catalogue 61 - contemporary book arts

Priscilla Juvelis, Inc. (207) 967-0909 [email protected]

Priscilla Juvelis – Rare BooksCatalogue 61 - Contemporary Book Arts

1. Bart, Harriet. The Poetry of Chance Encounters. Minneapolis,MN: Mnemonic Press, 2003. $3,200One of 35 numbered copies, all on Rives BFK, from a total edition of 40(35 + 5 artist proof copies). Page size: 9 inches x 6-1/8 inches; 42pp. Boundby Jill Jevne: full brown box calf, matching calfedged and gold paste paper by ClaireMaziarcyzk, matching calf over boards slipcase.The book contains sixteen visual poems onmulti-color fields, each imprinted with an icon in22 karat gold. Each printed page has a total of fivepress runs, including a varnish over the icon andfield with the impression of the gold leaf impart-

ing an embossed effect tothe icon. The basic type-face is Lydian, a stressedsans serif chosen to comple-ment the treatment of im-age and type throughoutthe book. The selectedtexts include: “Alchemy of

the Word” from A SEASON IN HELL by Arthur Rimbaud, autographmanuscript of Emily Dickinson, “Visual Poetry: Altered Text by HelmutLohr,” “Daffadilly: A Concrete Poem” by Phillip Gallo, Excerpt fromGregg Shorthand: A light-line phonography for the million, and “WalkingPoem” by Harriet Bart and David Cole, among others. Each text, or musicalscore, has an image, according to the artist / author, weaving weights or glassbowls or centuries old figurines of household gods or goddesses, printedin gold. The artist’s statement reveals this a contemporary book ofdevotions, an illuminated manuscript of the surrealist games of chance. Itbrings together in evocative pairings of image and text, the artist’s love ofthe written language and her passion for the found objects which have beenpart of the iconography of her sculpture for years. (9804)

New from Caliban PressWith Volvelle

2. Caliban Press. Thoreau, Dickinson, et al. Adirondack Sutra.Canton, NY: Caliban Press, 2013. $375Artist’s book, one of 48 copies, all on various handmade papers, mostlyfrom La Papeterie St.-Armand, initialed and numbered by the publisher,Mark McMurray on the colophon. Page size: approximately12-¾ x3-15/16 inches, but some smaller; 50pp; 25 leaves plus 2pp. notes. Thecolophon notes that this book was printed by Mark McMurray andinterns Elizabeth Vitek and Rebecca Doll with additional presswork bystudents Elizabeth Cashin, Erika Davin and Nicole Porter. Text is printedfrom metal and wood types in Caliban Press collection, including newadditions of Samson uncial by Victor Hammer and Legend by FriedrichH.E. Schneidler. Many of the papers used have been dyed, dipped, and/or floated in an indigo dye bath, done with the assistance of Velma Bolyard.Additional support for this project came from St. Lawrence University“Crossing Boundaries: Re-envisioning the Humanities for the 21stCentury” generously funded by the Andrew W. Mellon Foundation.

Additional enthusiastic sup-port was received from Pro-fessor Mark MacWilliams’“Buddhist Traditions”course at St. Lawrence Uni-versity.

SUTRA is a Sanskritword meaning aphorism, say-ing, or collection of same. The text is by and drawn from various sourcesincluding H.D. Thoreau, W.C. Bryant, E. Dickinson, A. Casline, as wellas Indian, Tibetan, and East Asian Sutras, and inspired by the AdirondackMountains region in Northern New York. The format was inspired byancient Indian sutras written on palm leaves, the traditional material usedbefore the introduction of paper. Even after paper became common theTibetans preserved this oblong format, which is called “pecha” (from theSanskrit: pothi). The opening page / leaf (after titlepage) is a paper volvelle-mandala using copies of maps of the Adirondacks and dyed paper (3 layers)to make the volvelle. Some pages are Japanese rubber stamps, some arecollaged, and some are printed, with rubber stamps and collaged. Some areprints (maps) and the penultimate page is Nepali fern handmade paper.These are beautiful images and a witty and lovely assemblage of aphorisms,i.e. “Swimming with snapping turtles is more fun than it might at firstseem.” on the verso of a rubber stamp image of a turtle. There is the(imaginary) exchange labeled “Customs & Border Patrol TemporaryHungry Ghost Traffic Checkpoint: Officer: Citizenship? Traveler: Mind-ful sentient being. Officer: Destination? Traveler: Am I being detained, oram I free to go? “The book is multi-colored and multi-textured and anhomage to nature and the Adirondacks. (10690)

With 3 Extra Suites + Drawing

3. Cheloniidae Press. Louys, Pierre. Leda or In Praise of theBlessings of Darkness. Translated by David Ball from the originaltext. Illustrated by Alan James Robinson. Easthampton, MA:Cheloniidae Press, 1985. $2,800State proof edition, copy #1 of 15 deluxe copies with designer binding byDaniel Kelm, with original drawing, three extra suites, all on Saunders hotpress watercolor paper, the etchings on hand-made Gampi Torinokopaper, one of 15 copies from a total of 75, each signed and numbered bythe artist: 60 regular copies and 15 deluxe copies (this copy). Page size:

8 x 11 inches; 46pp. Illustratedwith five drypoint etchings andseven wood engravings by AlanJames Robinson each signed andnumbered. The type was set byMackenzie-Harris and printedby Dan Keleher at Wild CarrotLetterpress; wood engravingsprinted by Harold McGrath andthe drypoints printed by AlanJames Robinson. The book wasdesigned by Alan JamesRobinson and Arthur Larson.Bound by Daniel Kelm: full whitealum-tawed pigskin, the frontpanel with inset bas relief papercasting, in white against bluepaper ground with darker blue


border, taken from an original wax sculpture by Alan James Robinson;torso of nude Leda with swan between her legs; housed in custom-madetan cloth clamshell box with blue paper linings, three -part fold out withinset in one to accommodate bas relief on binding cover, signed by DanielKelm on the colophon of the book. The clamshell box also houses theoriginal drawing by Robinson of the swan and Leda, 5 state proof etchings,13 proofs of the wood engravings, and an extra suite of the 5 etchings and7 wood engravings, as well as a copy of the original prospectus. Box hassome soiling at edges, book and extra suites are fine. (10675)

Unique Binding by Samuel Feinstein

4. Cheloniidae Press. Louys, Pierre. Leda or In Praise of theBlessings of Darkness. Translated by David Ball from the originaltext. Illustrated by Alan James Robinson. Easthampton, MA:Cheloniidae Press, 1985. $2,750Signed, Limited Edition, all on Saunders hotpress watercolor paper, oneof 60 copies from a total of 75, each signed and numbered by the artist. Pagesize: 11 x 8 inches. Bound by Samuel Feinstein: full blue-green buffaloleather from Remy Carriat in France; covers tooled in 23K gold leaf andcarbon in single filets, the gold gilt filet connecting the eggshell lacquer ovoidinlays on each of the panels, the carbon filet on the back panel only, spinesmooth with author and title in gold gilt, small circle surrounded by goldgilt separating them; “sunken” grey suede doublures with black moroccoborder with tooled line between black and blue-green leathers, grey pigsuede flyleaves, eggshell lacquer panels were inlaid in the front and backpanels, in black and white, top edge gilt, blue and grey silk headbands,

signed “Samuel Feinstein” in blind on the lower edge of the back panel,housed in custom-made grey cloth over boards clamshell box with title,LEDA, stamped in gold gilt on blue buffalo label affixed to spine of box.

Illustrated with five drypoint etchings and seven woodengravings byAlan James Robinson all housed in custom-made cloth and pigskinclamshell box. Text printed by Dan Keleher at Wild Carrot Letterpress;woodengravings printed by Harold McGrath; drypoints printed by AlanJames Robinson at Cheloniidae Press. The type was set by Mackenzie-Harris, San Francisco. Samuel Feinstein’s elegant and simple binding refersto the birth of Leda’s twins as a result of her seduction - or rape - by Zeuswith the two oval eggshell lacquer inlays. The blue leather of the bindingworks perfectly with the blue in Robinson’s drypoints. The subject ofmuch erotic art through the centuries, Leda and the Swan, is story thatcontinues to fascinate. (10691)

First Book of the Press

5. Cheloniidae Press. Poe, Edgar Allan. The Raven. Etchingsand Woodengravings by Alan James Robinson. Easthampton, MA:Cheloniidae Press, 1980. $3,200Signed, limited edition, one of 100 copies from a total of 125 copies all onarches paper, 100 regular issue, 25 deluxe issue, both long out of print.

Illustrated with 5 etchings and2 woodengravings, each of theplates is signed and titled inpencil by the artist, who printedthe etchings as well. In addi-tion, this copy has laid in anartist proof of the “Crow Quill”on the title page and two proofsof the “Raven” that appears onthe colophon. The text is 24pt.Centaur hand set and printedby master pressman, HaroldMcGrath. The book is boundby David Bourbeau in a spe-cially painted cloth over boardsand housed in a black clothclamshell box, black moroccospine, author, title and pressparaph in gilt. The text is hand-set and printed by Harold McGrath in Bruce Rogers lovely 24pt. Centaurtype in black and red ink.

