Nice catch, Fredrik.

It looks like Bringhust’s polyphonic verse has finally found a typographic voice that can contain it.

$1,900? A mere pittance.

ChrisL

A peculiar design, printing the parts overlapping.
Must be hard to perform, unless you’re Mr Black.

...unless you’re Mr Black...

“All three voices are printed in each of the three parts. In each part, one of the three voices is foregrounded in black, with the other voices underprinted in ochre and blue. This enables each reader to follow all the parts and allows all readers to make their entrances on cue.”

Hmmm. Much as I like Bringhurst’s work, if I had that kind of money to spend on a book right now, there’s a 16th-century piece I have my eye on....

T

I have to agree with Thomas here. While I understand Robert’s opportunity to have his books produced in the best possible production circumstances, this results in a book too few can get their hands on, even in terms of library exposure (I don’t know many libraries with budgets to allow for contemporary productions at $2000 a pop). Don’t get me wrong, I’ve recently commented on Peter Koch’s production of The Fragments of Parmenides (translated {from the Greek}, designed, and co-written by Bringhurst), which is probably the best designed, set, printed & bound book I’ve ever seen (at $1850.00 and $3500.00), but I’m left wondering what the purpose of that kind of production is when so few will ever see it.

I’m a big fan of Robert’s work, and he’s been very kind to me personally and professionally, but it drives me crazy that not in a million years could I afford to collect his more specialized books.

That said, I’m also a writer, and if someone was up for producing a book of my work at the production level of Parmenides, I’d jump at it in a second. Hell, I’d jump off a cliff if they wanted me to. Turning the pages of Parmenides was right up there with turning the pages of Jenson’s Eusebius of 1470. Complete and total wonder.

Fine print, elaborate limited editions of this kind should be seen in the same way as Formula One cars: very few people can afford to own one or even get to drive one, but they push the boundaries of automative engineering.

I used to work for William Hoffer, who published Robert’s first attempted at polyphonic typography, The Blue Roofs of Japan. It was certainly cheaper than the new volume, but also a limited edition and not something for a general market. It was also a lot less elaborate than the new book. I’m pleased to see that Robert has found a publisher willing to undertake so complex an unusual a work, at whatever cost.

High priced limited edition books have always been a problem since few can afford them. I suppose it is true that this limits the collectibility of them to the wealthy for the most part.

On the other hand one could consider that if a person really wants a deluxe set of golf clubs or a music system, that person will somehow dig up the few thousand or so dollars. There is a maker of brass instruments in Portland Oregon who makes beautiul old style cornets at $9000 US a pop. I am an old age pensioner and definitely an amateur musician, but I haven’t given up on the idea of one day owning one. It’s a matter of priority, really. I want the horn!

I am working on the printing of a limited edition book (50 copies) that covers my working life and the work produced in my press/foundry. I have cut a new typeface and cast it specifically for the book. Buying the $2000 worth of paper was possible only with the co-publishing kind assistance of people outside my press.

Even at $700 per copy, the work involved will bring me somewhere in the neighborhood of six or seven dollars an hour.

This is by no means a complaint. I merely want to say that time and labour are going into the book and the price is not a greedy one.
I am doing this mainly for the love of it, because there are ways to make better than the hourly rate I’ll be getting.

So far I have done two books in this vein and relative price range and they have not all gone to wealthy collectors. A good many people have bought copies for a spouse etc.

In the end I guess a private press book is something of an enigma. The price is seemingly high, but the originator gets not a lot of money. One book I did a few years ago sold for $300. If a person can find a copy now the price I am told is $700.

Perhaps the speculator gets the cash. The maker of the book is certainly not overpaid.

I’ve enjoyed the comments on this thread, and I still understand the exasperation of someone who would like to have a book but can’t afford it. I can’t afford the horn, but I know I’ll get it. But if you bump into my good lady this is our secret.

Jim

>Perhaps the speculator gets the cash.

Copyright laws for art have recently changed in Europe.
Now the artist is entitled to a percentage of resale price.
A limited edition book would qualify, I would assume, if the law applies to limited edition prints.

fredo

Re: the oversized-wallet thing: well, that’s the market, some of us can afford the luxuries of life, some of us can’t. It’s not fair but why should we expect life to be fair. The best things in life do not cost anything.

But in regard to this book, it would be the type of thing I’d like to obtain based not only on Bringhurst’s reputation (more though as a writer on typography than his language work) and its concept, but also because of its production values. One look at your example and I would opt out. While high concept, someone certainly has little control over their presswork. The leading is increasingly wrong (per color) as it travels down the page. This is something that should not have occurred (sloppiness, ignorance?). If the plan can’t be executed properly, forgo it (but let’s not get into politics). One would expect to pay this kind of money not only for name, and concept, but also production quality. And part of this book’s ticket is its production qualities. I’d pay highly for examples of masterly work (because one can learn from the masters), but this appears not to be the case.

Gerald

Re: the oversized-wallet thing: well, that’s the market, some of us can afford the luxuries of life, some of us can’t. It’s not fair but why should we expect life to be fair. The best things in life do not cost anything.

Gerald, I don’t really care if it’s worth it or not. It was just an observation, and I have no doubt the fine work You, or master Rimmer put out is of excellent quality and should be priced accordingly.

I’m a sucker for Artist’s books, but they rarely go for sale.

ƒ

“The leading is increasingly wrong (per color) as it travels down the page”

I don’t see that.