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Priscilla Juvelis, Inc Priscilla Juvelis – Rare Books Catalogue 74 – Contemporary Book Arts New Arrivals the Manhattan Graphics Center and the Grenfell Press in New York City. The short text, capturing the ephemeral nature of light and its effects on inanimate objects, and by inference from the poet’s observation on ourselves, is perfectly set off by the textural aquatints. Coleen Curry’s binding carries Ms. Plimpton’s themes of nature and self-discovery. (11302) 2. Harvey, Cig. You an Orchestra You Bomb. Rockland ME: 2017. $50 First edition, signed by the artist, Cig Harvey on the lower right of front free endpaper in red ink. Page size: 9 x 9 inches; 142pp. Bound: yellow cloth stamped with title and artist on front panel and spine. This is Cig Harvey’s third monograph; all are autobiographical and explore the photographer’s relationship with life itself. It is a book about paying attention to Bound by Coleen Curry and appreciating the fragile present. With essays by Vicki 1. Curry, Coleen. Plimpton, Sarah. Edges. [New York: Goldberg and Jacoba Urist that accompany Ms. Harvey’s poi- 1994]. $3,300 gnant and hauntingly beautiful photographs this is a wonderful Artist’s book, unique copy in designer binding by Coleen Curry, book. (11321) signed and dated by the binder on the rear turn in, Coleen Curry / 2017. The book is from an edition of 25 copies, all on Arches paper, each signed and numbered by Sarah Plimpton. Page size: 6- Text from The Hunting of the Snark 9 ¾ x 7- /16 inches; 24pp. Bound by Coleen Curry: staple binding of Pentland goatskin that has been collaged, sanded to tan, tooled 3. Jackman, Sandra. Coming Down to Earth. [New with silver gilt and black dotted lines with onlays of sanded suede York]: 2017. $5,000 over the black goat skin, title EDGES in silver gilt on front panel, Unique 5 pair of black staples on spine, maroon and silver grey suede artist’s book, turn-ins and paste-downs, all on photo black paper guards; blind paper, acid stamped on back turn-in and free papers dated by the binder, Coleen and adhe- Curry; original wrappers sives. signed bound in; original six folios and dated by set in tabs to allow complete the artist on opening of each page spread, front cover housed in custom-made black cloth over boards clamshell box and on lower lined with black Ultrasuede, spine of box with black goatskin interior collaged and sanded and stamped with title and artist / author in spine. Page blind. This is a most elegant and persuasively appropriate binding size: 12 x 10 for Sarah Plimpton’s organic text and images. The binding design inches; 23 pages featuring original artwork and text by Sandra resembles that of a topographic map, the silver tooled dotted lines Jackman as well as some collaged text on photo paper from Lewis conjuring up hitherto unexplored paths. Carroll’s poem THE HUNTING OF THE SNARK, plus 25 blank Sarah Plimpton’s poem is accompanied by her own aquatints pages following the text “NOTHING MORE WILL HAPPEN which were printed by Peter Pettengill in Hinsdale, NH. Ms. HERE”. The reader is invited to use these pages for notations as Plimpton designed and illustrated and printed the book in 1994 at readers do - on the margins of a page. Bound by Brewer-Contino in black paper over boards with text was set in Janson. The artist has written that she has used a black leather-ette (Snark skin?) printing process that, “has more in common with drawing or spine, original paint-ed and let- collage with strategic letterpress printing.” Her unusual printing tered collage by the artist on front techniques result in a “textured” page. panel with title and artist hand- Bound by Coleen Curry: dark green goatskin limp leather lettered by Ms. Jackman; the in- which has been side cover features a paper col- cut and then ap- lage of inked and torn papers plied over the meant to mimic the turbulent sea; binder’s own the first page includes a hairnet to pastepapers, the capture the fallen; housed in a edges of the custom-made black leatherette “cuts” painted clamshell box with title blind- with blue acrylic stamped on front panel, signed by artist on interior spine back. (hinting at the Each page contains hand-lettered text as well as original various blues collage, in ink and tempera, torn papers, photographs, digitally- mentioned in sev- printed text, all in a feverish mix of despair - a long, anguished cry eral of Wilson’s railing against the inequities in today’s world. The artist writes, poems), all pages “COMING DOWN TO EARTH is an expressionist construct of put on tabs to al- ideas and images that formed as I read Lewis Carroll’s