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 binding 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. McCallion, Barry. The Epic of Gilgamesh. completed in watercolor and gouache. The illustrations and book Translated by N(ancy) K(atharine) Sandars. cover are created with watercolor, gouache, pastel, paste, fabric Interpreted by Barry McCallion. [East Hampton, NY]: and decorative thread. The use of cut-out pages of various leaf 2017. $6,500 shapes gives the Artist’s book, unique, on Richard de Bas cream wove paper, signed book an almost and dated by the artist, Barry McCallion. Page size: 13 x 10 ethereal nature; inches: 92 hand-numbered pages opening epigraph (quotation the various from “Four Quartets” by T. S. Eliot) titlepage and author’s signa- greens em- ture, colophon and 3 blanks. Bound: hand-sewn into black paper ployed by the art- over boards, grey linen, collage by the artist inset onto front panel ist add a sense of - a variation of the artist’s rendering of Gilgamesh with his long visual excite- hair - a gold gilt figure painted on a cut-out collaged outline, one ment to each side the untamed Enkidu and the other the King Gilgamesh; page. The texts housed in custom-made grey linen cloth over boards clamshell are accom- box with an image of Gilgamesh in gold gilt outline on black and plished in vari- white paper ground, title stenciled in gold outlined in black on ous shades of spine. green and are ac- The artist has used the translation of N. K. Sandars for his text. companied by various leaf forms collaged from different papers He also credits A. R. George’s THE BABYLONIAN GILGAMESH - all painted - adding to the variety. Some of the text appear as EPIC for insights. The text is hand-written in black ink, nearly “leaves” sprouting from a stem amidst other leaf collages and / or every page embellished with painted the stem. Painted images inspired by plant material are at least one illumination featured in double-page spreads, all seemingly related by thread- varying in size and spacing like lines. Another page features all the shades of green by name, from full page to half page to lettered vertically as well as horizontally, the words forming an one-third or less. All are ac- elegant, intricate hedge. In other pages, the text is lettered as the complished acrylic paints, stems of flowers rising majestically up the page in various shades inks, and iridescent acrylic of greens, always with collaged, hand-painted leaves. Photosyn- inks and paints, which, the thesis is explained, artist notes in his colophon, as is the role of “were especially useful to chlorophyll and au- create a sense of heightened totrophic plants. An reality.” examination of the Accepted as the first color “green” ex- great surviving work of lit- plains anthocyanin. erature, it is an epic poem The artist writes, “A pre-dating Homer by 1,500 lush leafy green years and known to the world from Tablet V dating from 2003- landscape is a sanc- 1595 BCE. Gilgamesh was a semi-mythic King of Uruk (there are tuary where we can references to his existence found in ancient inscriptions), but it is renew our spirts and as a hero questing for the meaning of life that captivates and keeps our sense of well-being.” The same may be said of this oversized his name alive in the 21st century. His transformation from book of “leaves” with each page reminding the reader / viewer of belligerent tyrant to thoughtful, purposeful human being is fantas- the harmonious magic of nature. (11319)

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] tic and fanciful but always meaningful. The repetition works its 8. McCallion, Barry. The Seafarer. Book and magic. There is something about reading this beautiful, ancient Adaptation by Barry McCallion. [East Hampton, NY]: verse in cursive script, punctuated with prototype silhouettes in 2017. $4,100 iridescent colors, that brings the strength and universality of Artist’s book, unique, new version synthesized from several Gilgamesh home with a punch. Barry McCallion has created a existing haunting book, full of images that reflect today’s sensibilities, yet transla- remaining faithful to the epic - as in the duality of Enkidu / tions on Gilgamesh brilliantly brought out in the overlapping silver and Richard gold gilt silhouette images. The format and means of communica- de Bas tion employed - both text and images - make this a wonderful cream artist’s book. (11307) wove paper and tan 7. McCallion, Barry. One Dollar Concerto. [East wove St. Hampton, NY]: July 2012. $2,750 Armand Artist’s book, unique, on black St. Armand paper, signed by the Harricana artist, Barry McCallion, on