This bold re-telling of Poe’s classic tale is the first book by Alan JamesRobinson and his Cheloniidae Press. It is illustrated with five full-pageoriginal etchings and two original woodengravings. The book has long beenout of print, with copies infrequently turning up on the secondary market.It was an auspicious beginning and subsequent work by this talented artistconfirms his place in contemporary book arts. (10669)

Inscribed + 2 Drawings + 1 Watercolor+ 2 Extra Suites

6. Cheloniidae Press. Twain, Mark. The Jumping Frog.Woodengravings by Alan James Robinson. [Easthampton, MA]:Cheloniidae Press, 1985. $4,000One of 15 Artist Proof copies, with one extra suite of the woodengravings,plus a suite of 15 state proof engravings, plus one rejected engraving, plusthree proofs of portrait etchings of Twain, plus 2 pencil drawings of frogsby the artist, plus one original watercolor of the jumping frog, each signedand numbered by the artist, plus a copy of the prospectus. Additionally,there is an inscription by the artist on the front flyleaf below a pencil sketchof Jim Smiley (character in the story whose engraved portrait appears onthe fourth page) by the artist. The regular edition was limited to 250 copiesand is bound in green paper wrappers. All editions are printed on Saunderspaper in Centaur and Aright types at Wild Carrot Letterpress with theassistance of Arthur Larson. The 15 woodengravings printed by Harold

Patrick McGrath.Page size: 6 x 8-½inches. Bound byDaniel Kelm: fullundyed Oasis withonlays of the frogin repose — beforethe jump on thefront panel and af-ter the jump on theback panel, withdoublures showingthe frog in mid-jump. Onlays ingreen oasis of thefrog jumping are on

the front and back pastedowns. Housed in linen clamshell box with pull-out portfolio for extra suites and the book. This Cheloniidae edition of theJUMPING FROG is from MARK TWAIN’S SKETCHES, NEW ANDOLD (1875). It contains three versions of this notorious and celebrated


tale: the original, the version translated into French (inadequately so,according to Twain) and the version “restored to the English aftermartyrdom in the French” by Twain. The after-word, “The PrivatePrinting of the ‘Jumping Frog’ Story” by Samuel Clemens, first appearedin the NORTH AMERICAN REVIEW (1894). (10670)

7. Davidson, Laura. Vaso. Boston: 1994. $850One of 20 copies each signed and numbered by theartist. Page size: 6-¼ x 4-¼ inches. Bound: paintedred boards with black leather spine, ceramic laid ontofront panel in white with beige border surrounding ablack antique vase with the title in black lettering,screwed on with two brass screws. Illustrated with10 woodcuts that are cut-out and onlaid onto blackfrench-fold paper with text written by the artist inwhite identifying the antique vases, e.g. “EtruscanVase/Villa Giulia, Rome”. Fine. (6636)

8. Davidson, Laura. Stein, Gertrude. Tender Buttons, tenderly.Boston: 2006. $1,000Artist’s book, one of 24 copies only, each on Frankfurt paper, each copysigned and numbered by artist, Laura Davidson. Page size: double-sidedpages are each 1-¾ inches in diameter; 28pp. Bound: each double-side page

is hinged withpink silk ribbonforming an accor-dion-style bind-ing housed in abrass box mea-suring 2 x 2 x 5/8

inches, 7 buttonsof various colors and shapes and sizes are “sewn” onto the top of the brassbox lid, box lined with paper containing additional text, new.This bookpays homage to Gertrude Stein’s 1914 work TENDER BUTTONS. Thetext is typed on Frankfurt paper. The illustrated “buttons / pages” arepainted with ink and wash. Text selections include, “Enthusiastically /hurting a / clouded yellow / bud and saucer,” and “water raining” and “Water/ astonishing / and difficult / altogether / makes a / meadow and / a stroke”among others. This is a delightful book - Laura Davidson’s interpretationof Stein’s word play is perfect. (9922)

9. Ediciones Dos Amigos. Carriego, Evaristo. Misas Herejes - LaCancion Del Barrio. (Heretic Masses - The Neighbourhood’sSong). Buenos Aires: Ediciones Dos Amigos, 1992. $3,200One of 17 copies, the total edition, 15 on cream Richard de Bas paper and

2 on white Richard de Bas paper,all signed by the artist, MirtaRipoll, the publisher, SamuelCesar Palui, and the printer,Ruben R. Lapolla on the colo-phon page. Page size: 15-¼ x 11-¼ inches; 64pp. Bound: loose inoriginal wrappers as issued withetching by Aida Barballo on thefront wrapper, housed inpublisher’s brown cloth overboards clamshell box with corkpaper on front and spine reverseprinted with title and author,artists, and publisher’s nameson front and author’s and artistsname on spine (author in largetype descending down spine),fine. The text is printed in 20pt.Erasmus in a soft brown; theinitial letters designed by Mirta

Ripoll are in an elegant blue with title of each poem letterpress printed inthe same blue; the title page is printed in black as are the dedication, tableof contents, and colophon. There are 12 original full-page etchings printedin color to accompany the 11 poems. (9781)

English Naturalist William Henry Hudson’sLONG AGO AND FAR AWAY

10. Ediciones Dos Amigos. Hudson, Guillermo Enrique. AllaLejos Y Hace Tiempo. (Far Away and Long Ago. A history of myearly life) Two Volumes. Buenos Aires, Argentina: Ediciones DosAmigos, 2004. $1,500One of 45 copies, all on cream Velin d’Arches paper, signed in pencil bythe artist, Alicia Scavino on page 119 of Vol. I. Illustrated with 11 full andhalf-page etchings and aquatints by Alicia Scavino. Page size: 10-3/8 x 13-¾ inches; Vol. I, 146pp; Vol. II, 146pp. Bound: loose as issued in originalpale green paper wrappers, housed in cork over boards clamshell box withtitle in green on spine, fine. Translated from English by Fernando Pozzoand Celia Rodriquez de Pozzo into Spanish, this beautiful edition containsimages of the natural world, flowers, birds, animals, sometimes with theboy narrator. It is set in 12point Ronaldson and printed letterpress in threecolors (green for chapter numbersin Vol. I, red for chapter numbersin Vol. II, green for chapter initialletters, text in black) by Ruben R.Lapolla under the direction ofSamuel Cesar Palui and ErnestoLowenstein. William HenryHudson (1841-1922), author, or-nithologist and naturalist, wasborn in Argen-tina to U.S. par-ents. At age 28he moved toEngland wherehis ornithologi-cal titles earnedhim renown.This autobio-graphical reminiscence of his youth in Argentina rivals his novel, GREENMANSIONS, as his best known work. His scholarly efforts were noteclipsed by his literary career. He was a founding member of the RoyalSociety for the Protection of Birds and is considered a leading figure in theback-to-nature movement of the 1920’s and 1930’s. Claimed by thecountry of his birth, Argentina, as part of their literary heritage, Hudson’stext is here presented in an edition worthy of it. (9721)

11. Ediciones Dos Amigos. Pablo Neruda. Epitalamio - una cartaen el camino. Etchings by Alicia Scavino. Buenos Aires: Ediciones

Dos Amigos, 1989. $2,500Artist’s book, one of 50 copies, all onCanson paper in several colors (blue,cream, beige, grey, lavender), signed bythe artist on each of the two etchings inpencil and dated “88”. Page size: 9-13/16 x 6-½ inches; 32pp. Bound: loose asissued in red wrappers printed in blackwith author and title; housed in cus-tom-made orange cloth over boardsclamshell box with “a sus amigo” printedin dark orange and the name of the pressand paraphe, box a bit rubbed, but bookis fine. These two poems by PabloNeruda, printed by Ruben Paul Lapollain black, red, green, blue, and brown ink


(often two colors per page) were set by hand by Samuel Cesar Palui in 12ptGaramond. Ernesto Lowenstein oversaw the printing of this lovely NewYear’s greeting for friends of the press. This is a lovely book of versecomplemented with two stunning etchings by Alicia Scavino - mystical,magical, and a loving homage to the poet. (10693)

12. Ely, Tim. Scighte by Joseph Napora. Ilustrated by Tim Ely.New York: The Poote Press, 1987. New York: The Poote Press,1987. $500

One of 85 copies on handmadepaper by Ruth Lingen and KatherineKuehn, hand set in Bodoni type,magnesium line cuts, printed bythem damp on a Vandercook proofpress. Bound by Tim Ely in a copticbinding of paper over boards withan original line cut hand coloredwith green and red morocco over

spine stitching. The pages are pink printed in black; the line cuts in yellow,black, brown, red and other earth colors; the poetry about the earth.American poet, Joe Napora, has collaborated with noted book artist,Timothy Ely, Ruth Lingen, and Kathleen Kuehn to create a book ofextraordinary harmony and beauty - an exploration of textures, colors, andwords always grounded by Tim’s mysterious maps. The result: a beautifulbook, now out of print and increasingly difficult to find. (10692)

13. FitzGerald & Co., Vincent. Jelen, Nicolette. A Dog Story. ATail Without Words. New York: Vincent FitzGerald & Company,1987. $3,000First Edition, one of 20 copies only, with 30 original etchings, a combina-tion of mezzotints, aquatints, drypoints, and linocuts, all by the artistNicolette Jelen, pulled by the publisher, Vincent FitzGerald. This is a story

without words (in themanner of Lynd Ward)in four sections: “ThePoint of View of theHouse,” “The Point ofView of the Pool,” “ThePoint of View of theTree,” “The Point ofView of the Dog.” Pagesize: 9 x 12 inches, 72French-fold leaves.Bound: Japanese stylebinding in purple andgreen Japanese cloth byZahra Partovi and housedin matching fold-overcase, near fine withscratch on front ofslipcase showing trace ofsunning at extremities.Witty and charming, oneof the splendid publica-

tions from Vincent FitzGerald, now out of print from the publisher. (4161)

