Peter Koch, Printers ~ California

Share this page:
   

Peter Koch: "In pursuit of my art, I am deeply committed to the crafts of typography, papermaking, printing, bookbinding and the design of books and I support these crafts as intensely as I can. A duality of commitment defines my art. I firmly stand on the side of the argument that there is no art without craft. Art without craft denies the difficult beauty of a thing well made, the elegant simplicity of an idea. Through craft and the precision of design, I seek to bring the rich civilization of the printed book with me to the forge of meaning."

   

del Milion Editions publications
Edition Koch imprints
Collaborations with Richard Wagener

 
   
Hard High-Country Poems
English translation by Robert Bringhurst
Drypoint engraving by Joseph Goldyne
&
The Typographic Legacy of Ludovico Degli Arrighi
By Robert Bringhurst
Berkeley, California: Peter Koch Printer, 2015. Edition of 126 (112 numbered, 10 AP, 4 PP).

6 x 10 x 1" slipcase containing two volumes in chemise. Cover wrappers derived from photographs of standing type-metal forms used to print the poems. Slipcase covered in reproduction of the rare Ludovico degli Arrighi [Type Specimen Sheet]. Slipcase and binding in quarter leather and printed paper over boards by John Demerritt.

Hard High-Country Poems (9.5 x 5.75", 32 pages) was designed and printed on the Gietz Universal platen press by Peter Koch with the assistance of Jonathan Gerken. The Italian was composed by Michael Bixler in Monotype Arrighi and printed directly from the metal type. Bringhurst’s translation was handset by Mark Livingston from original foundry Vicenza & Arrighi types cut in 1925-26 by Charles Plumet for Frederic Warde. The preface and colophon pages were composed in a custom digital version of Monotype foundry Arrighi and printed from photo-polymer plates. The poems are printed on vintage Amalfi Amatruda handmade paper. The frontispiece, a drypoint portrait of Michelangelo by Joseph Goldyne, was printed by Robert Townsend. Signed by Bringhurst, Goldyne, and Koch. Numbered.

The Typographic Legacy of Ludovico degli Arrighi (9.5 x 5.75"; 36 pages) is set in custom-made digital variants of foundry Monotype Arrighi and Centaur types and printed letterpress from polymer plates on Hahnemühle Biblio paper. Initialed by Koch. Numbered.

Peter Koch: "Michelangelo is the most celebrated of all visual artists, and one of the few who are admired in equal measure for sculpture, painting, and architecture. Perhaps it should come as no surprise that he was also a great poet. In fact he was, without much doubt, the greatest lyric poet of his time in the Italian language. ...

"He treated his poems casually – very much like sketches rather than finished works of art – and they remained uncollected and unpublished for seventy years after his death. When they did appear in print, in 1623, they had been heavily censored and bowdlerized by their editor, Michelangelo’s grand-nephew. ...

"About 300 of his poems survive. Many are sonnets, but most are in a more supple form known as the madrigal. Among the best are a group composed when Michelangelo was in his sixties. These are poems written for or about Vittoria Colonna, evidently the only woman whom the adult Michelangelo ever loved.

"The Italian texts of Michelangelo’s poems, Bringhurst’s English translations, and his accompanying essay are all set in fonts that are descended from the chancery italics designed in the 1520s by the brilliant but short-lived calligrapher and printer Ludovico degli Arrighi. ...


"Typographic historians routinely mention Arrighi, but few have understood his real importance to the field. Bringhurst makes an excellent case for considering Arrighi to be the world’s first type designer in the modern sense of the word: the first skilled calligrapher who drew letters specifically for punchcutters to cut ...

"An afterword by Peter Rutledge Koch describes the provenance of the rare typefaces used to print the poems as well as the legendary printing press used to print the books. The essay is illustrated with two tipped-in photo-reproductions of the punches, from photographs by Amelia Hugill-Fontanel."