the penul-timate page and dated July linen pa- 2012. Page size: 11 x 7-¼ inches; 64pp. Bound in limp metallic per, hand- silver leather, white front flyleaves, grey back flyleaves, folios lettered as well as collaged printed text, signed by the artist, Barry hand-sewn with black linen, housed in black cloth over boards McCallion. Page size: 10 x 6-3/8 inches; 48pp. Bound: loose in clamshell box with title original green St. Armand paper wrappers, housed in brown, green hand written on collaged and pink abstract pattern paper over boards, matching brown cloth bits of a $1 bill on spine over boards with original pen and ink drawing on front panel of an and another collage of image of a seafarer (tiny boat and man amidst stormy seas and $1 bills on front panel. imposing cliffs), grey paper label on spine with title printed in Titlepage with “One / black and signed by the artist. The artist, Barry McCallion, notes Dollar / Concerto” in the colophon / artist’s statement that this anonymous Anglo- collaged from a $1 bill Saxon poem of loneliness and hardship is powerful with a single with the added word narrator. Mr. McCallion writes, “As powerful as the poem is, and “concerto” in grey on as universal its themes, the work confronts us with unfamiliar grey paper. The pages rhythms, internal contradictions and abrupt narrative shifts. When are collaged bits of dol- none of the existing translations sufficiently resolved these lar bills with some addi- problems, I borrowed from the best and created a version of my tions of pink, blue and own.” The Richard de Bas paper has a coffee wash in organic green papers. While not shapes. The title is printed in black on tan paper collaged to the in musical notation, the cream; the versos feature an original pen and ink (small square) overall effect is that of image of the seafarer in storm-tossed seas. The rectos are full- notes skimming across page hand-painted abstract images, in acrylics with original painted the pages. Some pages collages, with India ink original Anglo-Saxon text printed in white with the line rising, some on black cut and collaged line by line as frame to image. The with complex interac- contemporary English text is handwritten in white ink on St. tion of lines and some Armand Harricana linen. The text is modern and enhanced by the with lines descending to a simple “stop.” Fol- colorful and bold abstract images which convey storm and turbu- lowing the dollar concerto is the “Raga / Twenty lence. At the same time, the text pays homage to the human Rupees” - again collages made using the Indian condition. It is a constant for man, no matter when he lived or is currency in a delicious play of pink lines and living: time moves curves on the black paper. The last “song” is the forward and sweeps “Mongolian Long Song / 110 Tugrug” (Tugriks) us all along: we grow - with the greens and tans of the currency old and die. We read collaged to make intriguing designs inspiring the last lines of this thoughts of musical notation. An inspired hom- ancient verse and age to the almighty ______(fill in the cur- identify: “Nothing rency of your choice), its flights up and down, crashes and will restore old time, explosions. His age is passed.” An artist’s book without text - just money - and we all know Barry McCallion has a song that can be sung to these pages! (11308) created a marvel- ously modern interpretation of this ancient text. (11305)

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] An Illuminated Manuscript for the Digital Age In creating this book, Ms. Owen has created a new universe for the book, based on the centuries old western illuminated 9. Owen, Jan. If It Be Night. Texts of Eudora Welty, manuscript. Using brush marks as a start, she Walt Whitman, Robinson Jeffers, Vladimir Nabokov, creates a waning moon for the titlepage. The Welty text exalting learning opens the book; Marcel Proust, Rabbi Abulafia et al. Belfast, ME: the text placed as a block with text by 2017. $6,500 Wittgenstein running parallel to the Welty Unique artist’s book, on Cave black paper and Hollytex polyester, block above a woven Tyvek circle. Across the 1 signed and dated by the artist, Jan Owen. Page size: 14.5 x 11- /8 bottom third of each page running horizontally inches; 28pp; each folio attached to another with 2 small sewn X’s across the page spread throughout the book is at right margin. Bound by the artist: hand-sewn in Coptic style with the Rabbi Abulafia’s advice to “take ink, pen black thread, black paper painted in gold over boards with title and tablet.” This text is lettered in larger letters than any other, but lettered in gold and in