Priscilla Juvelis - Rare Books · Priscilla Juvelis, Inc. (207) 967-0909 [email protected] 5. Davidson, Laura. Culinaria. [Boston, MA]: 2009. $1,250 Artist’s book, one of 10 copies

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

Priscilla Juvelis - Rare BooksCatalogue 67 – Contemporary Book Arts

Tunnel Book

1. Caliban Press. Kumano Kodo. Prints by David West. Verseby Gusai. Canton, NY: Caliban Press, 2015. $150One of 45 copies, all on St. Armand and Nepali papers, in tunnel book format,signed by the artist, David West, and the printer / publisher, Mark McMurray,on the back panel of the wrap-around covers, lower right below Japanese

text. Page size: 8 x 10-½ inches opening to2-½ inches when fully extended, 4 panels.Bound: tunnel format with wrappers thatopen to expose vista; housed in brown paperover boards lidded box with title on spine.The English text is set in Optima and Weiss.The Japanese text is printed on the back ofthe wrapper, the title on the front. The

English verse appears on either side of the vista printed on the flaps of thecover. The KUMANO KODO is a series of pilgrimage routes crisscrossingthe Kii Peninsula in Japan that have been in use for over a thousand years.Sacred to both Buddhist and Shinto traditions, the three main shrines wereregistered as UNESCO World Heritage sites in 2004. They are notable fortheir remoteness and undeveloped beauty. David West, who has created thewoodcuts for this beautiful book, studied painting and printmaking atCamberwell School of Art. A full-time artist, he lives and works in LymeRegis. His association with Japan began in the 1990's when he was askedto hold workshops in various parts of that country. Not much is known aboutthe Japanese poet, Gusai (1284-1376) who was a Zen monk writing in theformat of the renga, or linked verse, style of poetry quite popular in the LateMedieval Age. He was teacher to Nijo Yoshimoto (1320-1388) whoreceived credit for compiling an imperially recognized anthology of rengapoetry. Designed and printed by Mark McMurray, who is Caliban Press,and who has created over 30 titles to date. (10900)

Bound by Donald Glaister

2. Caliban Press. Shakespeare, William. The Tempest.Printed and Designed by Mark McMurray. Canton, NY: CalibanPress, 2001. $8,250One of two copies in original designer binding by Donald Glaister, from anedition of 125 copies all on various handmade papers by Velma Bolyard, LaPapeterie St. Armand, and Barcham Green, with Arches, Frankfurt andMexican amate paper. The text is set in 14pt. Dante by M & W Bixler; raincut by Greg Lago. The book was designed, printed and bound by MarkMcMurray, using the text from the 1623 First Folio (with a few liberties).Page size: 8 x 12 inches. Bound by Donald Glaister: full grey morocco withdeep blue morocco onlay cutout to reveal underlay of aluminum with onlays

of mesh, copper,mylar, painted insilver, gold, red,and black, the cut-outs, while seem-ingly abstract,spell out the titleof the book,TEMPEST, onthe front paneland the same onthe back panel -but in reverse

mirror writing, spine smooth withtwo sets of tooled red and gold-gilt vertical lines and one set ofhorizontal lines (both spelling theword THE); cork endpapers,blue and grey silk headbands, topedge in palladium, original wrap-pers bound in, signed in blindstamp on inside back cover withdate and gold dot, Donald Glaister

and dated 2013.” An ingenious binding perfectly executed and perfectlysuiting this beautiful book.

The text is illustrated with woodcuts, gatefolds, a volvelle, pop-ups,onlays, text printed on various papers in various shapes. This is a tour deforce from master bookmaker, Mark McMurray. Certainly this is one of hismost ambitious and satisfying books in his long and distinguished career. Itis quite wonderful and a worthy vehicle for the Bard. With the extraordinarybinding by Donald Glaister is a treasure for any library. (10929)

3. Caliban Press. Shakespeare,William. The Tempest. Printed andDesigned by Mark McMurray.Canton, NY: Caliban Press, 2001.

$775As above, but in publisher’s paper bindingand slipcase. (8837)

4. Cheloniidae Press. Shakespeare, William. The Birds andBeasts of Shakespeare. Text by Arthur F. Kinney. Illustratedwith Woodengravings by Alan James Robinson. Easthampton,MA: Cheloniidae Press, 1990. $3,750One of 125 copies, all on Cheloniidae Rag paper, the first book of the presswith Cheloniidae watermark, each signed by the artist, Alan James Robinsonfrom a total issue of 155 copies. Page size: 10-3/8 x 15-7/8 inches - the sizeof the first folio edition of Shakespeare - Dedication Page, Half-title,engraved frontispiece portrait of Shakespeare in rondel surrounded by theanimals, Titlepage, i-iii [iv-v] 1-87 [88-92]pp. Bound: loose sheets boxed.Illustrated with 54 woodengravings depicting the birds and beasts found inShakespeare’s plays andpoems, plus two portraits ofthe Bard: one etching andone woodengraving. Thewoodengravings were ac-complished by Robinson onend-grain English boxwoodfrom T.N. Lawrence &Sons of London. The typewas set at M & H TypeFoundry of San Franciscoand printed by Harold Patrick McGrath in black within a caramel-coloredrule on each page with Shakespeare’s own words in caramel ink. This bookuses Shakespeare’s original texts addressing the natural history, folklore,and mythology of the birds and beasts in his plays. The text was written byArthur F. Kinney, Thomas W. Copeland Professor Literary History at theUniversity of Massachusetts at Amherst. Certainly one of the mostambitious and most beautiful books of the Press, published to mark theirtenth anniversary. (10394)


5. Davidson, Laura. Culinaria. [Boston, MA]: 2009. $1,250Artist’s book, one of 10 copies only, all on magnani pescia paper throughout,each signed and numbered by the artist, Laura Davidson, in pencil on thecolophon page. Page size: 5 x 6 inches, 20pp. Bound by the artist: stainlesssteel covers with a red and green floral print retro fabric recalling vintage

apron or kitchen cur-tains on spine, coppergrommets, with brassspatula ingeniouslyheld on by magnetsdecorating the frontpanel; endpapers areoriginal linoleum printsin pink and whitecheck, with forks,knives, spoons, and

measuring cups within the checks. The book is comprised of 10 dry pointswith ink wash of well-designed and useful kitchen tools, such as the egg-beater, strainer, scoop, whisk, and masher. The humble objects - grater,spatulas, corkscrew - have their own elegance which is highlighted inDavidson’s masterful prints. A must for any culinary collection. (10200)

6. Ediciones Dos Amigos. Borges, Jorge Luis. El Aleph.Buenos Aires, Argentina: Ediciones Dos Amigos, 1997.

$35,000One of 25 copies, but each copy unique, all printed on cream Velin d’Archespaper. Etchings and aquatints by Gabriela Aberastury, this copy one of thepublisher’s copies, unnumbered, but signed in white pencil by the artist,Gabriela Aberastury, the printer, Rubin Lapolla, and one of the publishers,Samuel Cesar Palui. Page size: 13-¼ x 10 inches; 176pp; each page anoriginal print - and many times several different print processes. Bound:loose in original black wrappers with Hebrew letter (Aleph) engraved insilver gilt on front panel and spine, housed in gray cloth over boards clamshell

