All items below were hand printed by Barry Magid at the Center for Book Arts in New York City using a Vandercook press. The Center is an artists’ cooperative, providing access to presses, lead type in a variety of fonts for hand setting and bookbinding facilities. Monotype for larger projects was provided by M&H Type of San Francisco and custom bookbinding for editions of cloth bound books was done by Campbell-Logan-Bindery, Minneapolis, MN. Below is a checklist of the items purchased by the Library of Congress.
Merton, Thomas (1989) Dialogue About the Hidden God. 1/100 boards with spine & cover label.
Also: long monotype galley proofs.
Nordstrom, Lou. The Grandparents. n.d. Dim Gray Bar Press Broadside One. (unnumbered but one of approximately 25 copies). Framed.
Harrison, Jim. (1990) Kobun. Broadside, illustrated with sumi-e ink illustration. 1/100 signed. Dim Gray Bar Press Broadside Two.
Also: another copy, unsigned marked “AP/100”
Hudgins, Andrew. (1991) Praying Drunk. 1/150 signed copies hand set in Perpetua with American Uncial titling, sewn into wrappers.
Davenport, Guy, (1991) Belinda’s World Tour. 1/100 set in Van Dijck monotype and bound in decorated paper covered boards. Illustrated by Deborah Norden. Signed by Davenport & Norden. Prospectus laid in. Images: Cover, Title Page
Also: set of printer’s trial sheets and proofs with printer’s corrections
Levin, Phillis. Promise (1993) Broadside poem with abstract illustration by Wlodzimierz Ksiazek printed in red. 1/19 signed by Levin, Ksiazek and Magid. Also; trial copies printed in black.
Williams, Jonathan (1994) Letters to Mencken from the Land of Pink Lichen. 1/75 signed copies each with a tipped-in photo of pink lichen by Williams and illustrated with a caricature of Mencken by Davenport. Signed by Williams and Davenport.
Also: another copy, “trial binding” with letter from binder laid in.
Berry, Wendell, (1992) How Ptolemy Proudfoot Lost a Bet. 1/100 signed, set in Bembo monotype and bound in handmade Nepalese paper covered boards. Cover label. Prospectus laid in.
Also: another copy, unsigned “Artist’s proof”
Harrison, Jim (1992) The Raw &the Cooked. 1/100 signed set in Centaur monotype and bound in paper covered cloth boards. Also: a trial copy (numbered & signed) but with a printed cover label that was never used for the rest of the edition. Prospectus laid in.
Another copy, 1/26 lettered A-Z, quarter bound in morocco with boards covered hand made paper specially infused with garlic and herbs. Copy “A"
Another copy, of the 1/26 edition, unsigned but marked “Author’s Proof”
Also: a set of the long monotype galley proofs
Tomlinson, Charles (1992) William Carlos Williams. An Address on the occasion of WCW’s induction into the Poets’ Corner. 1/100 hand set in Centaur and sewn to wrappers with illustrate with a drawing of the Cathedral of St John the Divine by Deborah Norden. With “errata” slip pointing out the Cathedral misquoted Williams when carving a line of his poetry into stone. 1/50 signed; another unsigned copy.
Stone, Robert, (1993) Helping. 1/100 signed hand set in Centaur and printed on Rives BFK paper bound in decorated paper covered boards. Slipcase. Prospectus laid in.
Nordstrom, Lou (1993) Ars Poetica. Broadside poem. 1/25 with illustration of a heart, after Leonardo, by Deborah Norden.
Williams, W.C. and Tomlinson, Charles (1994) The Letters of William Carlos Williams and Charles Tomlinson, edited by Barry Magid and Hugh Witemeyer. Introduction by Hugh Kenner. 1/124 signed copies set in Perpetua monotype bound in cloth boards. Prospectus laid in. Another copy, 1/26 signed lettered A-Z quarter bound in leather.
Also: a copy of the expanded trade edition published by Peter Lang (1999)
Davenport, Guy (1994) The Lark. 1/100 signed copies hand set in Centaur and Arrighi and printed on handmade Lana Antique White paper. Bound in boards with dust wrapper of handmade Sekishu paper with illustration by Davenport.
Also: another copy, unsigned with penciled “AP” on colophon.
Laughlin, James, (1994) Ezra. 1/100 hand set in Centaur and sewn into wrappers decorated with a caricature of Pound by Guy Davenport. Two photos of Pound by Laughlin are tipped in to each copy. Signed by Laughlin and Davenport. Prospectus laid in.
Dolin, Sharon (1995) Heart Work. Broadside printed to celebrate the publication of Heart Work by Sheep Meadow Press. 1/100 signed.
Also: another format printed on two sides for folding into pamphlet.
Bellen, Martine (1996) 10 Greek Poems. Wrappers illustrated with Greek text of Heraclitus. Poems based on Guy Davenport’s translation. 1/100 copies wrappers.
Also: another copy 1/10 AP signed with prospectus laid in;
Also: monotype galleys
Greene, Jonathan, (1995) The Man Came to Haul Stone. 1/65 signed handset in Centaur and Arrighi, printed on handmade Wookey Hole paper and sewn into Japanese Mica paper wrappers. Another copy, unsigned, marked “proof” on colophon page. Prospectus laid in.
Also: another copy bound in boards AP 3/4 signed. There were an additional 10 copies bound in boards
Keller, Johanna (1995) Moose –a regional sestina. Hand set in Centaur and Perpetua and sewn into wrappers with endpapers taken from old popular magazines. Cover label. 1/125 signed
Dolin, Sharon (1996) Climbing Mt Sinai. 1/126 set Centaur monotype, sewn wrappers illustrated by engraving of Mt Sinai.