14. FitzGerald & Co., Vincent. Joyce, James. Epiphanies.Interpreted by Susan Weil and Marjorie Van Dyke. New York:Vincent FitzGerald & Company, 1987. $12,500One of 65 copies only, 50 in the edition for sale and 15 Artist’s Proofs,all on Moulin du Gue paper and Japanese papers, with 62 etchings,employing over 150 plates, original watercolors, collage and hand cutting.Collage by Vincent FitzGerald and Zahra Partovi, etchings printed byMarjorie Van Dyke assisted by Maria Luisa Rojo at the PrintmakingWorkshop. Lithographs editioned by Marjorie Van Dyke with Rhae

Burden. Calligraphy by Jerry Kelly. Letterpress by Dan Keleher andBruce Chandler at Wild Carrot Letterpress in 40 colors. Type set by DanCarr and Julia Ferrari at the Golgonooza Letter Foundry. Page size: 12 x14 inches; 94 leaves, 3 of which are double folds, one printed page looseas insert (Dreams section), two fold-out images (Death section). Bound:loose as issued in original wrappers in hand-made box by David Bourbeauat The Thistle Bindery in Japanese hand-made silk woven for this box, withincised line of Japanese tea paper showing profile of Joyce, spine of boxslightly sunned, book fine.

Joyce’s EPIPHANIES contains the previously unpublished writingsin his early notebooks that are the basis for the rest of his work. TheEPIPHANIES are astonishing fragments of dreams, overheard conversa-tions, and particles of experiences. In making the book, the artists andpublisher divided THE EPIPHANIES into four sections: “Dreams,”“Games,” “Planes,” and “Death.” Each Epiphany is printed on a separatepage with the page number printed in a different color. The four printedIntroductions to the image sections each have printed on them, in the samecolor as the actual page number, all the page numbers that relate to thatimage section. Marjorie Van Dyke developed the images for the dreams andthe games sections; Susan Weil developed the planes and death sections.These paragraphs and accompanying images take the reader / viewerthrough a series of Joyce’s experiences as a boy, seeing and overhearingthe world around him.

Selected by the Independent Curators for the Franklin Furnaceexhibition “Contemporary Illustrated Books” as one of the 50 bestillustrated books from 1966-1988, it was also featured in the BostonAthenaeum exhibition, “Artists of the Book, 1988: A Facet of Modern-ism.” This important book was sold out within six months of publicationand is now infrequently available on the secondary market. It is hard tooverstate the importance of this book in contemporary book arts. It is oneof the first, if not the first, to entice the reader / viewer with texts and imagesthat they must manipulate to fully see - something now a relativelycommon occurrence in book arts. (10666)

15. FitzGerald & Co., Vincent. Rattray, David. A Red-FramedPrint of the Summer Palace. Poems with drawings by PeterThompson. New York: Vincent FitzGerald & Company, 1983.

$350One of an edition of 150 on Hosho paper, signed in pencil by author andillustrator, printed at the WildCarrot Letterpress employingPalatino type. The title pagecalligraphy is the work of JerryKelly. The illustrations have beenprinted on Moriki paper at theMeriden Gravure Company. Theedition is bound by GerardCharriere and Carol Joyce. Pagesize 6 x 8 ½ inches. Bound: redlinen with gray title label, title printed in silver, fine. Title page printed in


red and black with publisher’s monogram VFG. Illustrated with facsimilesof four drawings by Peter Thompson in pencil, pen and gray and greenwashes. Thompson’s sensitive drawings are a wonderful complement toRattray’s poetry. (9021)

16. FitzGerald & Co., Vincent. Rattray, David. To the Blue Wall.Etchings by T. Kurahara. New York: Vincent FitzGerald &Company, 1993. $2,500One of only 50 copies, all on Rives BFK and Dieu Donne’ handmade paper,each signed and numbered by the artist. Page size: 9 x 9 inches. Bound byZahra Partovi: wood maplecovers by Dennis FitzGerald,Coptic-style binding, open-ing to full circle, housed incustom box by BookLab, Inc.,fine. The etchings wereeditioned by Marjorie VanDyke and Vincent FitzGeraldat The Printmaking Work-shop. The letterpress inlinotype Palatino is by Dan Keleher at Wild Carrot Letterpress. Thecalligraphy is by Jerry Kelly. T. Kurahara, well-known artist, is Professorof Painting at Pratt. This is a very beautiful book, with a strong colorpresence that comes as a shock upon opening the austere maple binding!The artists says, “Red is always life, bright yellow presence. Blue is water:oceans, sky and air. Silver illuminates; brown fashions matter and greenspass beyond spring. Greys give us balance; the darks are mysteries, thetones variable; intensities reveal breath.” (7892)

First Book of the Press

17. FitzGerald & Co., Vincent. Rumi, Jalaluddin Mohammad. TheStory of the Parrot and the Merchant. Interpreted by Zahra PartoviWith Drawings by Don Kunz. New York: Vincent FitzGerald andCompany, 1981. $350First edition, first book of the press, and the first of the extraordinary run

of translations of the work of the 13thcentury Persian poet, Jalaluddin MohammadRumi, one of 200 copies all on Rives, allhand-numbered in pencil, 50 of which aresigned by the artist and contain an extra suiteof the five woodblock prints. Page size: 6-½ x 9-½ inches; 36pp. Bound: tan paperwrappers, author in deeper brown and titlein purple on front cover and author and titlein deeper brown on spine, housed inpublisher’s gray slipcase, fine. The text isletterpress in Arrighi, Bembo and Rhapsodietypes at Kelly Winterton Press. An elegant

harbinger of the great things to come from this renowned maker of artist’sbooks. (2605)

New from Flying Fish Press

18. Flying Fish Press. Cat’sCradle. Berkeley, CA: Flying FishPress, 2013. $950Artist’s book, one of 50 copies, all onMohawk Superfine paper, signed andnumbered by the artist / author / pub-lisher, Julie Chen. Page size: 5-3/8 x 8-1/16 x 1 inches. Bound by the artist:carrousel style book with grey clothover boards, title printed on paper onfront cover and on spine, grey gros-grain

ribbon ties. Julie Chen’s inventive textcenters on the nature of existence fromidea to form and employs the book struc-ture itself as a visual / physical model ofconcepts portrayed in the text. The bookas object can be displayed circularly orlinearly. This dual display feature con-tributes its own conceptual meaning tothe book as a whole. The text was printeddigitally and laser cut. Each of the fourpages of text is overlaid with a “cat’scradle” of grey cloth connecting words essential to the text. Below the textpage is another page of “cat’s cradle” cut-outs in grey cloth with a fourthblank page as the base. An intricate book, it is at once provocative andsatisfying. (10665)

19. Flying Fish Press. Chen, Julie. True to Life. Berkeley, CA:Flying Fish Press, 2005. $1,800First Edition, limited to 100 copies, each signed and numbered by theauthor / artist, Julie Chen. The book is printed letterpress using acombination of pressure plates, woodblocks, and photopolymer plates.It was assembled and bound at Flying Fish Press with assistance fromMacy Chadwick. The book is a tablet that sits on its own easel, housedwithin the box holding the book. The tablet, covered in deep red silk,

fastened with brass in eachcorner, has an opening 10-½x 6-7/8 inches covered withplexi, through which isviewed the text. Along eachvertical side of the box arewooden “arrows” each num-bered in turquoise on an or-ange ground, reading 2-12,each representing a page. Thebox measures 14-7/8 x 8-¼inches. To view the pages,

the reader must push up both the “arrows” marked “2” or “3” etc. Eachpage is illustrated with abstract images, very organic in nature, as well asa partial view of a long, continuous visual timeline. The covers - right andleft - fold open and there is an onlay image, 6-7/8 x 1-7/8 inches in shadesof green on board with title and author printed in black on tobacco coloredpaper the same width of the image. Once again, Julie Chen has pushed theboundaries on the definition of a book and created a provocative meditationon time and space and how life interacts therein. (9536)

20. Flying Fish Press. Chen, Julie. View. Berkeley, CA: FlyingFish Press, 2007. $1,675One of 100 copies, each signed and numbered on the inside of the box bythe author, artist, and designer, Julie Chen. Box: 13-¾ x 6-¼ x 4-¾ inches,wrapped in dull gold and oyster white Japanese book cloths with titleprinted in black on green paper label; closure in green paper and oyster-colored book cloth over book board with title printed in black; closure withmagnet and correspondingmagnet in case. The box con-tains two books: MISE ENSCENE and AFTERIM-AGE, both printed letter-press. MISE EN SCENE isprinted on a single long sheetof grey paper with laser cutouts. The page is inserted be-tween the top lighter greypage and the bottom grey-green page. The cut-out text on gray paper givesthe illusion of floating freely in space when the book is opened. MISE ENSCENE is bound accordion style with green cloth over boards with a lightergrey-green cloth and paper label in green printed with title in black and sewn


with grey thread on theexterior edge. AFTER-IMAGE text is printed inblack on grey-green pa-per that is bound accor-dion style between doublefold of green papersilkscreen printed withtree limbs in darker green.The text is behind Mylarand appears in laser cut-outs in the page spread.The two books are housedon each side of the box. Inthe center of the box is astill life of water and trees. This diorama is made of concrete, resin withtrees made for architectural models and is behind Plexiglas that is hingedat the top and can be opened from the bottom. The execution of this book/ book object is flawless, but not simply as a display of virtuosity. Rather,the physical object is designed to engage the reader / viewer in conveyingher text, and she succeeds admirably. (9927)