7. Ediciones Dos Amigos. Borges, Jorge Luis. Ficciones(Fictions). Buenos Aires: Ediciones Dos Amigos, 1987. $6,000Artist’s book, one of 40 copies, all on velin d’Arches paper from a total issueof 42: 40 on velind’Arches and 2on Japan paper,all signed on thecolophon by pub-lisher, SamuelCesar Palui.Page size: 13-1/16

x 10 inches; [i][1-10] 11-175[176-180] pp.Bound: loose inoriginal pinkwrappers, author’s name engraved in darkblue, title in light green, dark green, and graylarge wood-type letters; housed in buff paperand red cloth box with red silk lining, titleprinted in black on front cover and on spine.Illustrated with 18 full-page engravings asfollows: 3 by Gabriela Aberstury, 3 by JulioPagano, 3 by Mirta Ripoll, 8 by Alicia Scavino,and a portrait of the artist by Raul Russo. Handset in 14pt. Bodoni by Ruben Raul Lapolla andprinted under the supervision of Samuel CesarPalui in three colors. The text is in black, pagenumbers in red, and highlights and title page in blue and black. The book wasstarted in 1984 and was not published until 1987. This elaborate edition is oneof the most beautiful of the press and, in my opinion, the most beautifuledition of Borges’ great collection of short stories. The images so capturethe author’s imagination, particularly the engravings for “El Acercamientoa Almotasim” and “Las Ruinas Circulares.” (9779)


8. FitzGerald & Co., Vincent. Beard, Mark. ManhattanThird Year Reader. New York: Vincent FitzGerald &Company, 1984. $12,000First Edition, one of an edition of only 30 copies, this copy in unique binding,the edition on 28 different papers, each copy signed by the artist / author,Mark Beard. Page size: 15 x 11 inches; 16 signatures. Bound: unique bindingby Donald Glaister, his third on this work from Beard and FitzGerald, red andblack morocco, with onlays of goat skin and laminated mylar and gold andpainted tooling, composed to render a view of the urban landscape, featuringobscured subway cars, altered grid paper imagery and a corrugated leatherkeystone shape that traverses the spine and extends to both boards.Doublures of painted cork, top edge gilt with eccentric gold shapes echoingshapes found on the covers. Binding signed by the binder, Donald Glaister,2014, in blind with usual gold dot, on inner rear hinge. Housed in black linenclamshell box. A perfect binding for Beard’s recounting of his life in NewYork.

This is the first of Mark Beard’s autobiographical artist’s books andconsists of 41 original linocuts by Beard which were printed and assembledby Beard and Vincent FitzGerald, executing the work from start to finishwithout interruption. The result is a work of freshness and originality that iscaptivating. A total of 28 different kinds of paper were used in the productionof this volume, papers that were selected by FitzGerald from an art storeeach morning on his trip to Beard’s loft each morning. The text printing wasdone by Meriden Gravure and consists of Beard’s diary cullings andcommentaries from his first three years in New York. In the style of a grade-school primer, the intentionally simple style is a magic carpet for the reader/ viewer. We enter the world of the young artist from Utah seeing New Yorkand the New York cultural scene for the first time - with all its attendantwonder and astonishment.

box with original etching on front of box, title printed in black on the spine,box a bit dinged at edges, book fine. Started in 1984 and finished 13 yearslater under the direction of Samuel Cesar Palui and printed by Ruben R.Lapolla. Samuel Cesar Palui and Ernesto Lowenstein published this book tocommemorate the centenary of the birth of Jorge Luis Borges in 1999. Theartwork was created by Gabriela Aberastury who editioned all the prints.Rather than illustrate the text story by story, Aberastury chose to exploreand reveal the Borgesian universe. She used different techniques: oil,acrylic, lacquer, engraving, gofrado, pencil working with the typographer /printer Ruben Lapolla to create pages that appear to have no beginning andno end - that seem not to have been created but rather revealed. One doesnot read it as completely enter another realm and experience it with severalsenses. The text is printed using linotype with gold, silver, copper and blackused to create contrasts when the coloring of the paper required it. Truly amasterpiece of book arts, it resembles no other book we’ve seen. (9722)


Donald Glaister, one of today’s foremost book artists and designerbinders, has created a tour de force binding. His bindings, often intricate,employing various materials not associated with fine binding, never losefocus of the book they cover. Here his interpretation of own interpretationof Mark Beard’s neo-classic style is fused with his own exuberance andappreciation of New York City. Long out of print, MANHATTAN THIRDYEAR READER, is in the collections of major institutions such as the Met,the Whitney, NYPL, and Yale, and rarely appears on the secondary market.(10671)


9. FitzGerald & Co., Vincent. Kondoleon, Harry. The Coted’Azur Triangle. Etchings and lithographs by Mark Beard.New York: Vincent FitzGerald & Company, 1985. $15,000

SOLDUnique binding by Donald Glaister on signed, limited edition, one of 119copies only on Rives BFK, all signed by the author, Harry Kondoleon, andartist, Mark Beard, hand set in Janson by Marc Shifflet and Art Larson, itis printed letterpress by Daniel Keleher at Wild Carrot Letterpress,lithographs and etchings pulled by the Printmaking Workshop of BobBlackburn. Page size 12 x 14 inches; 58pp; 3 of which are double-pagefoldouts, three loose images of play’s characters. Bound by Donald Glaister:full dark green morocco binding, laminated Mylar painted triangles on rectoand verso are raised and pierced, revealing areas of treated brass, copper,aluminum, metal screen, and painted paper. The center triangle is blue goatskin, pierced and gold tooled, revealing areas of treated brass, copper,crocodile suede, snake and lizard skin. The three triangles on the bindingrefer to the three characters and can be thought of as portraits. The portraitson the front and back covers are of the men (which is which?) and the centerportrait is the female character, Cleo. All three triangles are set upon othertriangles producing a somewhat jangled orientation...still triangles, butcertainly unhinged. The top edge is gilded with gold triangles, headbands inprimary colors repeated in printing of book: red, blue and yellow; painted

cork doublures and flyleaves featuring tri-angle motif, signed bythe binder on the in-side rear turn-in anddated, in blind, withgold dot. Housed inelaborate clamshellbox which includes adrawer for ephemeraand the plays three

characters portrayed by cut-out paper etchings. An extraordinary binding:a piece of three-dimensional art that reflects the book’s text and images.Slick, yet sophisticated in every way, it becomes the metaphor for thetangled, twisted Kondoleon play of an American menage a trois.