$1,000

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

   
   
Koch Ephemera
By Peter Rutledge Koch
Berkeley, California: Peter Koch, 2007. Edition of 27.

Peter Koch: "A collection from the printing presses of Peter Rutledge Koch with an introductory essay by Timothy D. Murray [Head of Special Collections, University of Delaware].

"This collection includes over 100 pieces of literary, artistic, bibliophile, and business printing weighing 12 pounds (including the box), produced under a number of different imprints including Black Stone Press, Hormone Derange Editions, Editions Koch, and Peter Koch, Printers. The contents range from a flier advertising the maverick literary journal MONTANA GOTHIC (Koch’s first piece of design, circa 1974 ... using lettraset and an AB Dick copy machine!), letterpress printed bookplates and wine labels, to a laser-printed pamphlet, all designed and printed between 1974 and 2007 by master printer, Peter Rutledge Koch at his studios in Missoula, San Francisco, Oakland, and Berkeley.

"The box, reminiscent of a 19th century letterbox, measuring 11.5 by 15 x 5.5 inches wide, was constructed (with splendid craftsmanship) by Taurus Bookbindery in San Francisco of acid free materials and vintage Buckram.

"The accompanying essays and the list of contents are included as the 2007 contribution. In addition to the stated contents each box will have several items that are not included on the list due to the fact that we had less than 27 exemplars of certain materials we deemed appropriate to include in this collection.
"

The edition of 27 boxes are press-numbered on the spine.
$1,500

Click image for more
   
   

Watermark
By Joseph Brodsky
Photographs by Robert Morgan
Venice: Peter Koch Printer, 2006. Edition of 50.

11 x 16.5 "; 80 pages. Printed on Twinrocker Da Vinci handmade, with watermark designed by Christopher Stinehour and Susan Filter. Photographs by Robert Morgan digitally re-configured by Donald Farnsworth and printed at his Magnolia Editions in Oakland, California, from photogravure plates made by Unai San Martin. Text printed in Monotype Dante types cast in lead at the Olivieri Typefoundry in Milano. Bound in pigmented papers made by hand at Cave Papers in Minneapolis, Minnesota. Of the edition of 50: 1 to 30 bound in Venetian-red hand made papers and housed in a hand painted wooden enclosure; I to V designate the deluxe edition bound in full vellum, housed in a unique box with a brass plate imbedded on the surface, includes a suite of all 14 photo-gravures signed by the artist; 15 copies hors commerce.

Peter Koch, Printers: "Watermark is a series of lyrical meditations woven from the fabric of Venice in the late 20th century ... meditations on time & beauty ... a looking glass romance of a Russian poet-in-exile with a city that beguiles his eye. Brodsky dedicated Watermark to his friend the American painter, Robert Morgan who has lived in Venice for more than 30 years and the book is illustrated with 14 photo-gravures made from his original photographs."

Peter Koch, "Printing in the Shadow of Aldus," Parenthesis: "This adventure began when my wife, Susan Filter, began pressing me to consider printing Watermark, a series of essays in memoir form, by the poet and Nobel laureate Joseph Brodsky. Watermark is a series of lyrical meditations woven from the fabric of late twentieth-century Venice, and a meditation on time and beauty and love - a looking glass romance of a Russian poet-in-exile with a city that beguiled his eye.

"Venice - where it is said the mirror was perfected - is a city in which one contemplates beauty by merely opening one's eyes. . . .

"Susan met Joseph in Venice in the mid-1980s while he was writing Watermark and she was studying paper conservation. She and Brodsky became great friends and remained so until his death in 1996. Susan and I met in 2001, and by 2005, she was determined to see a work from his hand fall under the imprint I had established to publish works of art and literature in hand-made editions.