21. Glaister, Donald. A Few Questions. Vashon, WA: 2009. $3,500Artist’s Book, one of 10 copies, each signed and numbered by the author.Page size: 8 inches square, 15pp. Bound by the artist, Donald Glaister,

exposed sewn spine, Mylar and collage. The text, a short essay of 99 words,on the nature of being and the history of time, is laser printed in gill sans.The pages are Mylar encapsulated, with interior collages of variousmaterials. Mr. Glaister has created the ultimate deconstructed book. Theartist states, “Description: A Few Questions is an informal exploration ofthe nature of matter, existence and time, in a prose piece of 99 words. Thebook is a progression of polyester encapsulations, similar to those usedin document conservation, which are bound with paper hinges. The sandedfilm encapsulations envelop paintings, drawings and type on paper andtransparent film, layered to produce an effect of depth and space withineach page. The binding is made with cover boards made with encapsula-tions similarly constructed. (10203)

Pop-Up

22. Gross, Roni. the same... and yet. [New York: 1999]. $450One of 22 copies, each signed and numbered by the artist, all on Somersetand Hiromi papers, 20 copies for sale (2 reserved for the artist). Page size:8 x 5 inches, 12 panel accordion. Bound: tan Japanese cloth over boards,

printed in green and black withimage of green apple, “the same”printed in black on tan label onfront, “and yet” printed in blackon green label on back. In glassine,plus green and yellow folding boxdesigned by Peter Schell. The text

is letterpress from magnesium and polymer plates. It was designed on a

Macintosh and printed in Gill Sans. The photography is by YukariHayashida and the text by Ian Ganassi. The drawings, printing and bindingare by Roni Gross. Here, a deceptively simple structure turns morecomplicated on closer examination. One side of the accordion has simpledrawings that become more and more specific along with an accumulatingtext, while the other side uses photography to convey a movement languagewith an accompanying commentary. The images are pop ups (or indents)alternating on each side. The artist describes the book as an “examinationof how we use language to create a memory which we believe will make timestand still” so, “Green apple in a yellow dish” eventually becomes “greengranny smith apple, waxed and shiny, with white freckles, and, missinga stem hole”. (6940)

23. Hanmer, Karen. Celestial Navigation. Glenview, IL: 2008.$725

Artist’s book, one of 30 copies, all on Somerset Velvet paper with hingesof Dover book cloth, signed by the artist / authoron the hinged triangular hinged wrappers. Pagesize: 6-¾ x 5-¾ x 5 inches folded, 17-1/5 x 30inches open; 16pp. reading as traditional book,6 of the 16 pages are double folds with another4 pages each contained in the folds. The con-struct is of ink-jet printed, hinged triangles withtext and images printed against a photograph ofthe Milky Way. The text is a poem by Hanmerand concerns looking to the night sky to recap-ture the memory of a long lost beloved. Theimages are an illustrated catalogue of instru-ments used across the ages to navigate by thestars as well as a 19th-century astronomical chart. If the book is unfoldedflat, it references historical star charts or contemporary NASA compositephotographs. It can also be folded into myriad sculptural shapes. Perfectlycapturing the mystery and wonder of the night sky, Ms. Hanmer escortsthe reader / viewer on a marvelous journey. (10346)

24. Indulgence Press. Melville, Herman. Bartleby the Scrivener,A Story of Wall-Street. Calligraphy by Suzanne Moore.[Minneapolis, MN]: Indulgence Press, 1995. $550One of 100 copies, all on Arches MBM mould made paper, each hand-number and signed in pencil by Wilber Schilling, who designed, printed,and bound this book, the first letterpress edition by Indulgence Press. Pagesize: 12 x 6 inches; 56pp. Bound by the printer: “sew-boards,” debossedgrey paper from deep etched plate (taken from an enlarged section of the

frontis piece image of thebricked in window); thenattached to a 20pt museumboard, using an etchingpress. Grey stamped paperover boards, red cloth spineand tips, title printed inblack on spine, handmadeochre colored end sheets byMacGregor & Vinzani. Il-lustrated with frontispiecephotograph reproduced as a

Kallitype print on Kitakata paper editioned by Mr. Shilling. In addition,noted book artist, Suzanne Moore, has lettered the phrase, “I would prefernot to”. It is printed in ochre from polymer plates in an increasingly largesize and in an increasingly unreadable page position starting on page 16 andending with a faint ochre outline on the colophon page. The text of thecolophon is shaped to fit within the “p” of prefer. The text was composedin 12 point Bulmer, using the Monotype System, with the assistance ofKent Kasuboske at the Clearing Press. It was printed at the Janus Pressby Mr. Schilling.

Originally published anonymously in two parts in 1853, Melville’sstory is not simply reprinted here. Rather, the aching phrase, “I would


prefer not to” is beautifully rendered in Ms. Moore’s extraordinary ochrelettering, superimposed on the black type, the letters increasingly large andillegible as they slip off the page - as Bartleby slips from life. Mr. Schilling’svision of Melville’s story is lovely to look at and hold and read, but moretellingly is an unobtrusive but challenging interpretation of a classic.(10181)

25. Jackman, Sandra. Timesnare. [New York, NY]: 2013. $4,500Unique artist’s book, on various acid-free papers, including Japanese and-made papers, signed and dated, “Sandra Jackman 2013”. Page size: 9-½ x12-½ x 1-¼ inches; 106pp. + 2 loose leaves. Bound: grey cloth over boardswith original pen and ink drawing, with collaged paper at the top quarterby the artist / author onlaid to the front cover, another original pen, ink,watercolor, collage onlaid to back cover, signed by the author and dated onthe back cover painting, title stamped in red on spine, author / artiststamped in red on back panel below onlaid art; housed in custom-made greycloth over boardsclamshell box withtitle stamped in red onspine, original ab-stract oil painting withPolyurethane protec-tion inset into frontpanel of box. Endpa-pers decorated by theartist in ink with formsthat are letter-like.Pages are hand-let-tered in ink, often withoriginal color photo-graphs and otherpaintings, pieces ofpaper, bits of detritus

26. Janus Press / Theodore Press. Shakespeare, William. KingLear. Illustrated by Claire Van Vliet. West Burke, VT: TheTheodore Press / The Janus Press, 1986. $2,000One of 160 copies, all on handmade paper by Katie MacGregor & Bernie

Vinzani and signed by theartist, Claire Van Vliet. Pagesize: 14-¼ x 10-5/8 inches.Illustrated with 39 originalwoodcuts by Claire Van Vlietand printed by MichaelAlpert of the Theodore Press,this is an extraordinary edi-tion of Shakespeare’s greattragedy. The text follows thatof the First Folio and was setand printed in 22 point Spec-

trum with Times New Roman for titles. Woodcuts editioned by the artistat the Janus Press. Bound: birch boards decorated by the artist with pigskinspine, housed in grey cloth over boards publisher’s slipcase and black clothover boards chemise. A beautiful book. (10674)

An ABC of Phobias

27. Kingston, Peter. A to Z. Sydney: Peter Kingston, 199l. $2,500First Edition, one of 20 copies, all on Rives paper, each signed by Kingston.Page size: 11-1/8 x 13-1/8 inches. Illustrated with 29 hand-colored etchings:26 images in letter form plus title pageand two colophon etchings, endpapershand printed with potato-print lettersin multi-colors. Printed by DianaDavidson and James Whitington atWhaling Road Press. Bound: yellowbuckram stamped in red and black afteran original design by the artist / author.This is an ABCedary of phobias, in-cluding BIBLIOPHOBIA, whichshows falling books (all in the shape ofthe letter B) and a terrified face in thecorner looking up at the deluge, Triskaidekaphobia (fear of the number 13)showing a paraphrase of Leonardo’s “The Last Supper” in the shape ofthe letter T, fine. (3313)

28. Krause, Dorothy Simpson. Rivers of Grass. An Homage toMarjory Stoneman Douglas. Boca Raton, FL: Minerva: The Pressat Wimberly, 2012. $875One of 36 copies, on Yu Kou heavy for the images and text and interleavedwith Yu Kou light paper, hand numbered and signed by the artist on thecolophon page, “DKrause.” Page size: 9-7/8 x 6-7/8 inches; 10pp. Bound:loose as issued housed in envelope made of terracotta Lokta oil paperfastened with tie (combination of terracotta and light orange string and tanleather cord) on lozenge-shaped seed-pod from mahogany tree serves as

the fastener, printed letter-press (with a small amountof ink) with the wordsRIVER OF GRASS andDorothy Simpson Krause onthe lower left front corner.The artist tells us that theenvelope, 7 x 10 inches, wasselected as the sort of thingan early settler might use tocarry a parcel of documents.