The author writes of his play, “a husband and wife, and her husband’slover go up and down the Riviera only to be disappointed by the Riviera. Thedullness of the Cote D’Azur reveals to these Americans the dullness andimpossibility of love...they tire of one another and pursue sex partners at

random until they are attacked and consumed by sea dragons.” MarkBeard’s brilliant artistic interpretations of these “two dimensional andironic” characters, in their bathing suits and sunglasses, in saturated primarycolors, as well as his flat presentation, overwhelm in their impact of thecharacters’ vapidity. With images such as Greek temple caryatids foldingout to reveal the Cote d’Azur and the play’s characters rendered as paperdolls, Beard’s art interprets Kondoleon’s play so that the dragon’s crush ofthese pitiable, self-centered protagonists seems inevitable. A brilliantmixture of wit and irony, with difficult and innovative printmaking tech-niques, each page has highly unusual texture, especially in the final fold out.The resulting effect is one of almost excessive richness and mystery. Thetext, images, and binding all are an homage to the hedonism of the 1970’sand 1980’s. A beautiful book that now, 30 years later, achieves the statusof cultural icon. (10737)

10. FitzGerald & Co., Vincent. Kondoleon, Harry. The Coted’Azur Triangle. Etchings and lithographs by Mark Beard.New York: Vincent FitzGerald & Company, 1985. $6,000As above, but in the publisher’s yellow cloth binding. (7449)

11. FitzGerald & Co., Vincent. Mamet, David. The FrogPrince: A Play. Illustrated by Edward Koren. New York:Vincent FitzGerald & Co., 1984. $750One of 130 copies on Rives paper, printed at Wild Carrot Letterpress byDaniel Keleher. Page size: 10 inches x 8-½ inches, fine. Illustrated by Korenwith one original etching, signed and numbered in pencil by the artist and fourplates after drawings by Koren done for this book. The etching was pulledby Lynn Rogan of the Printmaking Workshop. The four additional illustra-tions were printed on Misu paperat The Meriden Gravure Com-pany. The title page calligraphyis by Jerry Kelly. All copies weresigned by both Mamet and Korenon the colophon. Bound in or-ange cloth stamped in frog-green,hand-made endpapers by GerardCharriere. Mamet, a leadingAmerican playwright and PulitzerPrize winner, has given the readera witty and touching play whichis perfectly represented byKoren’s familiar hairy monsterpeople usually gracing the pagesof “The New Yorker Magazine.” (2607)

12. FitzGerald & Co., Vincent. Rumi, JalaluddinMohammad. Fragments of Light 4. Lithographs by FranSiegel. Translated by Zahra Partovi. New York: VincentFitzGerald & Company, 2009. $3,500


Artist’s book, signed, limited edition, one of 35 copies, all on hand-made linenpaper by Dieu Donne Papermill and Mylar, each numbered and signed anddated by the artist, Fran Siegel, and signed in Persian by the translator, ZahraPartovi. Page size: 6-½ x 9-½ inches; 26 leaves. Bound: as desk calendaron stainless steel base, made by Milgo Bufkin, four screws fastening the two“rings” that hold the pages of the book, housed in custom-made grey clothover boards clamshell box, box by BookLab II. The titlepage and colophonare printed by Jerry Kelly in black and silver with Kelly’s own calligraphy.Ms. Siegal’s lithographs were printed in silver on the white transparent linenby Kelly Driscoll. Each page of linen is followed by a silver Mylar page.Each etching was not re-inked when repeated on the silver Mylar pageresulting in a shadow image. The text is laser cut. It appears first in Ms.Partovi’s elegant Persian calligraphy at the top and bottom of each pagewith the circular litho surrounding circular disc cut into each page, “reading”as silver against the succeeding silver Mylar page. It is followed by herflowing English translation on the silver Mylar page. This English textappears at the top and bottom of each page, and “reads” as white from thefollowing linen page. It can be read through the linen page, just below andabove where the Persian calligraphic lines appear. The circular cut-outs oneach page are successively smaller; the final cut on the colophon pagereveals the stainless steel base. Combinations of four different inks wereused to print each of the lithographs resulting in each page appearing slightlydarker as the concentric “circles” become smaller.

The poet / translator’s words on the significance of Rumi’s poetryexplain her work. “...the most remarkable biographical information aboutJalaluddin Rumi’s life is not the appearance and disappearance of the mysticShams, but Rumi’s imperative and conscious decision to make a change inhis career from a Sufi teacher to a poet. Here the medium is truly themessage: the most successful Sufi teacher of all times with countlessdevoted followers chooses to communicate through the path of poetry. Thismasterful poet combines philosophy, mysticism, and psychology in a

8-1/16 x 1 inches. Bound by the artist: carrousel style book with grey clothover boards, title printed on paper on front cover and on spine, grey gros-grain ribbon ties. Julie Chen’s inventive text centers on the nature of

existence from idea to form and employs thebook structure itself as a visual / physical modelof concepts portrayed in the text. The book asobject can be displayed circularly or linearly.This dual display feature contributes anotherconceptual meaning to the book as a whole. Thetext was printed digitally and laser cut. Each ofthe four pages of text is overlaid with a “cat’scradle” of grey cloth connecting words essential

to the text. Below the text page is another page of “cat’s cradle” cut-outsin grey cloth with a fourth blank page as the base. An intricate book, it is atonce provocative and satisfying. (10665)

New from Julie Chen

14. Flying Fish Press. Chrysalis. Berkeley, CA: Flying FishPress, 2014. $1,450Artist’s book, one of 50 copies, all on terra cotta colored Cave Paper andblack denim paper from La Papeterie Saint-Armand, signed by the artist onthe colophon, and hand numbered. An unusual structure,a sculptural book object housed in a box; book object size:7 x 11 x 7 inches when closed and 11-½ x 18 inches whenopened, tan and gold cloth over boards; lidded box size: 6-¾ x 11-¾ x 6-5/8 inches, brown cloth over boards. Thebook when folded is a half circle and opens to a full circle5-½ inches in diameter. The shape of the outer structure,i.e. the “Chrysalis” for the book, is a version of an oloid,a geometric shape discovered by sculptor and mathema-tician Paul Schatz in 1929. An oloid is defined by thespace created by two linked circles that intersect onperpendicular planes. It is the relationship of the circlesthat creates the shape. The book object is held together by a series ofmagnets and can be opened by the viewer until all the panels lie in a flatplane, revealing an inner book with circular pages that can be held in the handand read. All content is letterpress printed on handmade paper usingphotopolymer plates. The book, CHRYSALIS, has Ms. Chen’s own text,which she explains is an interpretation of the complex and transformativenature of the process of grief. The meaning seems more general to me - acomprehensive overview of the human psyche, always subject to change,reacting to daily existence. It is a beautiful object - the circular grid patternon the interior of the “Chrysalis” conveying attempts to render logical thatwhich is often intuitive. The numbers featured on the circles of the interior“Chrysalis” correspond to those on the pull-out tray at the bottom edge ofthe box holding the book and book object. The colophon is affixed to theinside lid of this box, where the artist /author has signed and numbered it.(10920)

Movable Book

15. Flying Fish Press. Chen, Julie. Family Tree. [Berkeley,CA: Flying Fish Press, 2013]. $975Artist’s book, one of 50 copies, 16 wood blocks, 4 sides covered in paper,2 sides laser engraved, signed by the artist / author, Julie Chen, on the insideback panel of the clamshell box housing the 16 wood blocks, and handnumbered by her. Size: 9 x 9-¼ x 2-5/8 inches; 16 blocks, can be arrangedto form six variations, based on a single image by Julie Chen. The digitallyprinted paper used for 4 of the 6 surfaces is mulberry paper laminated ontothe maple wood blocks. Clamshell box in goldish-green cloth over boardswith paper label on front panel with title in white, inside of clamshell box withgrey tone image of tree shadows cast onto driveway, title, artist, press, anddate in white on diagonal across image. The first image is the same tree,lettering in white, “walking through my neighborhood I notice the shadows

language so piercing as to enter the realm of music. It is this element morethan any other which has made Rumi’s poetry so irresistible to readers forover seven hundred years, even through the fire of translation.”