"Early on in our planning we invited Susan's friend Robert Morgan, a painter and longtime friend of Brodsky's, to illustrate the work with his photographs. (Brodsky dedicated Watermark to Morgan in 1986). The real challenge that confronted Susan was how to persuade me to print it in Venice. Admittedly, I was pre-disposed to the idea. I had already dedicated a considerable portion of my life to re-inventing the renaissance ideal of the scholar-artist-printer in a post-modern context. ..."
$7,500


Click image for more

 

 

 

 

 

 

 

 

 

 
   

Real Lead
By Peter Koch, Printers
Berkeley, California: Peter Koch Printers / Hormone Derange Editions, 2002. Edition of 125.

5 x 10.25"; 128 pages. Hand-bound by Victoria Heifner in quarter-cloth over Davey board with hand woven headbands and an extra spine label tipped in. Cover board features a rodeo engraving printed in terra cotta, and text printed in green and marigold.

Peter Koch, Printers: "A humorous typographic specimen book designed and printed by Hannah Berman, Karen Eng, Max Koch, Marina Luz, and Chadwick Bidwell, under the direction of Peter Koch. A sampling of rare and antique metal and wood types as well as a selection of electrotypes and wood engravings belonging to Peter Koch Printers designed as if issued from a frontier print shop."

Introduction: "The primary sources of our collection are geographically distant but similar in nature. The most distant – newspaper and job shops in or near the Montana towns of Dillon, Freezeout, Fort Enton, Hamilton, and Phillipsburg - were rapidly disappearing in the 1970's. This selection represents the very end of letterpress job shops in the state. Small newspaper and printing shops in Chinatown and North Beach dominate our San Francisco collection; and twenty-five years of visits to the various garages and warehouse of James Heaghy have inevitably proven fruitful."
$250

 


Click image for more

Collaborations with Richard Wagener, printer and wood engraver
   

California in Relief
Thirty Wood Engravings

By Richard Wagener
San Francisco: The Book Club of California, 2009. Edition of 300.

7.75 x 12.5"; 88 pages. Letterpress printed by Peter Koch. Wood engravings printed by Richard Wagener. Typeface, DTL Elzevir, designed by Gerard Daniels. Printed on Zerkall Buttenpapier. Paper covered boards with cloth spine. Paper title label on spine. Laid in paper wrapper with engraving on front . Slipcased.

Peter Koch, Printer: "Working in the demanding medium of wood engraving, artist Richard Wagener has created a visual itinerary of his wanderings throughout California in his brilliant new work, California in Relief.

"Composed of thirty original prints and Wagener's short prose pieces describing them, California in Relief begins and ends in Los Angeles, with stops in the San Jacinto Mountains, the Antelope Valley, Sonoma County, and the Sierra Nevada. Like John Muir and Gary Snyder, Richard Wagener is a wanderer, explorer, and observer of California, creating a poetry of place through both words and images, all born of actual experience.

"Not since Paul Landacre mastered the aesthetic and technical challenges of wood engraving in the early twentieth-century has any California artist achieved prominence in the medium until Richard Wagener began to explore it in the 1980s. His previously published illustrated books have won wide acclaim for their ingenuity and beauty, and The Book Club of California is pleased to be the publisher of this magnificent work. Wagener's images of nature - his stately Sierra trees, stark peaks, and rocky crags - and his urban architectural monuments - the Pantages Theater and the Griffith Observatory - combine to make this work a deeply personal record of distinctive California locations. Wagener's technical skill is such that the images shimmer, jewel-like, concise renditions in black and white of sunlight and shadow, landscape and sky."
$750 (standard edition)


Click image for more

 

 

   

The Fragments of Parmenides
& an English translation by Robert Bringhurst
Wood engravings by RichardWagener
Berkeley, California: Editions Koch, 2004. Edition of 146.

10 x 17"; 64 pages. Text letterpress printed on Zerkall paper by Peter Koch Printers. Wood engravings printed by the artist. Main text set by hand in Parmenides Greek. Translation set in Monotype Dante at the Golgoonoza Letter Foundry. Afterword set in special digital Dante, New Hellenic Greek, and Lazurski Cyrillic, and printed from polymer plates. Greek type on the cover is Diogenes. Bound by Peggy Gotthold at Foolscap Press in quarter leather and Hahnemühle Bugra paper. Enclosed in a case covered in gold Japanese silk. Signed by Koch, Wagener, and Bringhurst.