binary code, visible linings of Hollytex the letters are also iridescent, lettered with a Yasutomo sumi ink polyester painted gold acrylic and lettered in black ink and with some gold mixed in, becoming more visible in certain light and less visible in other light. All of this adds to the mysterious beauty of the book; some effort by the reader is needed to unlock it but it is a most pleasant experience. The internet timeline pages (in silver) are in binary code as well as lettered. The five Tyvek woven sculptures at the top of the pages are (symbolically accu- rate) smaller in size with each iteration. The artist declares, “I used to think we were living in boring times with the usual wars ... but this change is greater than Gutenberg’s invention...The book ends with a new moon and hope that we use technology well.” By the last four pages, traditional letters are run together forming unusual text blocks, surrounded by spheres and on an uneven black ground, silver with gold all intertwined resulting in a restrained, elegant universe, just waiting to burst the bounds of the book and shoot off into a new world, The final binary code pages appear to be chains of binary code hovering over spheres of the same, Whitman’s “On Hollytex painted black and lettered in gold in binary code echoing the duality so masterfully delineated in this artist’s book, pages hand-lettered in gold and silver and embellished with bas-reliefs of gold and silver acrylic painted woven Tyvek, housed in custom- made ivory cloth over boards clamshell box with title lettered on black paper in gold on spine and front panel. Also included in clamshell box is an “archive” folder of black Cave paper with samples of the linings used, the Tyvek, the assembled printed texts, artist’s statement and pamphlet titled “Computing Internet History.” The texts selected by the artist have a common theme of learning, starting with Eudora Welty’s, “Learning stamps you with its moments. It isn’t steady, it’s a pulse” and ends with Walt Whitman’s paean to the interconnected universe, “On the beach at night alone.” In between are texts by Lu Chi, “Consider the use of the beach at night alone” leads the reader / viewer to the last page letters. All principles demand them” and Marcel Proust’s “The with William Blake’s “How do you know but every bird that cuts life we live in half-darkness can be illumined” as well as the text the airy way is an immense world of delight closed by your senses referred to in the title by Rabbi Abulafia: “If it be night, kindle five?” Arranging the texts, lettering them with different layouts, many lights until all be bright. Then take ink, pen and a tablet...” all perfectly spaced on the page, the artist has created a new way The artist’s statement tells us her original title was “Dark for us to understand the words and the concepts therein. It seems Ages” as it seems to her we were “in a new age of fear, falsehood” unlikely that Vladimir Nabokov was imagining the internet when where “scientific proof is ignored; learning, curiosity and long he wrote “We are absurdly accustomed to the miracle of a few study are not valued.” At the onset, the artist states, she blamed the written signs being able to contain immortal imagery, involutions digital world but gained perspective when considering its won- of thought new worlds with life people people...”, but the words ders: “Saturn’s rings, listening to Beethoven anytime and instant apply. This is a positive book, a beautiful and elegant cheer for the communication.” human spirit! (11323)

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] 10. Plimpton, Sarah. Change. [New York, NY]: 2017. paper have an immediacy that almost makes the reader shiver. A $650 wonderfully strong and moving book - perfectly executed - and a Artist’s book, one of 10 copies, all on Somerset paper, all pleasure to view. (11304) numbered and signed by the author / artist, Sarah Plimpton. Page 7 size: 8-¾ x 5- /8 inches; 20pp. Bound: loose in original tan Homage to John Cage wrappers blind debossed with title and author / artist’s name, 12. Satin, Claire Jeanine. Pentimento / Marking Time. housed in terracotta cloth over Dania Beach, FL: 2009. $2,800 boards clamshell box by Claudia Artist’s book, unique, part of an on-going series of unique books Cohen, tan paper on spine called PENTIMENTO, referencing interpenetration, transpar- printed in gold with title and ency and indeterminacy. This book printed on acetate with silver, author / artist’s name, Sarah gold, and neon cerise ink and metallic overprinting. Page size: 11 Plimpton. The poem is set in x 8-½ inches; 40pp; (10 sheets). Bound by the