Fran Siegel, currently a Professor of Drawing and Painting at Califor-nia State University Long Beach, graduated from Yale with an MFA andTemple’s Tyler School of Art. She has had numerous solo exhibitions, aswell as group shows, and was the US Representative at the IX InternationalBienal of Cuenca Ecuador. Her collaboration with Vincent FitzGerald &Company results in an astonishing book. The other collaborators includeKelly Driscoll, who created the art for FRAGMENTS OF LIGHT II andMilgo Bufkin (stainless steel base) who has worked with well-known visualartists such as Ellsworth Kelly and Robert Indiana. Well-known printer andbook designer, Jerry Kelly, has worked with FitzGerald for over 25 years,helping produce very beautiful books. The Dieu Donne paper used for thisbook is incredibly strong and yet translucent. Mr. FitzGerald, once again, hasassumed the role of “Maestro” for these individual performers, leading andcoordinating their elegant performance for our benefit. (10235)

13. Flying Fish Press. Cat’s Cradle. Berkeley, CA: FlyingFish Press, 2013. $950Artist’s book, one of 50 copies, all on Mohawk Superfine paper, signed andnumbered by the artist / author / publisher, Julie Chen. Page size: 5-3/8 x


of trees branching on the sidewalk beneath my feet and in that instant thatI register what I am seeing I am also not seeing, subconsciously naming thesources unaware that I have stopped looking.” The engraved images on the

wood colored in turquoise are again the sametree with the addition of one word on eachblock: for example, “connections” and “emerg-ing” and “identity”. The next printed image isthe tree shadow in white with text in black.Following these is the tree shadow in ochreengraved on the maple with the words engravedin the same ochre. The next image printed onpaper, bordered in red, has the text “connected-ness explained through contact.” This sameimage is on the final side of the block “picture”bordered in turquoise. The always inventiveJulie Chen explores the themes of personalidentity and family history - and visualizes her

“text” as a “hands on” exploration of images, sculpture and words. Thestructure is at one with the content - a remarkable achievement - and onethat is fun and intriguing. (10798)

16. Gehenna Press. Baskin, Leonard & Kaplan, Sidney. AGehenna Alphabet. The Drawings by Leonard Baskin withAphorisms & Poems by Sidney Kaplan. Lurley, Devon, UK:The Gehenna Press, 1982. $2,500First edition, one of 89 copies, all on either white, cream or green handmadepapers, made in Maidstone, Kent, from a total issue of 110 copies, all signedby the artist, Leonard Baskin, and the author, Sidney Kaplan. Page size: 9x 6-¼ inches; 38 leaves including colophon, errata, and hand-colored woodengraved owl and pomegranate press mark. Bound by Grey Parrot: creamsmooth paper resembling vellum, gilt-stamped owl in oval by LeonardBaskin on front cover below title, also stamped in gold gilt, title in gilt on spine,

housed in blue marbled pa-per over boards publisher’sslipcase. With 26 drawingsprinted from line cuts, set inCaslon and printed letter-

press, the text for each letter is brief, i.e. “R /What doth the Rat / Prescribe for the Cat?” andthe drawings take the letter form. See “F / TheFable of the Fox...” A large part of the editionwas thought to have disappeared; but the BaskinEstate recently discovered some copies now made available. GehennaPress The Work of Fifty Years, #81. (10919)

Miniature Book

17. Jackman, Sandra. The Face of Time. New York, NY: 2015. $4,500

Unique artist’s book, miniature measuring 1-½ x 1-½ x 1 inches; 4pp; 2 ofwhich are double-page spreads, one folio opening and the other foldingdown, pages are bound into hinged metal fold-out covered in black leather,signed by the artist on the back panel, housed in black fabric draw-stringpouch that drapes over a framed photograph 2-½ x 3-¾ inches of a painting(by the artist) of humanity fading away. The base for the presentation of thisartist’s book / book sculpture is a repurposed found object - a piece ofpolished wood with a glass-domed porthole. The base is 7 x 5 x 4-¾ inches.The artist has constructed a scene that can be viewed through the porthole

suggesting space and time. The metal frame is positionedon the base overlooking the porthole. The book itself hasthe title, THE FACE OF TIME, set on an aged silvered

frame, inset with anold token GOOD FORONE FARE.

The text andimages are the originalpainting, lettering,collaging, etc. of theartist. Papers and ad-hesives are acid free.The book, in its 6-½inch fabric bag that canbe draped over theframed photo, is sym-bolic of the coveringof mirrors in Jewish

homes when a loved one dies. Tav, the last letter of the Hebrew alphabetis part of a collage on the last page of the book. The artist’s text reads,“Someone else’s time / Follows me home / Climbs thru / My window. / Thenight whispers / A time so old / And wrinkled / With imperfections / Itsmeaning / is Unmistakable.” The artist states, “ We watch time carefully forthe tell tale signs of transience. Its features are as familiar as the earth underour feet and as mysterious as nature.”

Measuring time is one of man’s oldest preoccupations. Measuringsystems - calendars based on lunar movements, water clocks, the hourglass,sundials, Stonehenge and Newgrange were all used to mark astronomicaltime. Horology, the art and science of making timepieces or of measuringtime, becomes increasingly complex. However, time, for the artist, has itsown meaning - here made visible. (10908)

18. Jubilation Press. DeForest, Cathy and Derek Pyle.Alchemy: Invitations and Offerings. Three Volumes. Ashland,OR: Jubilation Press, 2011. $900One of 10 copies, consisting of three portfolios containing 20 letterpressbroadsides of poetry, plus 3 introduction sheets, on various papers, includingBFK Rives, Stonehenge, Hahnemuhle, Bamboo, and Canson, designed andprinted by Cathy DeForest and Derek Pyle, who together are JubilationPress. Page size: various sizes and designs, all laid into size by slipping intosewn corners of sheets measuring 10 x 13-½ inches. Bound by Sabina Nies:broadsides, loose, laid into three portfolios, maroon cloth over boards, titleon each stamped in black on maroon leather and tipped on to front panel atforedge, the three volumes held together by hand-tooled leather band withblack bone closure. Volume 1, Alchemy, houses eight broadsides featuringthe work of Cathy DeForest and Derek Pyle - not only their poetry but alsoMs. DeForest’s photography of Thich Nhat Hahn, Nobel Peace Prizenominee. Volume 2, Invitations, holds six custom-designed poetry broad-sides, each signed by the author. Included are the work of Robert Pinsky,Mark Doty, Li-Young Lee, Albert Rios, Matthew and Michal Dickman.These works were a result of the Chautauqua Poets and Writers Seriesstarting in 2006. Volume 3,Offerings , houses sixbroadsides created to raisemoney for various nationaland international causes andfeatures the work of WayneMueller, Michael Meade,hippy icon Wavy Gravy,among others. Some broadsides were printed in limited editions and somewere done as open editions. However, only 10 sets were assembled by thePress for sale. The colophon, affixed to the inside back cover of Volume 3,so states, and is signed and numbered by the publishers. Each broadside,however, brings a unique sensibility to its text. Still, there is an unexpectedharmony in this assemblage of disparate verses and images that exudes asympathetic humanity. (10916)