Also: nother copy 1/26 bound in boards
Matthews, William (1996) Horace Satires II,ii. 1/100 signed, set in monotype Joanna and printed on Arches paper, sewn into papyrus wrappers. With a correction in the author’s hand. Prospectus laid in.
Davenport, Guy (1996) 50 Drawings. 1/100 signed copies set in Adobe Lithos printed on Johannot paper bound in boards with dust jacket illustrated by Davenport. Prospectus laid in.
Along with: Typescript of Davenport’s Introduction.
Doty, Mark (1997) Favrile. 1/65 signed set in Joanna monotype printed on handmade Kititaka paper and each copy sewn into different marbled paper wrappers. Two examples plus prospectus.
Also: long monotype galleys with penciled printer’s division of the poem into pages
Williams, Jonathan (1997) A Palpable Elysium. 1/10 Portfolio of signed portrait photographs of Bunting, Davenport, Duncan, Laughlin, Metcalf, H. Miller, Pound, Siskind and W.C. Williams. Each photo is accompanied by a letterpress sheet with JW’s reminiscences of the subject.
Also: Another smaller portfolio box containing a full set of sample photos and text from which the 10 were selected. The remainder were eventually published in a trade edition by Godine in 2002.
Stern, Gerald (1998) Last Blue. 1/75 signed set in Gills San monotype, sewn Xylem Midnight Blue paper wrappers. Laid in card announcing Stern’s reading at the Center for Book Arts with fellow judge Sharon Dolin and Poetry chapbook competition winner James Haug.
Also: long monotype galleys
Doty, Mark (1998) An Island Sheaf. 1/125 signed set in Joanna monotype, printed on Arches paper and bound in quarter vellum decorated boards. Prospectus laid in.
Also: long monotype galleys
Boland, Eavan. (2000) Limitations. 1/100 signed set in Goudy Thirty monotype and printed on Iyo Glazed paper. Sewn into Rossi Medieval Chant illustrated wrappers.
Another copy, unsigned marked “proof” on the colophon page.
Also, two sets of long monotype galleys
Hadas, Rachel. (2000) Two Poems. 1/100 set in Perpetua monotype printed on Arches paper and sewn onto wrappers reproducing the text of the 1732 Garth, Dryden translation of Ovid’s Metamorphoses. Signed.
Father Louie: Photographs of Thomas Merton by Ralph Eugene Meatyard. Introduction by Guy Davenport (1991). In addition to clothbound and paperback editions (edition size unknown) there were two ltd editions: 1/100 with an original photo printed by Christopher Meatyard from his father’s negative, signed by Davenport and the Portfolio edition 1/25 in a custom box, containing both the 1/100 signed book and original prints of all 50 photographs, with a colophon letterpress printed by BM.
Also: 17 pp typescript of Davenport’s Introduction to Father Louie
Williams, W.C. (1988) The Normal and Adventitious Danger Periods for Pulmonary Disease in Children. Reprints WCW’s only published medical article from The Archives of Pediatrics, August 1913. 1/100 with laser printed sheets, stitched blue wrappers. Another copy, brown wrappers, no priority. Not for sale. “For the friends of Barry Magid”
Greene, Jonathan (1993) The Road, Once Taken. Broadside. 1/50 copies printed for JG’s 50th birthday, April 19, 1993 Illustrated with a gnomon drawn by Deborah Norden, printed in green. Not for sale.
Williams, W.C. (1993) Two Letters to Rene Taupin. Two unpublished letters dated April 24, 1928 and August 22, 1945. 1/50 copies signed by BM for the “friends of Dim Gray Bar Press. Not for sale.
Best Luck for ’96!” 1/50 printed as a New Year’s greeting for the friends of Dim Gray Bar Press.
Quotes an unpublished letter from W.C. Williams to Harry Roskolenko Aug 31. 1948 : “Of course use my name in applying for a Gug/ And may it serve your purposes / Better than it has served mine. / Best luck/ Williams”
Sappho (2001) translation by Barry Magid 1/50 copies printed on papyrus as a New Year’s greeting for friends of Barry Magid, Sharon Dolin and Dim Gray Bar Press. Jan 1, 2001
Not for sale
Andrew Kaufman (1996) Cinnamon Bay Sonnets. Winner of the Center for Book Arts’ first Poetry Chapbook Competition, judged by Sharon Dolin and William Matthews. Designed by Barry Magid. 1/100 signed
Judith Vollmer (1997) Black Butterfly. Winner of the Center for Book Arts Chapbook Competition, judged by Sharon Dolin and Mark Doty. 1/100 signed
Snyder, Gary, (1980) Why I Laugh When Kai Cries. Stapled wrappers. Unauthorized, private printing 100 copies as a holiday gift “for the friends of Barry Magid & Marjorie Greenberg” plus galleys. (Inspired by Robert A Wilson’s Xmas pamphlets)
The Wedding of Deborah Norden and Barry Magid. New Year’s Eve 1990
Reprints a text on marriage by Wendell Berry. Illustrations by Eric Gill & Deborah Norden.
Also: The Wedding Announcement of Petra Gill, daughter of Eric Gill with his drawings that were used for our announcement –with the exception of the first which Deborah re-drew so that the bride and groom are standing not kneeling before the altar.
Additional material: 25 zinc engraving wood blocks used to print the illustrations for a various of books and broadsides, including “Belinda,” “The Lark” The Raw & the Cooked,” Ezra,” Letters to Mencken” etc.