Rich in tradition while modern in approach, Vibo has been a staple in the Kingsway area for more than 45 years.
The menu strikes a harmonious balance between authentic Italian flavours and contemporary cuisine and changes to reflect what is fresh and in season.
The warm ambiance, friendly, and professional staff make this casual fine dining restaurant the ideal setting for any occasion.

Oliver and Bonacini is a leading restaurant group in Canada which includes a range of restaurant options such as Auberge du Pommier (French), Beaumont Kitchen,  Canoe, The Rabbit Hole, Jump etc. in Toronto.

44pp, 4 duotone illustrations and 2 tipped-in b&w silver-gelatin prints. Designed by Michael Torosian. With a biography. In a protective clear acetate dustwrapper. Published in 1995 as the seventh installment of Toronto’s Lumiere Press “Homage” series, this is an exquisitely produced monograph on the great early twentieth century photographer of labor Lewis Hine and his work at New York’s Ellis Island. Limited to two hundred copies, it was designed and printed by author/publisher Michael Torosian on Mohawk Superfine paper, bound in one-quarter oatmeal linen over grey paper boards with a printed spine label, and contains two small tipped-in gelatin-silver prints of images by Hine. A pristine copy of this uncommon gem.

And Other Stories
From the Fabled Life and New York Years
of Photographer, Painter and Poet

Saul Leiter by Michael Torosian 2017

“My friend Soames was a talented artist. She and I shared our lives together in ups and downs and ins and outs. She was beautiful. She believed in my work. She was something.” So begins, with Saul Leiter’s paean to his muse, an intimate reverie on family, relationships, philosophy, and the wonder of an artistic life.

The Ballad of Soames Bantry is a kaleidoscope – Saul’s life seen through the prism of his associates, colleagues, and friends. Recollections from members of “the artist’s circle” are interwoven with period art reviews, Leiter’s poetry – published here for the first time – and predominantly, Saul’s voice – his aphorisms and personal narrative distilled from more than 130,000 words of transcription of lectures and interviews. The book’s epilogue is taken in its entirety from Michael Torosian’s conversation with Saul Leiter of August 1, 2013. The artist’s last interview.

The Reproductions
Recognized as a pioneer of color photography, Leiter was also an immensly prolific and ingenious painter. The Ballad of Soames Bantry brings together the diversity of his artistic expression in a suite of images which amplify the autobiographical narrative and celebrate a personal vision described by Anders Goldfarb as “riveting and profound, soulful and spirited.”

Twentieth-century letterpress and twenty-first century offset lithography have been combined to present a suite of 18 plates. Each image has been meticulously rendered in 10 micron stochastic four-color offset lithography on acid-free Mohawk Superfine paper which has been matt varnished. Each plate has then been individually tipped onto the page within a letterpress debossed tint block. The result is the ideal integration of art and book craft. The book is further illustrated with two Saul Leiter self-portraits printed on Somerset.

Specifications

The text has been composed in Linotype Eldorado and printed on Somerset, a 100% rag paper made expressly for this edition at St. Cuthbert Mill in England. The endpapers – a rich stock toned to harmonize with the cover plaque – were crafted to our specifications at the Papeterie Saint-Armand in Montreal. The book measures 8 1/2 x 11 1/2 inches; 72 pages.

Binding

The edition has been hand bound in full cloth in blue mohair Asahi Japanese book cloth. The cover is ornamented with a graphic plaque printed in multiple layers of varnish and gold on “Plike” stock set into the debossed cover panel.Presented in a handmade slipcase lined with Saint-Armand paper and wrapped in blue mohair Asahi book cloth. Printed in a numbered edition of 250. Numbers 1 to 50 have been retained by the Howard Greenberg Gallery.

The Pentimento project is a suite of black and white prints produced from unintentionally distressed Type 55 Polaroid negatives originally made as test-shots in the Chittagong Delta of Bangladesh, where Burtynsky photographed his celebrated Shipbreaking series. Replete with the blemishes and scars of the photographic process, the images have a raw and painterly appearance and an intimate appeal. Opening his archive to the viewer by realizing in print the intermediate stage of one of his most celebrated bodies of work, Burtynsky shines an unprecedented light on the evolution of his imagery. The result is a captivating body of work that describes the ghost image lying beneath the work’s surface:

“The image under the image: pentimento. It’s a word drawn from the scholarship of painting, and it describes when the artist has painted over a section of canvas, yet traces of the earlier image persist, reemerging over time. The under-painting rises up as a ghost into the final work, revealing the process of how the painting came to be. Borrowing the word from that context, I apply it to photography, a medium redolent of time, memory and revelation.” — Edward Burtynsky.

In 2005, Ryerson University was the recipient of an extraordinary gift – the complete black and white print archive of the New York photo agency Black Star. A collection of almost 300,000 photographs chronicling world events and personalities from the First World War to the nineteen-eighties, the archive was, in the words of Collections Curator, Peter Higdon, “the largest gift of cultural property ever made to a Canadian University.”