19. Kingston, Peter and Fairlie Kingston. Missing Dot andOther Stories. [Tamarama, Australia: Polar Bear Press,2014]. $1,200First edition, one of 26 copies only, each signed by the artist, Peter Kingstonand author, Fairlie Kingston, and hand-numbered and dated, all on Magnani

Velata Avorio paper for the text andJapanese Iwaki Mulberry paper forthe linocuts. Page size: 7-7/16 x 9-13/16

inches; 124pp; 8 of which containtipped-in original linocuts colored inSakura oil-based inks each with hand-written captions and signed by PeterKingston. Bound by the printer / de-signer, Nicholas Pounder, hand sewnin buff wrappers, housed in grey clothover boards clamshell box with clothcut-out collage by Peter Kingston onfront panel showing trailer hooked tocar, night view with lights in trailershowing as bright yellow, all on blackground, image 6 x 5-½ inches. Nicho-

las Pounder has designed this charming “slice of life” text and images, whichhe letterpress printed in Bembo. Peter Kingston’s bold, colorful linocuts forsister Fairlie’s loosely connected stories of life in the 1950’s in ruralAustralia. The reader / viewer quickly enters into their world - evocative,touching and colorful. (10918)

New from Nancy Leavitt

20. Leavitt, Nancy Ruth. Plants Speak I. Stillwater, ME:2015. $5,000Unique artist’s book, an exploration of the genus potamogeton, AmericanPondweed, accomplished on Katie MacGregor and Arches text wovepapers, signed by the artist and dated, Nancy Ruth Leavitt, 2015, on thecolophon page. Page size: 11 x 6-1/8 inches, 54pp; 42 of which are paintedand/or lettered all in watercolor in shades of green. Bound by Joelle LeavittWebber: hand-sewn on tabs, with Ms. Leavitt’s own painted paper (byKatie MacGregor) wrappers indicating a watery landscape at sunrise (orsunset), housed in custom-made box of dark green cloth over boards, interiorlined with Ms. Leavitt’s matching hand-painted papers label in green ink onwhite paper with drawing of a single stalk of pondweed, with title letteredbelow in green ink. This is the 109th manuscript book by the artist, who, forthis project, has written the text, as well as compiling texts of earlierbotanists, particularly Eugene Cecil Ogden and Edith Bolan Ogden, bothaffiliated with the University of Michigan and the University of Maine.Included are other 19th and 20th century botanical descriptions of potamogetonwith line drawings of various species, some double-page spreads, as well as

a botanical list ofpondweed from ex-isting herbaria witha line-drawing of agraceful stalk ofpotamogeton ex-tending along theentire left marginas well as 14 origi-nal (mostly ab-stract) watercolorsof the plant’s wa-tery habitats. Thereader / viewer istransported andsubmerged into

these aquatic and verdant landscapes through Ms. Leavitt’s words andimages, and it is a magical journey.

Her description ofpondweed and whereit is found detail themutually-beneficial ef-fects of this plant andother life found in itsproximity. The non-text pages are watercolored in shades ofgreen (2/3 of the page)for the pond and orange for the area above the water line. The abstractwatery landscapes are highlighted by an adjacent page of cut-out lime-greenpaper which affords a surface view - rather the artist’s interpretation of thisview - of the plants covering the watery surfaces. These views - thewatercolor on the verso or the lettering on the recto - are seen through theartist’s lace screen. There are four such lace cut-out pages.

Ms. Leavitt’s affinity for the natural world finds perfect expressionhere - from the elegant calligraphy to the refined page design to the colorfulwaterscapes. This common plant (weed) is rendered beautiful and magiste-rial, it’s place in the natural world defined and described and drawn withappreciation and respect. (10901)

21. McCallion, Barry. Object from the Hall of Superstitions.[East Hampton, NY: 2012]. $2,750Unique artist’s book, on Saint-Armand paper, signed and dated by the artist,Barry McCallion in red ink on the colophon page. Page size: 7-¾ x 5-3/8

inches, 32pp; + titlepage and colophon. Bound: loose as issued, 4 fasciclesof 2 folios each, laid into taupe paper over board portfolio with titlepage andcolophon printed on white paper affixed to front and rear panel, black silkties, front panel painted with circular motif in red and black India ink usingthe taupe paper backdrop as base for circles, curves, and arabesques,

housed in brown cloth over boards custom-made clamshell box with titleprinted in black on white paper label, “object from the Hall of Superstitions”and signed in black ink below title, “Barry McCallion.” The artist notes inthe colophon that “Object” is to emphasize the “thingness”: Independent,non-relational, self-referential. He adds the title derives from the “hall ofSuperstitions,” a Surrealist exhibition designed by Friedrich Kiesler forGallery Maeght, Paris, 1947. The artist has created a beautiful object - fullof ambiguities. The text, in black ink, on every page, is interrupted orhighlighted by decoration in metallic and India inks. Or, perhaps, the pagepaintings are interrupted by the black ink script. The script is not legible -rather it resembles hand-writing with symbols, diacritical marks, andpunctuation - it is the artist’s invention. The pages at first glance remind theviewer of early astronomical manuscripts. They do not reflect any actualplanetary system - but are structurally sound nonetheless. Frederick JohnKiesler (1890-1965) was born in what is now the Ukraine. Before movingto New York in 1926, he had pursued a career as an architect, theoretician,theater designer, artist and sculptor, collaborating with the Surrealists, DeStijl, and many major figures of the European avant-garde. (10930)

22. McKee, Elizabeth. Departure. Pasadena, MD: 2008 &2015. $4,500Unique artist’s book, on Arches Text Wove paper, signed by the author /artist, Elizabeth McKee in pencil on the colophon page. Page size: 11-7/8 x


13-¾ inches; 12pp. Bound by the artist: brown cloth spine with red cloth overboards painted with white “glyphs” on front cover, housed in red clothclamshell box with white runes on top front half as if part of larger circularmotif - the Phaistos Disc, a Minoan artifact, actually a holy relic of themother goddess, from 1700 BC. Painted in jeweled and earth tones in pastelsmade permanent with the application of SpectraFix, with the addition ofacrylic ink and paint, Ms. McKee has created her own translation of theglyphs of the Phaistos Disc. Ms. McKee started this book in 2008, finishingit in 2015. When she started DEPARTURE, there seemed little chance ofthe Phaistos disk being translated. However, in 2014, Dr. Gareth Owensannounced that he and John Coleman had “cracked” the Minoan disk.Owens concludes that the disc may contain a prayer to a Minoan goddess.

The earth tone-painted pages of the book are Ms. McKee’s ownimaginary interpretation of the Phaistos Disc characters - but her story is asmuch a prayer to a female deity as the Owens’ translation. She has createdpages that are irregularly shaped with fold-over edges, attached folders, aswell as unfolds at bottom; however, all the fold-overs work together tocreate a unified page design. It is as if the reader / viewer were excavatingwhile reading - exposing multi-layers of images - reflecting the actualdiscovery of the Phaistos disc in 1903 on the island of Crete.

origami and other bits of decorativepaper. The application of postagestamps was suggested by Joan Machinchick.