epic low for seamless “nonsense poem”, THE HUNTING OF THE SNARK (published in opening of each double-page spread. Mica, in the form of mica- 1876). A dialogue of sorts ensued… the pages of my book reflect ceous iron oxide in acrylic liquid form, has been added to the as an intrusion of the time we live in. How a story is told and the aniline dyes Ms. Curry uses to dye the leather, which is then refrain (A HUNTING WE WILL GO) march through the pages sanded and blind tooled, with title stamped in blind on front panel like a cautionary tale. In Carroll’s poem a cast of characters from below a series of “X’s” which seem to fly across the panels; blue a variety of occupations all starting with the letter B that includes headbands, tan goatskin free flyleaves, the binders own dark green a beaver … sign on to an expedition that hasn’t a remote connec- pastepaper guards, signed by the binder in blind on the lower rear tion to anything they have experience in or are equipped to deal turn-in with her device; housed in custom-made green cloth over with. They are lured by an appetite to taste something unique. boards clamshell box with green leather label on lower front cover When it is too late, they grow aware of dangers. Becoming the blind stamped with title, author and artist. The binding, which prey themselves is a possibility since what they seek has a appears minimal, is a completely thought out and brilliantly dangerous counterpart, a BOOJUM with an appetite of its own. executed interpretation of the thoroughly modern and clean verse The HUNTING OF THE SNARK an Agony in Eight FITS appealed of Emily Wilson, perfectly complementing the prints of Sara to my connect the dots mentality as an allegory for the remarkable Langworthy and her beautifully set and printed text. world of the 21st century - an expedition into strange uncharted Emily Wilson, poet and recipient of the 2007 fellowship territories.” from the National Endowment of the Arts, has written the six Visually haunting, the artist uses images and text that are poems included herein. They touch on the natural world brought assembled and disassembled. The word hunting takes on a very into one’s own sphere. Sara Langworthy, book artist and printmaker, sinister aspect and the images reflect the deeper meanings. is currently teaching at the Iowa Center for the Book. Coleen Intricate and complicated, this is a book for our time. (11320) Curry teaches bind- ing at the American Bound by Coleen Curry Academy of Book- binding. Both Ms. 4. Langworthy, Sara and Emily Wilson. Morpho Langworthy and Ms. Terrestre. Seven Poems by Emily Wilson. Five Images Curry have received awards and acco- by Sara Langworthy. [NP]: Sara Langworthy, 2006. lades for their work. $3,200 This book repre- Unique designer binding by Coleen Curry on a copy of MORPHO sents contemporary American book arts at its best. It is a treasure. TERRESTRE, which is an edition of 50, all on Sakamoto paper, (11301) designed and printed by Sara Langworthy, signed by her and by the 3 author, Emily Wilson on the colophon. Page size: 11 x 5- /8 5. Leavitt, Nancy Ruth. Andrew Marvell, Li Po, inches; 40pp; 10 of which unfold to reveal a double-page spread Brian Capon. A Green Thought. Stillwater, ME: 2017. created from a series of photopolymer plates using plants, stems, and sticks and printed as well as hand painting with sumi ink $6,000 washes. They are abstract and organic. Artist’s book, unique, on Arches text wove and Katie MacGregor All printing was done using a Vandercook proof press; the handmade papers, signed by the artist, Nancy Ruth Leavitt, on the Priscilla Juvelis, Inc. (207) 967-0909 [email protected] 3 colophon. Page size: 14-½ by 9- /8 inches; 43 pages with 37 painted or lettered and 6 blank. Bound by Joelle Leavitt Webber: hand-sewn in green paper covers with original collage of cut paper in form of leaves on outer third of front panel extending to inner half of front turn-in, the cut paper leaves painted by the artist, water colored in subtle shadings of green (as if viewer experienc- ing leaves through sunlit boughs), housed in green cloth over boards custom-made cloth clamshell box with paper label hand- painted and lettered by the artist on spine. The text for A GREEN THOUGHT contains poetry/prose by Andrew Marvell, Li Po, and Brian Capon, along with a discussion of the color ‘green’ told by the artist. Topics include: the origin of the word ‘green’, the function of the pigment chlorophyll found in green plants, and the importance of green in our surroundings. The artist writes: “Green is the love of nature.” The lettering is 6.
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