slipcase; fine. Elmer Andersen, long-time Ampersand member, Grolier Club member, governor of Minnesota, CEO of H. B. Fuller, and newspaper publisher, contributed a regular column to one of his newspapers on book collecting under the pseudonym of Arne Kjelsberg, a selection of which is printed here, with an Afterword by Rob Rulon-Miller. Quarter to Midnight A.240.b.
[Minneapolis]: Ampersand Club, 2005. First edition limited to 626 copies, this one of 26 lettered copies (this, the letter 'Z') signed by Gaylord Schanilec, printed on the occasion of the 75th anniversary of the Ampersand Club by Gaylord Schanilec; 8vo, pp. , 43, ; wood-engraved frontispiece portrait of the author by Schanilec, color photograph of Elmer Andersen tipped in at p. 36, Andersen's bookplate designed by Schanilec laid in at the colophon, title page printed in blue and black; original maroon calf-backed gold paper-covered boards, title in gilt on spine, brown cloth slipcase; fine. Elmer Andersen, long-time Ampersand member, Grolier Club member, governor of Minnesota, CEO of H. B. Fuller, and newspaper publisher, contributed a regular column to one of his newspapers on book collecting under the pseudonym of Arne Kjelsberg, a selection of which is printed here, with an Afterword by Rob Rulon-Miller. Quarter to Midnight A.240.a.
Tower-Soudan Mine, Minn. Ampersand Club, 1999. Only edition, tall 8vo, pp. ; one of 26 bound in maroon cloth-backed pictorial boards, printed paper cover label; fine. "Printed by members of The Ampersand Club at the bottom of Shaft #8 of the Tower-Soudan Mine 2,341 feet (168,552 picas) below the surface of the Minnesota Boreal Forest in a limited edition in the penultimate year of the Millennium." Believed by members of Ampersand to be the lowest point below sea level that any book has been printed. The edition size was 99. Twenty-six were bound in boards, the balance in wrappers. Indiana, Hennepin County Library, and Minnesota Historical Society only in OCLC as of May, 2017.
Winter Haven: Anachronic Editions, 1986. Edition limited to 100 copies (this, no. 38) signed by the compiler and the editor, folio, pp. , iii, , 86, ; pictorial endpapers showing a reproduction of the U.S. Patent Office patent for the Ludlow machine; illustrated throughout, "Ludlow-set in various faces & printed from the slugs. Illustrations were printed from photo-polymer plates or silk-screened," in various colors; original beige linen-backed black paper-covered boards, custom black cloth slipcase; fine. A very colorful book printed on Rives Heavyweight. Original prospectus and invoice laid in. Includes six essays by Richard Huss, R. Randolph Karch, William Kittredge, Sol Malkoff, Douglas C. McMurtrie, and Irving B. Simon.
Lexington, Kent. Anvil Press, 1988. Edition limited to 50 copies, this copy unbound in three gatherings of 8 pages each; small 8vo, pp. , 15, ; fine in a recent clamshell box. printed paper label on spine. Laid in are 3 autograph notes signed by Carolyn Hammer to Greg Campbell, Campbell-Logan Bindery, regarding the binding of this little book, which ended up being bound in Verona. "A long & hard story," Carolyn writes.
[Lexington, KY]: Anvil Press, 1995. Edition limited to 500 copies, 8vo, pp. -85, ; woodcut print from the Hammer collection tippped into a letterpress bifolium which is laid in, as issued; pictorial cream-colored paper wrappers; fine. Also laid in is a postcard sending greetings, signed by Carolyn Hammer.
Lexington: Anvil Press, 1986. Edition limited to 100 copies (this, no. 44), printed in red and black in Victor Hammer's American and Andromaque uncial types; 4to, pp. 10, , iv, vii, , 51, ; text printed in red and black throughout; with 21 woodcuts by Fritz Kredel; fine. Original prospectus, order form, extra label, and an autograph note signed by Carolyn Hammer all laid in.
Boston: David S. Godine, 1978. First edition limited to 500 copies (this, no. 423) designed by Martino Mardersteig and printed at the Stamperia Valdonega in Verona, Italy; 4to, pp. 57, , ; 26 color plates; sienna cloth, spine stamped in black; matching sienna cloth slipcase; fine. An appraisal of the private commissions and ecclesiastical works of the cosmopolitan artist/craftsman, as well as biographical information. Laid in is a short typed note, signed, from Carolyn Hammer to Greg Campbell thanking him for the order and asking if he could rebind two books. Together with: Hammer, Carolyn. Victor Hammer: artist and printer, Lexington: Anvil Press, 1981. Edition limited to 550 press-numbered copies (this, no. 491), small folio, pp. , 5-213, ; illustrated throughout; original sienna cloth, publisher's slipcase; fine. Together with: Hammer, Victor. Victor Hammer: an artist's testament. With a foreword by Carolyn R. Hammer, 1988. Lexington: Anvil Press, 1988. Edition limited to 200 copies designed by Martino Mardersteig, small folio, pp. 304, ; portrait of Hammer tipped in, original sienna cloth, publisher's slipcase; fine.