The text, inspired by Mary Oliver’s well-known verse, “Wild Geese”was composed by Beth and lettered in an alphabet based on a circular “o”- her own creation - executed in white Ziller ink on the black first side of thebook amidst the flying geese, the lines sometimes extending across a double-page spread, sometimes not. Sometimes the lines are curving up, sometimesswooping down. The incredible sense of movement in this book - flyinggeese indeed - compels the reader / viewer to turn the page, soaring withthe geese, flying as part of their world, if only for a moment. (10917)

24. Moore, Suzanne. A.Musings. Vashon Island, WA: 2015.$1,100

Artist’s book, one of 26 copies, all on Rives BFK paper and Revere papers,lettered A to Z, signed and dated by the artist, on the colophon. Page size:9 x 15 inches; 20pp. + colophon. Bound by the artist: painted maize coloredMagnani Paper, with the letter “A” tooled in silver and gold gilt on frontpanel, rather abstract as if assemblage of bamboo, paper portfolio to housebook. Titlepage extends across two pages and features a large script A,debossed followed by a smaller, printed MUSINGS (Bodoni Outline)separated by gold-gilt dot. Designed, hand-lettered and painted and collaged,printed monotype, debossed and hand-cut by the artist with hand-set typecomposition and letterpress printing by Jessica Spring at Springtide Press.Each page is an original composition capable of standing on its own. Yet,there is a narrative clearly evident in A.MUSINGS, and the reader / vieweris compelled to turn the page to find new images of the first letter. Thebeginning of the written word is no small subject; Ms. Moore has exploredit in a previous unique book and here again rises to the challenge. With greatsubtlety and her usual sureness of technique, she explores historic forms ofthe letter, visually and textually. For any lover of language and art, AMUSINGS speaks directly and will resonate long after the pages are closed.The shaped printed page in Optima, which contains the artist’s owndefinitions of the letter “A”, is beautifully constructed and printed by JessicaSpring. The backdrop for this translucent page is a drawing, alluding to thegeometric roots of classicalRoman letterforms. Theending words, “Tops. First.Creme de la creme. Aleph”certainly apply to this book -as well as the letter A.A.MUSINGS final page ison a black painted groundwith a plethora of vividlycolored letter forms, all ofthe letter A. These A-forms(all but one of African ori-gin), jostling up against oneanother, create a page ofintense visual energy. This is in direct contrast to the previous pages of A’son white grounds, in black, highlighted with multi-color designs and gold giltwhich are concrete and placid - suiting perfectly as these are representativeof the Greek letter forms based on geometric shapes. A truly beautiful odeto the “vanguard” of letter forms. (10884)

This book evolved from random marks made on a full sheet of papermade by five women meeting together one day to work on their art. Ms.McKee took the remains of some of their prints and a dragonfly stampedimage and created her own world of swirling circles and fleeing femalefigures from this maze. Reflecting traditional Minoan images and myths, thisbook is very much a contemporary feminist statement. McKee’s images ofa small female figure in white outlines against increasingly dark jewel-colored pages insist the reader / viewer accompany the female figure on thisjourney through a labyrinth opening to freedom. (10527)

23. McKee, Elizabeth. Wild Geese. Text by Elizabeth McKeewith help from Mary Oliver. [Pasadena, MD: 2012]. $5,000Artist’s book, unique, meander format, on Arches Text Wove, signed by theartist in pencil, “Elizabeth McKee” on the penultimate page of the darkerside of the meander book and dated 5 Oct 2012. Page size: closed 6-¾ x 10-3/8 inches; open flat: 40 x 25-½ inches; 32pp. including both sides. Bound bythe artist: black cloth over boards with inset of miniature cotton quilt in WildGeese pattern, red on black ground with red boarder, housed in black feltslipcase with basting stitch borders in red with red appliques in diamondshape, actually magnets underneath, with red fabric band at top inside flap,also with magnets, to hold slipcase closed, gussets on each side of slipcase,extraordinarily handsome.

The colophon explains that this complicated book started as a collabo-ration between Heather Mallett, Judy Bainbridge, Nancy Ellis and BethMcKee. When Nancy Ellis announced she was moving away fromcalligraphy and into quilt making, Beth suggested a collaborative bookproject to use up some of her excess paper. Nancy’s contribution to Beth’sbook were micro quilt blocks, which Beth took as inspiration for the themeof her book, placed them on the black side, later made even darker by Beth,with the wild geese pattern the dominant side of this meander book.Heather’s writing and Judy’s gold lines would be on the back. Beth paintedover Heather’s collages with gesso and then added additional collages. Shethen transferred some digital images onto the gesso, adding goose patterned


25. Moore, Suzanne. Zero: Cypher of Infinity. Texts by EmilyDickinson, Ralph Waldo Emerson, Rainer Maria Rilke, WassilyKandinsky, Gregory Orr, Isaac Newton, Charles Seife, VictoriaFinlay, and Lucretius. Vashon Island, WA: 2014. $3,500Artist’s book, one of a series of 50, each copy with variations, all on ArchesText Wove and BFK papers, with occasional Japanese paper interleaves,signed and dated by the artist, Suzanne Moore. In addition, there is projecteda deluxe edition limited to the first 5 with additional hand-lettered pages, tobe priced at $7,000. Page size: 11-½ x 15-½ inches; 35pp. Bound by theartist: custom-dyed black Cave Paper, tooled in gold and silver gilt ara-besques, almost forming circles with lines and circles radiating out fromcenter, housed in custom-made black cloth over boards, felt-lined clamshellbox with grey paper label printed in black with the title and artist’s name,highlighted with red and gold gilt circles by the artist. The book isaccomplished is a variety of mediums: original painting and drawing as wellas silkscreen prints, with texts in wood and metal types (from the types ofthe Springtide Press) and polymer plate letterpress printing, embossing, andgold foil and 23k gold leaf, all by noted artist and calligrapher, Suzanne

Text by Walter HamadyFrom his Journal

26. Perishable Press Limited. Hamady, Walter. A Timelineof Sorts. Desultory Liftings from the Journals of WSH Hamady.First Segment 1963-72. Mount Horeb, WI: The PerishablePress Limited, 2012. $3,250First edition, signed, limited to 80 copies, this is the 131st book of the press,on various paperswith art by many ofthe artists, includingthe printer / publisher/ author, WalterHamady. Page size:10-½ x 7 inches;80pp. Bound by theprinter / publisher /author and ScottKeller. Hamadypunched and sewedthe text block whichScott Keller casedit in tan cloth printedwith image of theauthor printed in brown across top 5/6 of spine extending 1/3 into covers.Walter Hamady’s unpublished Journals (daily writings since 1963) mightwell be the ultimate source book for 20th century American book arts. InTIMELINE, he lets the reader sample journal entries from the first 10 years,with references to authors and artists he has published as well as his ownwriting and printing, papermaking, and binding. This is a provocative andbeautiful book. The “List of Illustrations” page is stunning; the Preface pageis magical. Stamped and collaged, amended, with shaped texts, this couldonly be the work of Walter Hamady. (10833)

27. van Zanten, Merike, Muir, John and Albert Einstein.Back to Nature [Acton, ME: Double Dutch Design, 2010].

