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CENTER BROADSIDES 2011 READING SERIES.
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Twelve broadsides, each representing the work of an individual poet who gave a reading at The Center for Book Arts in New York, are enclosed in an artistic portfolio that not only provides protection but also appeals to the eye. As part of the Broadside Reading Series, a letterpress printer (sometimes the poet who gave the reading) creates a broadside of one of the author's poems that captures the essence of the verse and the story they told. Included are works by printers Susan Howe, Kimberly McClure, Barbara Henry, Alisa Ochoa, Roni Gross, Delphi Basilicato, Richard O'Russa, James Walsh, Nancy Loeber, Meg Quarton, and Amber McMillan and poets Susan Howe, Mei-mei Berssenbrugge, Elizabeth Zuba, Jessica Elsaesser, Eileen Myles, CA Conrad, Douglas Crase, Dana Ward, John Yau, Paolo Javier, Corina Copp, and Carl Sesar. The broadsides are reserved for the yearly portfolios. The 2011 portfolio features a top opening that closes with a flap displaying the title in orange.
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> PRIVATE PRESS & FINE PRINTING, TWENTY-FIRST CENTURY
> POETRY-TWF
> BROADSIDES
> CENTER FOR BOOK ARTS
> CBA
> OAK KNOLL PRESS
> NEW
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> CELEBRATING ARTIST MEMBERS: 30TH ANNIVERSARY BROADSIDE PORTFOLIO.
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> CELEBRATING ARTIST MEMBERS: 30TH ANNIVERSARY BROADSIDE PORTFOLIO.
> CELEBRATING ARTIST MEMBERS: 30TH ANNIVERSARY BROADSIDE PORTFOLIO.

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WHOLE ART OF BOOK-BINDING, CONTAINING VALUABLE RECIPES FO...
First American from the third English edition, with "considerable additions" (See S-K 7258. Pollard no.89). The 1811 English printing was the first English book devoted entirely to bookbinding. "It is very much a working bookbinder's notebook put in order for publication and owes little to the encyclopaedias." The best description of this important book appears in Highlights from the Bernard C. Middleton Collection of Books on Bookbinding (Rochester, NY, 2000, No.9, page 32): "The first English bookbinding manual, published more than a century after the earliest Continental ones. This slim, unillustrated book covers forwarding somewhat cursorily, but the sections on the sprinkling of book-edges, the sprinkling and marbling of leather covers, and the preparation of the colours are more than detailed. Gold tooling and stationery binding are also dealt with. In these days of complete openness among craftspeople, those of the younger generation may wonder why the book was published anonymously. The reason was that secretiveness was very prevalent at the time and, indeed, persisted in some quarters well within living memory. This apparent meanness of spirit can be understood in the light of very harsh industrial and social conditions and the complete lack of benefits paid by the State. Marblers, in particular, often erected partitions or kept the inquisitive out of their room in order not to be observed at work, so an author who divulged details of the 'art and mystery' of the craft would expect hostility from fellow practitioners. Authors of most later manuals were identified, but they gave generalized instructions which did not include the multitude of essential 'wrinkles' which greatly facilitate procedures. The question of authorship has exercised the minds of a number of historians. I have insufficient space fully to summarize the arguments. Suffice it to say that three candidates have been named: W. Price, an Oswestry binder, whose earliest date in directories is 1828; Nathaniel Minshall, the printer of the manual, and admitted as a solicitor in 1819; and Henry Parry, author of The Art of Bookbinding published in 1817. Of the three, Parry seems the most likely; the Oswestry volume was registered at Stationers' Hall in the name of Henry Parry, so it would be a remarkable coincidence if he were not the author."
This American edition is even more scarce than the English edition with only 11 copies cited in OCLC. This copy's foldout table in the back which lists prices for New York bookbinders is torn with most lacking, but facsimile reprint, with letter from previous bookseller, inserted.

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