Peter Koch, Printers: "The text is comprised of all twenty Greek fragments, varying in length from only a few words to 66 hexameters, of a poem composed by Parmenides almost 2,500 years ago in southern Italy. For this project, Peter Koch commissioned Dan Carr to create a new typeface that balanced the lyricism and movement of the handwritten poem and the formality of a carefully-made inscription. Parmenides Greek, the foundry face designed, cut, and cast by Carr at the Golgonooza Letter Foundry, is accompanied by Diogenes Greek, a digital face designed by Christopher Stinehour. Printed in Greek on the left with the translation by Bringhurst on the facing page. Greek text handset in Parmenides Greek at the press by Richard Seibert, Robert Bringhurst, and Peter Koch; English text set in Monotype Dante at the Golgonooza Letter Foundry; cover text, printed in red and black, set in Diogenes Greek. 5 wood engravings that boldly accent the text are hand-printed by Wagener in vibrant red, fiery orange and velvety black on Zerkall mill paper."

Peter Koch, Carving the Elements: A Companion to the Fragments of Parmenides: "Winter in Montana is a time for reflection and also for deep reading. I read Plato's dialogue Parmenides while a student of Henry Bugbee in the University of Montana's Department of Philosophy. I was attracted to that most obscure of the dialogues because it was a difficult and enigmatic text and I was determined to break my head. But the Parmenides of Plato and the Parmenides of Professor Henry Bugbee were two entirely different studies. Plato portrayed him as a powerful but ultimately confusing and contradictory dialectician, the perfect foil for the Socratic interrogative and clarifying methods he preferred. Bugbee presented him (through Kirk & Raven's edition of the fragments) as one of the two most original thinkers in the Greek tradition, standing in the river of thought at the fork where one branch leads to the Many and the other leads to the One. Parmenides fished at the source of the One, Herakleitos at the source of the Many. Thinking at the source, I concluded, was simple and clear and worth the trek upstream.

"Parmenides stands at a stillpoint in the chaos of thinking, at the source of Being. The river of thought runs past him but he cuts the current with the blade of his cunning, Parmenides reveals little but withstands everything."
$3,500


Click image for more

 

 



 
   

Zebra Noise
with a flatted 7th

By Richard Wagener
Berkeley, California: Peter Koch Printer, 1998. Edition of 70.

9 x 15" : 110 pages. Designed and printed on Zerkall paper by Peter Koch and Richard Wagener. Text composed in Monotype Ehrhardt cast by the Golgonooza Letter Foundry. Bound by Peggy Gotthold using quarter leather and printed gray Fabriano Roma paper over boards, with gold lettering on the spine. Housed in a red cloth slipcase plus gray chemise. Signed and numbered by the artist.

Peter Koch, Printer: "This abecedarium and bestiary was commissioned by Peter Koch from the artist Richard Wagener in 1991. It came to completion seven years later in what has been hailed a tour de force of wood engraving by a modern master. ... The text, twenty-six short fictions written by Wagener that evoke the American West, ... Accompanying the text are twenty-six wood engravings in black that follow the artist's zoological alphabet, from the armadillo, Tolypeutes tricinctus, to the meadow jumping mouse, Zapus hudsonius. In addition to the zoological alphabet blocks, there are twelve engravings in red that serve as backgrounds for the initial letters used to indicate a new section."
$4,500 (Last three copies)

 


Click image for more

 

Editions Koch imprints
   

Wrinkles & Creases
Nine intaglio prints and four original drawings
By Beth Van Hoesen
Introduction by Joseph Goldyne
Haiku by Lawrence G. Van Velzer
Berkeley, California: Editions Koch, 2010. Edition of 20.