$1,100Unique artist’s book, on various papers, with book cloth and book board,signed and dated by the artist, Merike van Zanten, on the last page. Pagesize: 6-7/8 x 5 x 1-¾ inches; opening to 34 inches; 20pp. each page with fold-over flaps serving as frames for each page. Bound by the artist: accordionstyle, hand sewn with various colored threads (green, gold, blue) decoratedwith beads in shades of brown, housed in custom-made green cloth overboards, clamshell box, original white bark collaged to front panel, with title,Nature, cutout to reveal in green below, outline of leaf to left of title takingoff top layer of white bark, green brocade over edges, lined with green silk,with bookmaker’s bronze ticket at top of inside of case. The stamped texts,some enhanced with hand-stitching and/or glitter, appear randomly. Usuallythey surround see-through “envelopes” cut from mica. The opening pagespread is a quote by Albert Einstein, “Joy in looking and comprehending isnature’s most beautiful gift.” This text is in brown enhanced with sand, withtransparent window hold-ing a brown leaf with goldand blue-green stitching,seed pearls, the threads longand loose. The “windows”of each page are visiblefrom either side of theleporello. The windows arefilled with seed pods, twigs,sprigs of dried flowers, etc.John Muir is represented bythis quotation near the endof the first side of the book, page flaps decorated with fragments of whitebark, “in every walk with nature one receives far more than he seeks.” Also

Moore. Ms. Moore collaborated on the letterpress printing with JessicaSpring of Springtide Press. While the book is an edition, the amount of handwork makes each copy slightly different. The reader / viewer is taken on aheady ride of visual images and words that are in the traditional linear formatof a book: turn the page and move forward. However, the repetition ofcircles on each page, either as “zero” in various shapes and sizes printed inblack, or as they appear in the painted images as giant circular swirls in amyriad of colors, or multiple combinations of text and image formingintriguing and provocative images, leads the reader / viewer around to zero,subverting or enhancing or furthering the linear concept of the book(reader’s choice!). As an example of the complexity of this intriguing book,the opening text page spread is a series of zeros and printed text (by Mooreand Denis Guedj) on a white ground. Ten pages later, the same design ofzeros and text blocks (text now by Gregory Orr and Moore) is on a blackground. Of course, it looks completely different than the same art andprinted text on the white ground - or does it? Coming full circle indeed!

Suzanne Moore started investigating the complex history of the simpledigit, “0” in two earlier commissioned artist’s books, ZERO, FACES OFTHE VOID (2007), and ZERO: CYPHER OF INFINITY (2009). In thisedition book, she investigates concepts and controversy around Zero. Shehas incorporated texts by Denis Guedj, Charles Seife, the A. E. Stallingstranslation of Lucretius, Sir Isaac Newton, Victoria Finlay, Gregory Orr,Wassily Kandinsky, Rainer Maria Rilke, Ralph Waldo Emerson and EmilyDickinson. She ties this seemingly disparate group of authors / scientiststogether with her own words, pointing out the alarmingly limitless possibili-ties of Zero. These texts present questions that explore the complex historyand eternal mystery of the void taken from science, philosophy, calculation,and symbology all interpreted through art and text. A most beautiful book!(10101)


by Muir is the quotation that runs along the bottom edge of the second sideof the leporello, “Everybody needs beauty as well as bread, places to playin and pray in, where nature may heal and cheer and give strength to the bodyand soul.” A lovely combination of machine-made elements and nature,truly inventive, this book is a delight. (10909)

28. van Zanten, Merike. Lovers’ Game. [Acton, ME: DoubleDutch Design, 2011]. $2,200Unique artist’s book, by Merike van Zanten, signed by her on the colophon.Inspired by magnetic fridge poetry, the “book” consists of a vintage two-drawer watch part stacking cabinet with the original glass vials. Black metaltwo-drawer stacking cabinet measures 13-¼ x 10-¼ x 3-¾ inches; brasscolored pulls on each drawer, label holders on each drawer with “I love you”and “I love you not” printed with archival inkjet printer in grey ink, originalNewall label on Drawer 1 and anotherlabel in gold with red banner not legibleon Drawer 2. Four small posts onwhich to stack another cabinet on top,four holes for placing bottom on top ofanother cabinet, a utilitarian survivor.There are 144 original glass vials inDrawer 1 and 144 words or phrasesinserted, one in each vial. There are148 glass vials in Drawer 2 with 144words or phrases inserted, one in each vial. Examples from Drawer 1: “yourdreams” and I love you” and “kiss me.” Examples from Drawer 2: “you’dbe nowhere” and “after all these years” and “a mudpool.”

The artist notes in the colophon that the words, like the magnetic wordsfor “refrigerator poetry,” could be assembled to make “adorable messagesfor loved ones.” The artist further notes that she thought it unfair that onlypeople in love got the chance to express themselves this way, thusdiscriminating against the (probably larger) number of people who had fallenout of love.

The game words were printed on an archival inkjet printer onHahnemuhle Copperplate paper. Each cabinet drawer contains a printed list

of the words with numbersmatching the vial numbers. Theprinted list in each drawer is theform used to order parts fromNewall. This adapted parts listcontains all the words matchedwith the numbers of the vials.LOVERS’ GAME is at once aformerly utilitarian object nowwhimsical and imaginative and,as such, is provocative and wor-

thy of attention. Words - an attraction for any bibliophile - are here offeredin a most unique setting. This sculptural artists’ book was included in 500Handmade Books Vol. 2. (10911)

29. van Zanten, Merike. Thoreau, Henry David. Insect View.[Acton, ME: Double Dutch Design, 2014]. $1,250Artist’s book, on Hahnemuhle Copperplate paper, with additions of variousother papers, signed by the artist on the colophon, “Merike van Zanten.”Page size: 7-9/16 x 5-7/8 inches; 36pp. Bound by the artist: hand-sewn withexposed spine, boards of vintage photo album, with centerpiece of browndyed silk that has been padded and hand-stitched in white and tan thread,to form images of trees, title in black on white paper inserted at bottom edge;blue endpapers printed in black, leaves and seed pods collaged to pages,mica sheets, over eco-printed natural images; housed in tan corrugatedcardboard fold-over case with green brocade flaps, elastic and wood buttonclose. The first page is an oak leaf on which the artist has lettered a quotationby Henry David Thoreau: “Nature will bear the closest inspection. Sheinvites us to lay our eye level with her smallest leaf and then take an insectview of its plan.” This text is in black on a green leaf. The colophon pageis also hand lettered in black on green leaf.