The seven images (six images plus titlepage) in the book wereproduced from historic images selected by the artist (credits listed on lastpage) as well as the artist’s own photographs. The photographs of the

collaged to suggest / read familiar quotations not quite complete, orshattered or somehow fragmented. Disturbing images with texts equallyas disturbing explode on the pages, “Lock the GA...” The artist’s statementreads, “TIMESNARE’S world is the pause...The instant suspendedbetween before and after. Transformation is incomplete. There is no shapeor legibility or promise to yield. Echo and shadow lay claim to the hour.TIMESNARE is the promiscuous collector of uncertainties.” “Empty theTrash Count the Cash appears with hands holding a CD and anotherholding a book opposite a prayer / “To Do” list that ends, “Play the stockmarket / all dress in Black / Amen.” Another sentence, “life disappears inthe rearview mirror” jangles and jars as does”Fat Cats and War Dogs” ona blood red ground over another hidden text. Provocative, as always, SandraJackman’s new book asks the reader / viewer to think. (10695)


Everglades were combined with the historic images on the computer and,in each, separated a layer that became the letterpress printing plate. Theresulting images have achieved a depth and luminosity not otherwisepossible. Ghost-like images reflecting the history of the Evergladescombine with the disastrous effects of industrial mismanagement. How-ever, the beauty and vastness of this natural wonder shine through in eachimage. A laser printer was used to print the under-layer for letterpress. Theunprinted margins of the paper were torn away to create a deckle edge. Eachsheet was then folded into a folio and then opened flat and a sheet of YuKou sheer was used between each folio. The interleaving of lighter-weightsheets somehow, when turning the pages, suggests the movement of thegrasses in the Everglades. Marjory Stoneman Douglas (1890-1998) was anAmerican journalist, writer, feminist and environmentalist. The workedfor “The Miami Herald” and wrote over 100 short stories. It is, however,for her 1947 book, THE EVERLADES: RIVER OF GRASS, that she ismost remembered. Compared to Rachel Carson’s SILENT SPRING for itsimpact on the environment, it redefined the national image of the Ever-glades, pointing out that the entire ecosystem of south Florida wasdependent on this natural wonder. Dorothy Simpson Krause’s homage toMarjory Douglas, and, therefore, to the Everglades, is a beautiful book witha strong and vital message. (10574)

29. Leavitt, Nancy Ruth Puzzle 4.Stillwater, ME: 2008. $300Artist’s book, one of a series of three,each unique, signed by the artist. Size:10 x 3-¾ x 1-1/8 inches, comprising boxwith a collage puzzle of four pieces,each piece decorated with paste andfound papers and postage stamps.This puzzle is housed in an old pastelbox decorated with paper and stamps.Colorful and a wonderful design.(10134)

30. Leavitt, Nancy Ruth. Dickinson, Emily and Theodore Parker.A Ship of Truth. How Books Carry the Human Soul. Stillwater, ME:2011. $1,800Artist’s book, one of 12 copies, all on archival paper vellum and transpar-ent vellum with original (each different) collages of hand-made pastepaperby the artist, Nancy Ruth Leavitt, and archival Mohawk Superfine paperfor the hand-lettered text, each signed and numbered by the artist, NancyRuth Leavitt. Page size: 4-¾ x 7 inches; 16pp. Bound by Joelle LeavittWebber: accordion folds based on a structure developed by Hedi Kyle andre-interpreted by Joelle Leavitt Webber, each fold holding a double-sidedleaf with text on one side and collage on the reverse, all housed in a hand-painted pastepaper (inside and outside) box, hinged with Japanese paperto open as a Japanese-style box, lying com-pletely flat, withbutton closure. Thebook can be read byturning each page as ina conventional bookor can be removedfrom the box and dis-played as screen of thecollages. As with thecollages, each box var-ies in colors, but all arein the blue-purple-green palette. The text is hand-lettered in black Sumi ink in an Italic scriptby the artist. Both texts - the Emily Dickinson the more well-known - arecomplementary and both irresistible to any bibliophile. (10466)

Unique Artist’s Book in Unique Designer Binding –Tango!

31. Leavitt, Nancy Ruth. Rebora, Sol. Ballad for a Crazy / Baladapara un Loco. Music by Astor Piazzola and Lyrics by HoratioFerrer. Translated from the original Spanish to English by AlbertoPaz. Stillwater, ME USA and Buenos Aires, Argentina: 2009.

$5,500Unique artist’s book by Maine-based artist Nancy Leavitt, collaboratingwith Buenos Aires binder Sol Rebora, executed on several different papers- white, salmon pink, aqua, periwinkle, ochre, gold and dark blue, signedby the artist, Nancy Leavitt, on the colophon and dated and by the binder,Sol Rebora. Page size: 11 x 6-7/8 inches; 22pp. lettered and painted by Ms.Leavitt plus colophon. Bound by Sol Rebora in purple morocco, with

onlays of purpleskins (skived fromthe top skin theseare the middle par-ings in variantshades), punctuatedwith white (tingedwith lavender) ir-regular circles andsmall white dots ex-tending over top halfon front panel andbottom half on backpanel, the overall de-

sign not unlike the patterns of footprints used to teach dance steps; spinesmooth, top headbands of light blue, aqua, and white, bottom bands ofpink, white, and light blue, turn-ins of dark purple Japanese paper, housedin custom-made matching clamshell box of lavender paper over boards,purple morocco spinestamped in palladiumgilt with title in En-glish and Spanish.The binding is a studyin dimensionality -with ever so subtlechanges in level fromonlay to onlay, weav-ing a delicate patternone’s eye cannot helpbut follow.

A most whimsical and enchanting book - guaranteed to set your feetdancing and your heart flying. Ms. Leavitt’s soaring birds, moon, oranges,sky, and rainbow of words in orange, blue, yellow and blue work togetherto make the lyrics of this Argentine tango come to life - or rather to a lifeon another happier plane of existence than is usually found on this planet.Ms. Rebora’s elegant restrained binding is the perfect foil for the exuber-ance of the text and images. (10400)

32. McCallion, Barry. An Allee of Trees. [East Hampton, NY]:2012. $2,750Artist’s book, unique, hand-painted and cut out forming see-through book,a forest of pine trees, on Richard de Bas paper, signed and dated by theartist, Barry McCallion, on the last page. Page size: 10 x 6-½ inches; 22pp.Bound: sewn into green Richard de Bas wrappers, laid into darker greenRichard de Bas paper wrapper. Titlepage in brown stenciled letters, texthand lettered on white “snow” laden branches of the pine trees, “Come takea stroll up and down an allee of trees by night by day.” Each page featuresan evergreen tree cut out to reveal the branches of the tree on the page andall the trees on subsequent pages, accomplished by moving the tree trunkjust slightly to the right. The last tree is leaning decidedly to the right. Thetops of the trees extend up to the sky, on each page the horizon line a bit


lowered. The rectanglehousing the tree is 6-5/8 x 4- ½ inches; the sky abovethe cutouts is a rectangle ¾x 4-½ inches, each brightlypainted in bright blue,green, red, yellow andblack inks. The trees are,of course, green, with or-ange outlines. The imagi-nary pine grove beckonswelcomingly as the reader/ viewer takes this strollthrough the trees - and re-

turns as the book works in the reverse as well. An ingenious constructionand a beautiful book. (10646)

33. McCallion, Barry. Conversational Mechanics - by which somequestions are raised and others lowered. East Hampton, NY: 2012.

$2,500Artist’s book, unique on St. Armand paper, signed by the artist and datedon the last page (48). Page size:5-½ x 4 inches; 48pp; plushand-lettered titlepage, 2 greenblanks and rear flyleaf. Boundby Rhonda Miller: hand sewnin tan limp leather, edges un-trimmed. Each page with col-orful diagrams in red, blue goldand black inks, with elaboratetext in red ink that is com-pletely illegible. The diagramsare fanciful and colorful - butcan’t be used for construction. Rather, the questions answered are aboutpage design, color and form. (10698)

Woven Pages

34. McCallion, Barry. Whitman, Walt and Joseph Conrad. WeavingWhitman and Conrad. $3,750Unique artist’s book, on handmade Richard deBas cream paper, signed bythe artist on the front blank, Barry McCallion, and dated 2013. Page size:6-½ x 10 inches: 38pp. Bound: hand sewn in tan limp leather by RhondaMiller, housed in custom-made green silk over boards clamshell box byJoelle Leavitt Webber at the Mermaid Bindery with decorative printed

label with title on spine and adifferently-designed label repeat-ing title on front panel. Mr.McCallion has taken texts fromJoseph Conrad’s TYPHOON(those pertaining to the steamer)

and HEART OF DARKNESS andWalt Whitman’s poem, “CrossingBrooklyn Ferry” from various edi-

tions and digitally copied them on various colored papers in several colorsof ink. He has then cut the text into strips and woven the two authors

together. The warp and weft of each page form a most intriguing design onthe verso of each page - as does the actual text weavings on the verso. Thepoetry of Whitman and the prose of Conrad here are intertwined to forma beautiful book. (10697)

We are pleased to offer three versions of Elizabeth McKee’s FRAG-MENTS OF PRAYERS, different formats of the Sanskrit mantra, OmMani Padme Hum, each version hand lettered and painted. The chant,Om Mani Padme Hum, is particularly associated the the four-armedShadakshari from of Avalokiteshvara, the bodhisattva of compassion.Mani means “jewel” and padma means “the lotus flower” the BuddhistSacred Flower. The chant is commonly carved into rocks – called “manistones” or written on paper and inserted into prayer wheels. When thewheel is spun, it is said to have the same effect as reciting the mantra asmany times as it is duplicated within the wheel.

