The Shadow Over Innsmouth; | with wood engravings by Shinsuke Minegishi based on drawings by Hieronymus Bosch. H. P. LOVECRAFT.
The Shadow Over Innsmouth; | with wood engravings by Shinsuke Minegishi based on drawings by Hieronymus Bosch.
The Shadow Over Innsmouth; | with wood engravings by Shinsuke Minegishi based on drawings by Hieronymus Bosch.
The Shadow Over Innsmouth; | with wood engravings by Shinsuke Minegishi based on drawings by Hieronymus Bosch.

The Shadow Over Innsmouth; | with wood engravings by Shinsuke Minegishi based on drawings by Hieronymus Bosch.

[Vancouver]: Heavenly Monkey Editions [printed by David Clifford at Black Stone Press], 2005. Small octavo, 19.2 x 13 cm. Cased in plain black cloth, with spine lettered in gilt and gilt stamped device to the upper cover; the cover device is, we imagine, a representation of the ‘Innsmouth Look’, exhibited by the denizens of the eponymous, ‘blasphemous’ town: “queer narrow heads with flat noses and bulgy, stary eyes”; printed grey endpapers from a detail of one of Minegishi’s wood engravings. pp. [8], 5- 147, [3], plus two interleaves of translucent Japanese paper marking the beginning and end of the text. A fine copy. The text was set in Centaur and Arrighi italic types, with Gill Shadow used for display, and printed on Mohawk Superfine paper. From a total edition of 175 copies, this being number 5 of 125 copies forming the ‘Batrachian’ issue (as distinguished from the ‘Ichthyic’ issue). Additionally, this copy is one of ‘a few dozen’ reserved for early subscribers with a frontispiece initialled in pencil by Shinsuke Minegishi; it is advertised as such by a Japanese paper notice slip, tipped-in on recto of the first blank. The present edition was preceded by a ‘trial edition’, produced by Rollin Milroy in 2002, combining digital and letterpress printing methods. Item #158

I had long wanted to publish this classic American novella, but knew I would never commit to setting and printing it by hand. When David Clifford expressed an interest in printing a book, I suggested Innsmouth. Since we were making the polymer plates, and 200 copies isn’t much different for his Heidelberg presses than 25, we issued the book in two formats. I also undertook the fold-out map of Innsmouth, based on the narrator’s long, detailed description in the penultimate chapter of escaping the town. In true cartographic fashion, I included two bogus streets to catch out plagiarists; don’t go looking for Clifford Land or Tilton Avenue in Innsmouth.”

- Rollin Milroy.

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