The 36 pages of eco prints (prints made of leaves and plants steamedbetween leaves of paper) are further embellished with mica, dye from abacatea bags, goldleaf, encaustic,and black ink.hand-stitching,twine, with cut-outs as well asonlays. This is abeautiful book - arich tapestry oftans, browns, andgold and black. Itis eco printed -with the additionof rust printsfrom metal grates and brackets - hand-stitched, collaged layer upon layer,much as the forest floor is. The artist is offering the reader her own intenselypersonal and magnified view of nature. (10912)

30. Verdigris Press. Sand, George and Emile Zola. Vues deVenise. Mezzotints by Judith Rothchild. Octon, France:Verdigris Press, 2002. $1,300One of 6 copies, from a total issue of 50, (8 with an original copper plate andadditional mezzotint, 6 with an additional mezzotint, this copy, 36 regularcopies) all on Hahnemuhle paper, this special copy with an additionalmezzotint not in the regular edition, each signed and numbered by the artist,Judith Rothchild. Page size: 8 x 10 inches; 16pp. Bound: reversibleaccordion-fold, covers of hand-marbled Venetian papers in red, black andgold over boards; as issued in black slipcase with Venetian paper accents,title in letterpress in black on marbled paper insert, white label on coverboards a bit ink spotted, else fine. Text in original French.

This book, which is completely re-versible has on one side a text on Veniceby George Sand and on the other by EmileZola, each with three Rothchild mezzotintsof doorways, bridges and canals. Sand’sdelightful description of Venice in spring-time forms a sharp contrast to Zola’s grimportrayal of a decadent city in decay. Likethe illustrations themselves, the texts pro-vide a provocative study of contrasts. Anextraordinarily beautiful book redolent withthe eternal allure of Venice. (9939)

31. Verdigris Press. Rouanet, Marie. Magie Blanche.Mezzotints by Judith Rothchild. Octon, France: VerdigrisPress, 2006. $1,750One of 30 copies, 27 of which are for sale, all on Hahnemuhle paper, eachhand numbered and each signed by the author, Marie Rouanet, and the artist,Judith Rothchild, on the colophon. Page size: 12 x 16 inches; 21pp. Bound:loose in original publisher’s box with original serigraph of mimosa brachesin blue-green on yellow ground over boards, title on front panel in black on

yellow label; spine with title, author, artist,and press in black on serigraph of mimosawith green ground, original serigraph frontand endpapers of mimosa branches ongreen ground, new. There are 11 originalmezzotints comprising 10 full-page spreads,each page is hand-numbered and initialedby the artist. The text, by French poet MarieRouanet, is prose / poetry relating distinctlyto each sumptuous image. The still life’s ofolives, cheese, langoustines, and mushrooms

once again reflect Ms. Rothchild’s mastery of her medium and particularfeeling for natural world. The displays of wine bottles, an almost abstract


image, are no less masterful and compelling. The colophon tells the reader/ viewer that the collaboration was inspired by the restaurant “Le Mimosa”created by Bridget and David Pugh and the book is a celebration of theLanguedoc region where the restaurant and collaborators in the book liveand work. The text is hand set and printed by Mark Lintott in VendomeRomain on an 1867 Albion press. Boxes were made by Lisa Knoblauch.(9926)

32. Virgin, Tom. Conversation Too (Convo2). [CoconutGrove, FL]: Extra Virgin Press at Jaffe Center for BookArts, 2013. $750Artist’s book, one of 50 copies, all on Rives BFK Tan Heavyweight, signedby the artist / designer / printer, Tom Virgin, along with those whocollaborated with him on this work, visual artists Kari Snyder, Laura Tan and

writers John Dufresne, MichaelHettich and Yaddyra Peralta. Pagesize: 12-½ x 8-¾ inches; 25pp. + colo-phon and Acknowledgements. Boundby the artist: kettle stitch on exposedtape with red cloth over board covers,endpapers of red, white, tan and blackKatazome paper, title printed letter-press in black on front cover. Printed

by Tom Virgin at the Jaffe Center for Book Arts on their Vandercook 4Proof press while the artist was the Helen M. Salzberg Resident Artist atthe Jaffe Center in 2013. This book follows an earlier, related volume,Conversation. Here the text is from three South Florida writers and theimages from three visual artists. Poetry and prose are assembled withimages all printed letterpress. Boxcar Press made the plates from which thebook was printed. An assemblage that works - with the aesthetics of 6 artistsharmonizing under the leadership of Tom Virgin. The images include avariety of mediums including collage, etch, woodcut, and letterpress printedfrom polymer plates. (10931)

33. Virgin, Tom and Michael Hettich. Solitude. NP butCoconut Grove, FL: Extra Virgin Press, 2015]. $350Artist’s book, one of 5 copies + one AP, all on grey-green cotton rag paper,signed by the artist / publisher, Tom Virgin,and dated and hand-numbered, and alsosigned by the poet, Michael Hettich. Pagesize: 9 x 6 inches; 14pl. Bound by the artist,drum leaf binding in Cave Paper with handstamp - orange outline of fish - on frontpanel. Michael Hettich’s verse is printedwith polymer plates, linoleum blocks,silkscreen, hand stamps and hand coloring,the images and decorations surrounding the text. A quiet book - and lovelydepicting the natural world in all its richness in word and image. (10932)

New from William T. Vollmann

34. Vollmann, William T. Bible Prints. Sacramento, CA: Co-Tangent Press, 2015. $6,500Artist’s book, one of 6 copies, 5 of which are for sale, all on Nideggen paper,each copy signed by the artist, William T. Vollmann, on the colophon and onthe hand-letteredtitlepage and on thereverse of each print.Page size: 17 x 12-7/8

inches; 12pp. Bound:loose as issued; suiteof prints and titlepageand colophon arewrapped in buff Riveslightweight and housedin a custom-madeblack cloth over boardsclamshell box, with titleand artist printed inblack on white label onspine, box by Joelle Leavitt Webber at The Mermaid Bindery.

Each of the 6 copies contains 5 original woodblock prints printed witha spoon in Charbonnel and Daniel Smith oil-based inks, with additional hand-work done a la poupee.The wood blocks wereengraved on pineblocks over pencildrawings of two dif-ferent female models.The Nideggen paperwas first under-paintedwith black acrylic inorder to reverse hisusual negative-tonestyle. Each print wasthen archivally gluedto hand-painted, edge-wrapped archival cardcolored with Daniel Smith gesso and Golden acrylics. The back of each printwas waxed with Renaissance wax. The outlines were then embellished withtranslucent sanguine etching ink on the outlines. The reverse of each printhas a card, tipped onto the top left corner, with the number of the set andeach signed by William T. Vollmann and dated. In addition, in the lower rightcorner is a hand-written quotation from the Bible which refers to the imageon the verso; chapter and verse are cited.

William T. Vollmann’s Bible Prints are all of women – as God speaksin a feminine voice. For this always provocative author, God is Goddess. TheBiblical quotations so reflect this interpretation. The images are at oncefundamental and sophisticated with real punch / power. (10915)

Terms of Sale: All items are subject to prior sale. Payment should accompany order unless credit has been established. Mastercard andVisa accepted. ME residents please add 5% sales tax. Institutions may receive deferred billing. Posting is additional: $10.00 for the first itemand $5.00 for each additional item. All items are guaranteed as described and may be returned 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 PHe-mail: [email protected] web: www.juvelisbooks.com

Documents

Priscilla Juvelis - Rare Books · Priscilla Juvelis, Inc. (207) 967-0909 [email protected] 5. Davidson, Laura. Culinaria. [Boston, MA]: 2009. $1,250 Artist’s book, one of 10 copies