35. McKee, Elizabeth. Fragments of Prayers #1. Pasadena, MD:2009. $1,500Artist’s book, unique copy, the first of three in a series each in a differentformat, of Sanskrit mantra, Om mani padme hum, on heavy-weight St.Armand paper, with artist’sstatement printed out onseparate sheet and enclosedwith book. Page size: 6 x 5-½ x 6 inches; 60 leaves.Bound by the artist: eachleaf threaded throughpunched hole onto a ropewhich is spliced so that nobeginning or end can befound, enabling the reader torotate each page around therope and the prayers to beendless. The text, Om ManiPadme Hum, has beenpainted and hand-lettered ingesso, sumi, walnut ink andwhite gouache sixty differ-ent ways, thirty on each sideon a sheet of white heavy-weight St. Armand paper.The artist then tore the sheetinto sixty pieces - makingirregular-shaped fragments to “bind” on a continuous rope to form her ownversion of a prayer wheel. The book has been wrapped in an ivory-coloredsilk scarf as the artist referenced Buddhist texts seen in Mongolia that wereso encased. (10683)

36. McKee, Elizabeth. Fragments of Prayers #2. Pasadena, MD:2009. $1,500Artist’s book, unique copy, the second of three in a series each in a differentformat, of Sanskrit mantra,Om mani padme hum, onheavy-weight St. Armand pa-per, with artist’s statementprinted out on separate sheetand enclosed with book. Pagesize: 3-½ x 8-3/8 x 2-3/8 inches;60 leaves. Bound by the art-ist: coptic binding using 12pieces of thread to bind pagestogether; each of the threadsstart and end on differentpages. Since these pages areso thick, they create a won-derful clicking sound when


they turn. Housed in custom-made box of brown and black cloth overboards, the title painted and lettered on another piece of St. Armand heavyweight paper, FRAGMENTS OF PRAYERS #2, in black ink on tan andwhite painted ground, signed in pencil and dated by the artist, ElizabethMcKee. The text, Om Mani Padme Hum, has been painted and hand-lettered in gesso, sumi, walnut ink and white gouache with sixty differenttools, thirty on each side on a sheet of white heavy-weight St. Armandpaper. The artist then tore the sheet into sixty pieces for binding. (10685)

37. McKee, Elizabeth. Fragments of Prayers #3. Pasadena, MD:2009. $2,250Artist’s book, unique copy, the third of three in a series each in a different

format, of Sanskrit mantra, Om mani padmehum, on heavy-weight St. Armand paper,with artist’s statement printed out on sepa-rate sheet and enclosed with book. Page

size: 6-7/8 x 8 x 6-7/8 x 6 inches;60 leaves. Bound by the artist:Photo Carousel style bindingusing black paper and housedin custom-made box of tan andblack paper over boards, as thepages do not lie flat nicely likethose in FRAGMENTS OFPRAYERS 2, and the artistwanted them to look like aslide carousel so they are

housed in a round boxinspired by a CD con-tainer. Bound with blackgrosgrain ribbon with thetitle painted and letteredon another piece of St.Armand heavy weightpaper, FRAGMENTSOF PRAYERS #3, inblack ink, set into tan la-bel attached with blackgrosgrain label and signedElizabeth McKee and dated 2009. (10686)

“Now I need your full attention here...”

38. Moore, Suzanne. Titus Lucretius Carus (Lucretius). Atom’sDance. Excerpt from De rarum natura (The Nature of Things)translated by A. E. Stallings. Vashon, WA: 2013. $5,500Unique artist’s book, the first in an unspecified number of “creationstories,” hand-painted, monoprinted, and hand-lettered on various papers,including tinted Japanese papers for the titlepage and colophon, signed onthe colophon page by the artist, Suzanne Moore. Page size: 13 x 10 inches;18pp. + 4 hand-painted flyleaves and doublures. Bound by the artist: sewnCave paper, painted and monoprinted with free-hand gold leaf tooling,housed in blue silk over boards custom-made clamshell box with free-handgilt tooling on front cover. The passage describing the atoms colliding, i.e.

“The Big Bang” is Ms.Moore’s text. Her imagesare rich layers of acrylicpaints, monoprint and let-tering in gouache and water-soluble and oil-based inkswith sizing so pages couldaccept lettering, debossed,free-hand gilt tooling evokethe depth of space the “rest-

less motion” of the atoms. This selection of Lurcretius’ only survivingwork, the epic philosophical poem, “De rarum natura,” translated as “Onthe Nature of Things, or, On the Nature of the Universe” was translatedby A. E. Stallings in 2007 and published by Penguin Books. Against pagesof deep blue and green grounds, the white lettering floats as underlined (inred) straight lines adding order to the bold, glittering arabesques, “all flittingabout in many different ways, endlessly hurled in restless motion...”. Ms.Moore has started with the text, “Now I need your full attention here...”and she has it. A most beautiful book, making visual sense of the classictext for our time. (10696)

39. Nace, Stephanie. Ball of Lies. [Columbia, SC: Froglegs Studios,2005]. $525Artist’s Book, actually three paper balls formed from weaving many stripsof text ¼ inch wide each into round shapes, 5-½ inches high and 5-½ incheswide, 3 inches high x 3-½ inches wide, and 2-½ inches high x 2-½ incheswide, one of five copies, each signed byartist on the box containing the threeBALLs OF LIES. The digital printswere printed on woven paper and as-sembled by the artist and housed in abrown paper lidded box printed withthe title in black with an image of a“ball” for the first word of the title andsigned in pencil below the title. The boxis 9 x 8-¾ x 5-½ inches.

Stephanie Nace, whose work was featured in the book arts magazine,BOUND AND LETTERED, describes herself as a graphic artist by nature.She states she works with symbols, images and typography on multiplelayers to create powerful visual pieces. About this piece, she states shecreated it after she really looked at a marriage that she had assumed wasperfect for years, but she was wrong. When she realized this, she felt shewas lied to and that marriage could possibly be made of broken promisesthat start on the wedding day. These lies then change form, becomeentangled, more confusing and more constricting with every passing year.The text of each ball of lies is the text of the traditional wedding ceremony.(9594)

40. Pacific Editions. Barry Lopez. The Near Woods. Images andDesign by Charles Hobson. San Francisco, CA: Pacific Editions,2006. $850One of 26 lettered copies, each lettered (a to z) and signed in pencil by theauthor, Barry Lopez, and the artist, Charles Hobson from a total editionof 26+ copies which includes a few artist proof copies. Page size: 10 by7 inches; 10pp; with double-page fold out containing a montotype imagewith pastel on German Etching paper reproduced as a digital pigment print


that has been hand-coloredwith pastel and acrylic paintby the artist, titled “dreambear,” and another anothersingle page image on the versoof the fold of a standing bear,the two images signed in pen-cil by Charles Hobson.Bound by Charles Hobsonand Alice Shaw in originalpaper over boards bound in,the paper a reproduction of adrawing used to establish landgrants in California, “Dosinodel Rancho San Miguelito,”

circa 1841, reproduced with the permission of The Bancroft Library, is ona tan ground with images of trees, bears, rocks, housed, water, and roadsall in tans and grays with blue and red and brown crisscrossing the imagewhich extends across both panels, buff label printed in black with title andauthor’s name, new. The text was printed letterpress by Jerry Reddan whoalso printed 165 copies in 2005 as an unsigned regular edition. This deluxeedition has been sold out for some time now. (9831)

41. Perishable Press. Levertov, Denise. Three Poems. MountHoreb: Perishable Press, 1968. $200One of 250 copies, all on handmade Shadwell paper. Page size: 8-½ x 5-¼ inches; 38pp. Bound by the printer: handsewn in grey Fabrianowrappers with title printed in pale brown and geological diagram by theprinter in ochre. Handset in Palatino inblack, white pink and cream and printed byWalter Hamady, this book of poetry is atonce subtle and lovely. An early effort fromthis famous press. PP19. (10392)

42. Perishable Press. Ondaatje,Michael. Two Poems. [Mt. Horeb, WI]: The Perishable Press,1986. $200First Edition, one of 275 copies, broadside folded in thirds, all on Tergiverse

Shadwell gray-green paper, all signed in pencil bythe author, Michael Ondaatje, on the verso of thelast fold. Five copies reserved for Woodland Pat-tern. Printed in black, blue and brown as triple-foldbroadside with title on first fold, “All along theMazinaw” on second fold, and “Birch Bark” onthird fold. Page size: 22 x 9-¼ inches folded to 5-½ x 9-¼ inches. Printed letterpress in VintageSabon by Walter Hamady, fine. (9835)

43. Plimpton, Sarah. Doubling Back. [NewYork: 2005]. $1,000One of 20 copies, all on Fabriano Tiepolo paper, signed and numbered bythe artist / author on the colophon. Page size: 14-¾ x 11 inches; 9 leaveseach containing an original poem printed letterpress at The Grenfell Presson an original aquatint printed by Peter Pettengill in Hinsdale, NewHampshire, plus titlepage with original aquatint, plus colophon page.Bound: loose as issued in cloth clamshell box by Claudia Cohen. Theaquatints are in graysand blues, greens andtans, always withsubtle shadings, full oftexture and often threedimensional in feel. Thecolor and texture workas one to form a frame(and what splendidframes they are) for the

words, focusing the reader’s eye to the text. The verses are not long, butthey do stick. “VISITS - visited / you bent a smile into the mouth / the samesmile / muscles in place / forced as a stick that opens / the teeth.” (9645)