13 x 15"; 28 pages. Letterpress printed on BFK Rives paper. Bound with goatskin spine and Fabriano Roma paper sides. Housed in a two-piece box covered in Cave Paper. Binding and box by Peggy Gotthold at Foolscap Press. Signed on the colophon by Peter Koch, Peggy Gotthold, Lawrence G. Van Velzer, Jerome Goldyne. Includes loose intaglio print laid in.

Colophon: "Wrinkles & Creases is an artists' book published as an édition variée that includes an Introduction by Joseph Goldyne, eighteen Haiku poems by Lawrence G. Van Velzer with four original drawings and nine intaglio prints by Beth Van Hoesen. The haiku poems were written in response to Van Hoesen's series of drawings and prints of babies. Van Hoesen's interest in drawing and creating prints of newborns began in the early 1980s. Eight of these drypoint prints were published in 1983 as a limited-edition folio, Newborns. During the last few years of her life, Van Hoesen began hand-coloring the individual prints and drawings with the idea of including these works in a special, limited-edition artists' book. Joseph Goldyne met with Van Hoesen to discuss her work and agreed to assist in the selection of prints and drawings to be included in each book as well as to write the introduction."

Introduction: "Whatever we may understand about development and birth, we do not fully understand its impact on us. The fact of a new human life, unable to care for itself, as blind to the past as to the present, yet with the potential of endless possibilities for an unknown future, always has the power to resonate in untold ways with the hopes and dreams of those who attend a birth and its aftermath. However, unprepared for the effort, what an artist rapidly takes in is something concrete: there are wrinkles and creases - something to record of line, light, and shade! Also, there is awkward movement, clutching and clinging to capture. There are the facial grimaces of gas as well as the features of an innocent sleep to record. Beth Van Hoesen is a natural for this task. ...

"The prints and drawings of newborns in the present collection are published as an edition variee artists' book that includes nine drypoints of newborns with three original, preparatory graphite and colored-pencil drawings by the artist. Most of the infants depicted in this suite are now in their middle years and hopefully flourishing ... "


1821 Gallery & Studios: "In a career spanning more than five decades, artist and printmaker Beth Van Hoesen (1926 – 2010) created a uniquely exquisite body of remarkable graphic work that was instantly recognizable by the purity of its line. ...

"Beth Van Hoesen, a San Francisco artist born in Boise, Idaho in 1926 studied at Stanford University graduating with a B.A. in 1948 went on to study in Mexico City at the Escuela de Pintura y Escultura de la Escuela Esmeralda. Further studies at the California School of Fine Arts in San Francisco were followed by continuing work at the Academie Julian and the Acaddemie de la Grande Chaumiere in Paris. Further studies at the California School of Fine Arts, Saint-Cere in Aubusson, France and at San Francisco State College rounded out formal studies. Her distinguished career includes many honors and awards along with countless solo exhibitions throughout the country.

"Holding a secure place in the history of twentieth century west-coast graphic art, Van Hoesen’s focus was always dedicated to the interpretation of preparatory drawings as edition prints – often as many as fifty drawings were produced in the development of an etching, aquatint, drypoint or an engraving. Examples of botanical art celebrate the natural beauty of each blossom’s unique characteristic. Images are pristine and elegant, displaying the emotional qualities of different color combinations as well as revealing the elusive quality of a moment of perfection that hint at the inevitable decay ...”

$6,500


Click image for more

 

 

 

 

 

 

 

 

 

   
   

The Helen Fragments:
from books three & six of Homer's Iliad

Translated by Richard Seibert
Drawings by Winifred McNeill
Berkeley: Editions Koch, 2003. Edition of 150.

5.5 x 11"; 120 pages. Text composed in Monotype Quadraat. Epigraph composed in Wilson Greek. Printed from photo-polymer plates on Zerkall Bütten-Karten paper by Max Koch at the Koch Studio. Cover paper by David Kimball. Non-adhesive, external, long-stitch binding with leather tabs designed by Victoria Heifner and bound by John DeMerritt. Edition enclosed in a paper-covered slipcase with spine tab plus chemise.