In celebration of this landmark acquisition, Lumiere Press presents highlights of the collection accompanied by the story of the founders of Black Star – Kurt Safranski, Ernest Mayer and Kurt Kornfeld – and their successors Howard and Ben Chapnick – a narrative told against the backdrop of the looming war in Europe, the Great Depression in America and the promise of opportunity in New York.

The Reproductions

Each photograph has been reproduced, uncropped, to preserve its essence as an historical object. To convey the subtle variations of coloration within the palette of “black and white”, the 48 photographs selected for the book have been reproduced in 10 micron stochastic four-color offset lithography on Utopia “ivory silk” paper and varnished. Four plates – portraying the founders of Black Star – have been hand-tipped into the book.

Specifications

The text and display matter have been cast in lead on the Intertype model C4 in Intertype Weiss and Linotype Memphis – both Rudolph Weiss type designs from the 1920s. The lead formes were printed letterpress by hand on the Vandercook Universal III on Hahnemuhle Biblio, an acid-free mouldmade paper. The book measures 7 3/8 x 9 inches; 96 pages.

Binding

The edition has been case-bound in oatmeal-colored Asahi Japanese book cloth. The frontispiece image – rendered in a halftone engraving and printed letterpress in gold on black Bugra paper – presents mirror images for the front and back covers. Printed in a numbered edition of 300. Numbers 1 to 150 have been retained for the exclusive use of Ryerson University.

55 pages. The Early Modernist Period, 1915 – 1923. Essay by Michael Torosian, Introduction by Howard Greenberg. A co-publication of the Howard Greenberg Gallery and Lumiere Press. A folio of Steichen masterpieces and newly discovered images published here for the first time, the book is an examination of a key period in the artistic evolution of one of the most important figures in the history of twentieth century art.

To preserve the extraordinary presence of Steichen’s printmaking, each of the 16 plates in the book has been hand tipped onto the page. Hand bound in copper-colored Asahi Japanese silk on the spine and fore-edges. A central panel of Canal rag paper, crafted to our specifications at Papeterie Saint-Armand in Montreal, has been printed in gold with a pattern extrapolated by Michael Torosian from a nineteenth-century sketch by Koloman Moser. Presented in a handmade slipcase wrapped and lined in black Asahi book cloth.

Dave Heath (b at Philadelphia, PA 27 June 1931 d. Toronto, ON 27 June 2016). Dave Heath is widely known for his highly acclaimed 1965 landmark publication; A Dialogue with Solitude, a publication of Dave Heaths early black and white street photography from the late 50’s and early 60’s photographed primarily in Philadelphia and New York cities. The first printing sold out quickly as did the second printing by Lumiere Press in 2000. It has always been a sought-after book.

Dave Heath did not create another publication until Dave Heath’s Art Show which concentrates on what we now know was the final creative chapter in Dave Heath’s life and showcases colour street portraits from the period between 2001 and 2007 when Heath switched to digital colour photography. Photographed primarily in New York and Toronto, it is the only publication ever produced that is dedicated solely to this body of Heath’s work. Comprised of over 160 photographs, Dave Heath’s Art Show exhibits the characteristic attention to detail in image selection, sequencing and layout that was his signature in A Dialogue with Solitude and through his subsequent slide shows and gallery exhibitions.

In his own emotionally charged photographs and curated slide shows, Dave Heath often explored alienation in North American society. His work draws inspiration from his own personal experiences as an orphan and as an American combat soldier in the Korean War. Heath exhibited across the United States and Canada including group and solo exhibitions at San Francisco Camerawork, Photofind Gallery (New York), Stephen Bulger Gallery (Toronto) and the CANADIAN MUSEUM OF CONTEMPORARY PHOTOGRAPHY (Ottawa). His photographs are represented in the collections of the National Gallery of Canada, the Museum of Modern Art in New York, the Art Institute of Chicago, the International Museum of Photography, George Eastman House (Rochester, NY), and the Canadian Museum of Contemporary Photography, The Philadelphia Museum of Art, The Nelson- Atkins Art Museum, Kansas City, among other institutions.

Composed in Intertype Weiss and hand printed on Mohawk Superfine. The book is illustrated with four tipped-in gelatin-silver prints: a rare portrait of Sommer by Edward Weston, and three diverse images by Sommer. Quarter bound in natural linen and paper over boards in the uniform style of the series. Thirty-five pages, 6 x 9 inches. 26 Lettered Printers-Copy Edition. May 1992. Homage Volume VI.

VIRAGEM is a collection of Ted Witek’s black and white photographs spanning ten years. In selecting for this book, designer Hilda Yasseri focussed on the sensual mystery found in many of his images. The introduction is written by Matthias Harder, Curator of Helmut Newton Foundation in Berlin. All original silver gelatin prints on fiber from original negatives by master printer Antonio Jose Costa in Lisbon.

48 Pages, 13.375” x 9.625” (Landscape format) featuring Black End Papers, Dust Jacket, Silver Foil Stamped cover, Head & Tail bands. Choice of 1 of 2 Gelatin Silver Prints from Original Negatives on Fibre.