44. Plimpton, Sarah. Noise of the Rain. New York: 2007. $1,200Artist’s Book, one of 15 copies, all on Rives BFK paper, signed andnumbered by the artist / author, Sarah Plimpton. Page size: 14-½ x 10-1/8 inches; 20pp. Each of the 20 pages has original pochoir prints by theartist / author in muted shades of orange, brown, plum, slate blue, yellow,terracotta, and green. The text is set in Bell Monotype and was printed inblack by the artist withthe help of Brad Ewingat The Grenfell Press.Bound: loose as issuedin original plain graywrapper, with titledebossed on the frontpanel, housed in plumcloth clamshell box byClaudia Cohen withtitle and artist’s namedebossed on Rives pa-per label on spine, fine. Ms. Plimpton’s poem is personal and immediate- telling of an experience shared with the entire human race: listening to rainon surfaces and in the air with its ensuing sounds ranging from terrifyingloud to delicate softness. The images that surround the words are playfulorganic shapes - one thinks of a bead ball falling through a maze to itsultimate cutout final space. That such a common natural occurrence is socelebrated by Ms. Plimpton is as much a pleasure as the rain itself. (10004)

45. Red Angel Press. James, Henry. Siena. Bremen, Maine andNew York: Red Angel Press, 2000. $750One of 100 copies printed on dampened Fabriano Ingres paper, all copiessigned and numbered by artist / printer / publisher Ronald Keller on thecolophon. 16pp; including 4 page woodcut. Page size varies: 11-3/8 x 9-¾inches for first 8 leaves; approximately 9-¾ x 9-¾ inches for foldovers.Bound: rust cloth over boards; back board forms the base of a box, intowhich a woodcut image of Siena is nested (at a rounded slope deliberatelyreminiscent of that square’s concave, shell-like shape); the four surround-ing woodcuts reproduce the vertiginous 360 degree medieval square. Titleprinted in maroon on spine; hand-made marbled paper on inside of frontboard. Front board features an inset papier mache sculpture, in creamhandmade paper, of a Sienese column. Henry James’ (1843-1916) impres-sions after his first visit to Siena are here reproduced in hand-set Bembotype. His prose style is poetic, yet lucid andsimple, like the city it memorializes: “It wasvoid of any human presence which could recallme to the current year, and, the moonshineassisting, I had half an hour’s fantastic vision ofmediaeval Italy.” An elegant and handsomebook, a testament both to James and Siena. (8957)

46. Red Angel Press. Melville, Herman. Cetology. A systematizedexhibition of the whale in his broad genera: natural historyexcerpts from “Moby Dick” edited and illustrated by RonaldKeller. Bremen, Maine and New York: The Red Angel Press, 1973.

$800Artist’s book, one of 100 copies, each signed and numbered by artist /printer / publisher, Ronald Keller. Page size: 9-5/8 x 10-¾ inches; 48pp.Bound in brown paper over boards, brown kid spine, brown endpaperswith woodcut printed in black of skeleton of whale, top of spine a bitrubbed and a touch sunned, book fine. Laid in is original Prospectus of thebook, as well as the invoice from Red Angels Press to previous owner andALS offering the book. The text is hand set and printed letterpress inPlantin and Times Roman on straw-colored laid paper. The seven pages


with original woodcutsby Ronald Keller areprinted on straw coloredNideggen paper. Ofthese, two are triple gatefold pages with shapedtext surrounding thewoodcut images of two

whales. These two woodcuts are printed in brown and black. The remainingimages are printed in black (bit of smudging from woodcuts). The size ofeach mammal is in proportion to the others. This is one of the earliestpublications of Red Angel Press (second?) and is the start of a successionof elegantly printed books. (10684)

47. Red Angel Press. Palladio, Andrea. Excerpts from The FourBooks on Architecture. Translated by Robert Tavernor & RichardSchofield. Bremen, Maine and New York: Red Angel Press, 2008.

$750One of 50 copies, all on Fabriano Artistico paper, signed and numberedby the artist / publisher / printer, Ronald Keller. Page size: 17-¼ x 10-¼inches; [i-v] 14 numbered pages with colophon printed on verso of page14 which is a fold-out. This edition is highlighted with a paper castrendering of the Villa Almerico - Capra which is mounted on the inside backcover of the book. The front cover is split in the center of the book and thepages open both to left and right. As the pages are turned, the leaves aretrimmed narrower, gradually revealing the cast paper bas-relief image of

the facade of LaRotonda on the insideback cover. The bookis bound in tan clothwith the title,“ P A L L A D I O ”printed in deeper

brown to the left of center. The title page is printed in brown and black.The text is set in Bembo and Caslon for the title. The text is furtherembellished by two additional architectural renderings by Palladio. AndreaPalladio (1508-1580) wrote FOUR BOOKS ON ARCHITECTURE aswell as designing some of the most beautiful buildings in the world.Considered one of his most beautiful buildings, the Villa Almerico-Caprais honored in this book. The text (from FOUR BOOKS ON ARCHITEC-TURE) is taken from the chapters dealing with the construction basics ofclassic architecture - sand, stone, timber, metals, etc. - and gives conciseanalyses of them. Mr. Keller’s paper bas relief is strong and vibrant - aselegant as the Veneto countryside. (10091)

New from Eugenie Torgerson

We are pleased to offer three new books from Eugenie Torgerson – threeversions of the first chapter of Margaret Fuller’s first book, SUMMERON THE LAKES. Each of the three books has the same text, but each ispresented in a different manner. Fuller’s text is much more than a travelbook as it encompasses the nation’s burgeoning interest in Americanlandscapes and scenes, Fuller’s own Transcendental reverence forNature as perceived and defined by the individual, and the writer’smeditations on her own life.

Ms. Torgerson’s imaginings of the landscape associated withMargaret Fuller’s visit to Niagara Falls are beautifully presented. Theprecious nature of the text and the natural wonders described arepresented as books – and book objects, specially housed in jewel-likecases. These books serve the text, recalling another, earlier time but stillcomplete contemporary. Each has digital compositions from her ownphotographs, pastel drawings and contemporary materials which sheprinted with Epson UltraChrome K3 ink on Yupo, a 100% Polypropy-lene, neutral pH, acid-freed substrate which she then waxed. The text isalso printed with Epson UltraChrome K3 in10pt. Times New Roman withthe titles in Goudy Old Style, 11, 14, and 16pt.

The second and third versions also feature transcription pagesprinted in 60pt. Bickham Script Pro based on the lettering of 18th centurywriting as rendered in the engravings of George Bickham’s THEUNIVERSAL PENMAN. The book combines text broken up with imagesof the falls, micro-shots of the landscape around the falls as well as thewater itself. Ms. Torgerson has presented Fuller’s text almost horizontally(rather than the vertical aspect of the first book in this series) and brokenup the black and white text with images of the harsh rock outcroppingsaround the Falls. The text also appears, here and there, as transcriptionsprinted in script, viewed only as magnified phrases rather than a completesentences or paragraphs. The pages of images, then transcribed text,printed in script and manipulated on various backgrounds, as well as theactual text, are interspersed with page green or blue hand-made papers,giving the edges an almost sea-like quality. There are also varnishedsheets of clear paper separating the rocks and water and text.

48. Torgerson, Eugenie. Fuller [Ossoli], S[arah] M[argaret].Summer on the Lakes, in 1843. Chapter One Niagara. Sumnerville,MI: 2013. $1,500Artist’s book, unique but one in a series of three, on Epsom PremiumPresentation Matte paper, artist’s statement on first page of text. Pagesize: 9 x 6 inches; 42pp.Box size: 1-¾ x 10-¾ x7¾ inches. Bound bythe artist: sewn in greycloth over boards, linenon spine and silk onfront and back panels,decorated with silver-colored beads and hard-ware surrounding thetitle which is printed in white on photograph of water inset into upper third

of front cover, grey-green hand-made endpa-pers, grey and whiteheadbands, housed incustom-made cloth andpaper over boardsclamshell box, paper onfront and back covers ofbox in blue and whiteswirls (as if spray fromwater) with label printedin white on photographof water, mounted onslightly larger grey board

rectangle centered on front of box with decorative grey metal hardware onsmall square grey board, spine of box with title and author printed in whiteon label made from photograph of the Falls, interior of box with photographmounted on inside panel, blue hand-made paper on inside back of case withthree different black braids as border. (10687)

49. Torgerson, Eugenie. Fuller [Ossoli], S[arah] M[argaret].Summer on the Lakes, in 1843. Chapter One Niagara. Sumnerville,MI: 2013. $2,000Artist’s book, unique but the second in a series of three, this on EpsomPremium Presentation Matte paper, with artist’s statement on first pageof text, signed and dated bythe artist in pencil on theback flyleaf. Page size: 5 x 6-¾ x 3 inches; 268pp. Boxsize: 4 x 8 x 6 inches. Boundby the artist: sewn in greycloth over boards, linen onspine and silk on front and


back panels,d e c o r a t e dwith crystaland silver-col-ored beads andhardware in anall-over stud-ded pattern,title and au-

thor printed in white on photograph of water inset into middle of frontcover, photographs over handmade paper endpapers, blue and whiteheadbands, wrapped in blue and silver damask cloth sling with blue beading½ inch wide at either end with which to lift book from box, housed incustom-made silk cloth and paper over boards clamshell box, paper onfront cover of box in blue and white swirls (as if spray from water) withlabel printed in white on photograph of water, mounted on slightly largergrey board rectangle centered on front of box, grey silk on bottom of box,the three sides with Ms. Torgerson’s own photographic images of NiagaraFalls, manipulated and printed by her, mounted on board and bordered bysilver paper, the interior of the box with quilted blue silk insert at bottom.(10688)