Peter Koch, Printers: "The Helen Fragments is a collaboration between two contemporary artists who have come together over an ancient text that has fascinated readers for millennia. The poet and printer, Richard Seibert, has selected portions from Homer's Iliad that tell the tumultuous story of Helen of Troy and has translated them from the original Greek into contemporary lyric.

"Winifred McNeill, a New York based artist, working over a period of two years, completed over a hundred drawings for this project. Each of the fifty fragments is accompanied by a drawing that has been reconfigured digitally under the supervision of the artist and printed letterpress from polymer plate."

Winifred McNeill, web site: "The protagonists, drawn by [me] in the nude save for helmets and one surprising pair of high heels, act out their destiny on a narrow stage framed above and below by classical friezes. The quivering stroke of the pen sustains the tension of battle, the tempest of passion."
$600


Click image for more
   

del Milion Editions publications
   
Paris
By Christopher Carroll
Berkeley, California: del Milion Editions, 2013. Edition of 80.

7 x 12.5 "; 56 pages. Nicholas Cochin typeface for the text. Fournier Ornate typeface for display. Printed letterpress on Hannemuhle Biblio paper at Peter Koch Printers. Bound in cloth boards executed by John DeMerritt. Signed by the Carroll. Numbered.

Koch Editions: "Paris was designed by Peter Rutledge Koch in collaboration with Christopher Carroll and Susan Filter. Text and images were printed letterpress at Peter Koch Printers for del Milion Editions. The typefaces are Nicholas Cochin for the text and Fournier Ornate for display. (How could we resist?) The original drawings in cut-paper and ink, were scanned at 42 Line and digitally re-configured under the direction of the printer. The text and images were printed on Hahnemühle Biblio, presswork from photopolymer-plates by Max Koch. The elegant chartreuse silk-over-flexible-board binding was executed by John DeMerritt Bookbinders.

"Paris is a delightful alphabet book written and illustrated by fashion designer Christopher Carroll, illustrating his fifty-year love affair with the city of Paris. Carroll has set a sharp eye and wicked sense of humor to work on some of his favorite iconic locations and the charismatic characters that inhabited them. You will encounter Ho Chi Minh in the kitchen of Auguste Escoffier; Oscar Wilde in battle with the wallpaper at the Hotel D’Alsace; and the Surrealist photographer Dora Mar playing a bloody game of 'truth or dare' with a kitchen knife."
$450

Click image for more
   
   
I'll Die Tomorrow
By Mickey Spillane
photography by Karen Filter
Berkeley, California: del Milion Editions, 2011. Edition of 45.

6.5 x 8"; 48 pages. Signed and numbered on the colophon by Karen Filter. Case bound.

Peter Koch: "I'll Die Tomorrow was designed, printed, and bound by Peter Rutledge Koch with the assistance of Jonathan Gerken at Peter Koch Printers for del Milion Editions. The text, set in Bookman Old Style, is printed letterpress on Hahnemühle Photo Rag and the cover is printed on Crane’s Cover. The original photographs are printed with a unique color technique created by Karen Filter and based on Carbro prints from the 1930s & 40s and Technicolor from the 1950s. They were selected from her 'B-Movie Series' and 'Detective Series' shot in the 1980s. The photographs were then scanned and corrected under the direction of the artist and reproduced as digital pigment prints at Magnolia Editions in Oakland, California."
$750

Click image for more
   
Other titles by Edition Koch:  
 
 

Page last update: 04.26.17

 

   
  
Home | About Us | Contact Us | New Arrivals | Fine Press & Artists' Books | Broadsides | Miniature Books | Resource Books | Order/Inquiry

   Copyright © 2013 Vamp & Tramp, Booksellers, LLC. All rights reserved.