Many of the titles published by Barbarian Press in the past are now out of print. Descriptions and publication details of some of those titles are available here for your perusal.
Please note that all of these books are
Endgrain Editions Three:
“In our field, [Peter Lazarov] is the great virtuoso of the age. ... [His work] seems to live a life of its own, dancing between image and abstraction, surface and depth, the modelled and the line, the sketch and the fully resolved, to be always a pyrotechnic display, to be evidently a pyrotechnic display before ever one can begin to recognise whatever else it might be. With this book, however, one can begin to push aside dazzlement and sense what lies beyond it. It is essential reading and viewing for anyone who wants to know what wood engraving can do today.” Simon Brett, in Multiples: The Newsletter of the Society of Wood Engravers (Vol. 5, No. 6, November 2003)
Peter Lazarov was born in Bulgaria, and studied there. He was trained in the classical tradition, centred on drawing, especially of the human figure. In 1991 he defected to the Netherlands, where he now lives with his wife and son. His engravings embrace bookplates and cards, but increasingly he is interested in book illustration and independent prints. His work exhibits an immaculate and detailed technique sometimes reminiscent of 19th century steel engraving, combined with the lustrous tone associated with eastern European work, particularly the Russian school. His approach ranges from realist pastoral engravings to semi-abstract and neo-expressionist pieces of great power, and often finds its inspiration in classical mythology and literary reference, while not being explicitly illustrative of either.
Recently, having spent some time in Japan studying mokuhan block printing techniques, his work has evolved further. His free prints, often very large indeed, typically combine blocked areas of pure colour with engraved images of extraordinary fineness and delicacy, and in the frontispiece of this book, traditional wood engraving is combined with a background of pressboard printed in contrasting colours. The artist has also created an unusual abstract pattern paper for the covers.
The blocks presented some new challenges in the presswork: the earlier blocks, from Lazarov’s Bulgarian days, were engraved on whatever wood could be found; they are endgrain blocks, but on a variety of different woods, and varying considerably in thickness. They are also much larger than most engravings Jan has printed before, which will explain our introducing this new larger format. In order to print them adequately, we recently added a Vandercook Universal III, which has a bed size larger than that of our Vandercook Universal I, to cope with some of the work.
This is the first of the Endgrain Editions to appear in the larger format.
“Another magnificent production. Cheers!”
“I have just spent
a lovely 1-1/2 hours poring over it, and enjoying every minute. It's
a beautiful job ...Congratulations!”
“Thank you for sending Endgrain 3 - well
worth waiting for. Superb as usual.”
“What a stunning production; I had no
idea it would be grand, in every sense of the word! I am so pleased I got
in on #1 and subsequent issues. Thanks
a truly marvelous work.”
“A beautiful book.”
“The engravings are striking
and grow in interest each time I look at them. Your work is, as usual, of
first class quality. Excellent.”
“ ... the Lazarov volume is being thoroughly enjoyed. It is a stunning
combination of his unique artistry and exceptional book design and printing.”
“I just received my copy of Endgrain
Three: Peter Lazarov and just
wanted to say that it is almost frightening in its perfection. What an
absolutely stunning book! Everything about it is so well thought out
from the bookcloth to the paper to the coloured ink for the plate titles.
The printing is faultless and Peter Lazarov's wood engravings make one
drool. I can't even begin to fathom the amount of work that went into
even the smallest of the engravings. I can't say enough! Thank you,
thank you, thank you.”
Deluxe Edition: Hand set
in Joanna roman and italic, with Optima Medium for display. Approximately
fifty engravings printed from the wood. Yellow, sienna and black on Zerkall
Cream Rough Wove and Book White Wove papers. Frontispiece in yellow, sienna
and black. Hand bound by Simone Mynen in quarter sienna leather with patterned
paper over boards, gold-stamped leather label on spine, with a signed
and numbered proof of the frontispiece in a handmade paper folder. Slipcased.
Regular Edition: Quarter
bound by Rasmussen Bindery in Sienna cloth and patterned paper, printed
label on spine.