50. Torgerson, Eugenie. Fuller [Ossoli], S[arah] M[argaret].Summer on the Lakes, in 1843. Chapter One Niagara. Sumnerville,

MI: 2013. $3,500Artist’s book, unique butthe third in a series ofthree, the most elaborateby far, on Epsom Pre-mium Presentation Mattepaper, with artist’s state-ment on first page of text,

signed and dated by the artist inpencil on the back flyleaf. Pagesize: 4-¾ x 6-½ x 4 inches; 354pp.Box size: 9 x 9-½ x 7-¼ inches.Bound by the artist: sewn in greycloth over boards, blue linen onspine and silk on front and backpanels, decorated with crystal andsilver-colored beads and hardwarein an all-over studded pattern, titleand author printed in white on pho-tograph of water inset into middle of front cover, handmade green paperendpapers, blue and white headbands, wrapped in blue and silver damaskcloth sling with blue beading ½ inch wide at either end with which to liftbook from box, housed in custom-made silk cloth and paper over boardsfooted and lidded box with TruVue non-reflective glass insert in lid, thesides of the box lined with grey silk and the interior of the box with quilted

blue silk insert at bottom; the artist’sown photographic images of NiagaraFalls are mounted on all four sides of thebox. The box sits on base of grey gros-grain ribbon over board highlighted with

silver gilt trimand set on sil-ver-gilt ballfeet. This is themost elaborateof the three ver-sions and thelargest book ofthe three.(10689)

51. Unica T. Mayröcker, Friederike and J.W. Goethe. Brancusi“Der Kusz” (Kalkstein) Goethe Meine Ruh ist hin. Designed byInes v. Ketelhodt. Unica T, 1991. $500One of 50 copies, each signed and numbered by the artist on the colophonon reverse of images and text. Page size: 15-7/16 x 5-5/8 inches; 40 pp. Bound:concertina (accordion) style book, 20 black and white photographs,handset and three color letterpress, images reproduced from polymer

sheets. The Mayröcker text andthe quotation from Goethe’s Faustare mounted in opposite directions,each beginning at opposite ends ofthe book; i.e. each text begins wherethe other ends. To read the Goethepassage the book must be heldhorizontally; the text runs parallelto the pictures in red 72 pointroman type. The Mayröcker text,in 14 point silver roman type formsa 90° angle to Goethe’s lines andare distributed across the page.Inspired by Guiseppe Tornatore’sfilm Cinema Paradiso, the back-

ground is composed of twenty photographs of kissing scenes fromHollywood films. The concertina format suggests a strip of film. The blackpaper slipcase, inspired by Constantin Brancusi’s sculpture “The Kiss,”contains a tooled triangular shape (red/silver) that when joined forms asquare. (8936)

52. Unica T. 17.1 bis 28.2.9 1 bis. Idee & Konzeption [by] Ines v.Ketelhodt. [Frankfurt, Germany: Neue Presse, 1991]. $375One of fifty copies each signed and num-bered by the artist on the back wrapper.Illustrated with 16 original black and whitephotographs of television images printedon double leaves, interleaved with sheetsof newsprint. Page size: 8-1/16 x 11-5/16

inches; 110pp. Bound: block with screwbinding. A present day documentation ofthe Gulf War, the book consists of photo-graphs taken from a television screen withchronologically ordered newspaper clip-pings from German and international news-papers. The book’s flexible binding (ascrew holding stiff cardboard strips) evokesthe image of newspapers hanging in a Eu-ropean café. (8935)

53. Verdigris Press. Bishop, Elizabeth. 12 O’Clock News. [Octon,France]: Verdigris Press, [2006]. $1,300One of 40 copies from a total edition of 50, all on Hahnemuhle paper, signedby the artist, Judith Rothchild and the printer / binder, Mark Lintott; 10of the 50 are deluxe copies with an original copper plate and additionalmezzotint, 40 regular copies (this copy). In addition 20 suites of printsfrom the original copper plates were printed. Page size: 11-½ inches x 16-7/8 inches. Bound by MarkLintott: original gray-greenpaper over boards, paperhas been silk-screened withyellow moon and titleprinted in khaki green withexposed sewing in ivorylinen thread, blood red clothhinges, red paper spine withtitle printed in black withauthor and artist’s name, blood red endpapers, housed in publisher’s


matching slipcase, fine. Illustrated by Judith Rothchild and designed byJudith Rothchild and Mark Lintott, including two original mezzotints,pulled from two copper plates, one full page and the other copper platecut into eight sections and each of the eight plates separately re-printedand inserted in the text corresponding to the indications given by the authorfor a total of 10 mezzotints.. The text is set in Vendome Romain and wasprinted on an 1867 Albion press by Mark Lintott, who also made thebindings, slipcases and boxes. The text is set in Vendome Romain and wasprinted on an 1867 Albion press by Mark Lintott, who also made thebindings, slipcases and boxes. (9824)

54. Verdigris Press. Lawrence, D.H. Fig. Mezzotints andScreenprints by Judith Rothchild. [Octon,France]: VerdigrisPress, 2001. $1,100One of 48 copies, on Hahnemuhle paper, each signed and numbered by the

artist, Judith Rothchild. Page size:11-¼ x 10-¾inches; 32pp. Bound: loose in Somerset VelvetBlack paper wrappers with green silkscreens;title on front panel and on spine with author andartist's name. Hand-set in Vendôme and printedby Mark Lintott on an Albion press and aStanhope press. Slipcase and box by ClaudeVallin; with silkscreens by Judith Rothchild,fine.

Judith Rothchild has chosen to illustrate D.H. Lawrence’s provoca-tive poem Figs with five round mezzotints and silk-screens. The firstmezzotint, a fig leaf, is overprinted by the title. The other four show a wholefig and then ripe figs in various stages of bursting with six silk-screens offig leaves and branches. A two-color silkscreen of a fig leaf (the second coloris red!) faces the colophon. (8958)

55. Verdigris Press. Verne, Jules. Tempete et Calme. Poeme deJules Verne. Octon, France: Verdigris Press, 2004. $750One of 38 copies only, all onHahnemuhle paper, each copyhand-numbered and signed by theartist Judith Rothchild and theprinter, Mark Lintott. Page size:11-¾ x 5-15/16 inches; 4 leaves +colophon printed on gray papermounted on inside rear cover.Bound by Mark Lintott: leporellostyle, but on the vertical, originalscreen prints by Judith Rothchildin subtle shades of gray on thefront and back boards, with graysilk ribbon pull at bottom of frontboard, housed in publisher’sclamshell box of gray paper, title printed in black on front panel, lined withscreen prints made by Rothchild in shades of gray, fine.

Terms of Sale: All items are subject to prior sale. Payment should accompany order unless credit has been established.Mastercard and Visa accepted. ME residents please add 5% sales tax. Institutions may receive deferred billing. Posting isadditional: $10.00 for the first item and $5.00 for each additional item. All items are guaranteed as described and may bereturned for any reason, with notice, within seven days of receipt, providing they are in the same condition as when shipped.Please call in advance of a return.

Priscilla Juvelis, Inc.11 Goose Fair

Kennebunkport, Maine 04046

(207) 967-0909 PH ~ (207) 967-4466 Faxe-mail: [email protected] web: www.juvelisbooks.com

Jules Verne’s poem was written in 1848 when the author was just 20.The poem literally passes through a storm before reaching safe haven onthe other side. The text is superimposed on a series of four of Rothchild’sominous mezzotints which start with a threatening sky, go to the completeblackness of the storm and then to clouds quickly moving to sunlight.Meticulously crafted, this is a lovely book. Selected for inclusion inWellesley College exhibition and catalogue, RESONANCE AND RE-SPONSE (2005). (9500)

56. Yolla Bolly Press. Thoreau, Henry David. The Winged Life.The Poetic Voice of Henry David Thoreau. Edited and withCommentaries by Robert Bly. Wood Engravings by MichaelMcCurdy. [Covelo, CA]: Yolla Bolly Press, [1986]. $1,250One of 85 copies, all on Arches 88 paper, each hand numbered and signedby Robert Bly and Michael McCurdy. Page size: 10 x 14 inches; 134pp.+ engraved half-title and title page, TOC and Preface, and Colophon. Setin Monotype Van Dijck and Caslon 471 at Mackenzie Harris Corp and atThe Yolla Bolly Press and printed by Aaron Johnson at The Yolla BollyPress, the book was designed by James and Carolyn Robertson. Bound:handsewn oatmeal-colored cloth over boards with wood engraving byMichael McCurdy on front panel and title printed in black on spin, housedin publisher’s slipcase. Robert Bly’s introductions to each of the five partsis marked by the tipping in of a sheet of Japanese paper. Laid in is theoriginal subscriber’s invoice as well as a letter from the publishersconcerning the book. With seven woodengravings by Michael McCurdy,this is a fine copy in a slightly used publisher’s slip case. McCurdy’s woodengravings are strong and bold and suit the selected texts by Thoreau.(10673)

catalogue 61 - contemporary book arts

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