artist: 32 pieces of Officina Sans and printed in grey by The Grenfell Press. Ms. clear monofilament with attached glass and metal beads (2 strands Plimpton’s edgy etchings are in terracotta, editioned by Peter through each of 16 holes) and letters in acetate or metal spelling Pettengill and proofed by the artist at Manhattan Graphics Center. MARKING TIME, monofilament at spine; monofilament un- The thin arabesques highlight - as well as enfold - the 2 or three 3 1 trimmed and about 6 inches long; small (1- /8 x 1- /8-inch acetate words per page. The verse opens, “the sky / has changed / the light” card lettered by and ends, “watch while you can / the light is right”. The reader / artist with title viewer has the impression of sea and irregular coast and how and signed and varied and magical the sea and reflected light can be. Capturing the dated; attached pleasure and profound harmony of this experience in simple with monofila- words and lines is what Ms. Plimpton does best. The admonition ment; housed in her words is worthy of contemplation. (11303) in black archi- val lidded box 11. Plimpton, Sarah. Fall. [New York, NY]: 2016. with three vin- $850 tage watch Artist’s book, one of 12 copies, all on black Somerset paper, each faces collaged signed and numbered by the author / artist, Sarah Plimpton. Page to lid of box. size: 12 x 8-½ inches; 20pp. Bound: loose in black Somerset Due to the paper wrappers with title and author / artist debossed on front use of transpar- panel, housed in blue cloth over boards clamshell box by Claudia ent pages, all Cohen with black paper label on spine, author / artist and title in pages are pre- printed in red on label. The silkscreens and text were printed by sented simul- Brad Ewing at The Grenfell Press; the text was set in Din. The taneously, resulting in the reader / viewer seeing the entire book author uses the at once. The book is meant to be displayed standing up with pages verbal and vi- fanned out rounding the book’s shape. The text and images are sual imagery generated and manipulated images from an 1880’s experiment in of flocks of a physics book. Numbers morph into letters which, in turn, form swallows mi- sayings about time (Time Is Money, Time Warp, In Record Time, grating south in etc.) as a result of “passing through” scientific equipment. Each the fall. These page is ringed with sayings which also appear coming out of glass migratory beakers etc. Small clocks with various times surround the pages songbirds are as well. The fleeting and eph-emeral nature of time is made small - with palpable with the artist’s images and words. A work of imagination long, pointed that entices the reader / viewer to reconsider the meaning of time, wings, dark the passing of time, the direction of time, etc. glossy-blue backs, red throats, pale underparts and long tail The word pentimento refers to the concept of reappearances, streamers. The author / artist suggests their form with strong lines hence the use of transparency and the resulting visual multiplicity. and the occasional grouping of many tiny circles moving forward. Influenced by the late avant-garde composer, philosopher and Each page conveys a sense of swift motion. The author ends her poet, John Cage, Claire Satin’s work embodies and furthers his verse with, “I said nothing / a sharp day of cold / on an empty sky” ideas of chance operations as a means of locating a single and the reader is left to consider the bleak season coming on. Once response among a multiplicity of answers. Satin’s beautiful book again, Sarah Plimpton employs nature, here fall migration, to may be viewed as a piece of sculpture: it is certainly three- conjure up the human condition. The use of silkscreens is particu- dimensional in ways that most books are not. Additionally, the larly well done. The bright colors and stark forms on the black pages are not sequential but can be read at random. The beauty of

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] each page is dependent on versos and rectos viewed as part of a The whole is a magical combination of delicacy and beauty whole - or viewed more than one at a time - a chance viewing. focusing on the gifts of nature. Monofilaments with beads loosely refer to book marks, but then The front cover is embellished with ephemera, depicting the again, they mark no specific passage but refer to the whole. Using Angel of Nature’s Time. The eco prints included herein are industrial materials and processes, she has created this beautiful accomplished by a process of botanical alchemy making leaf book encouraging contemplation of the theory of time. The artist prints on paper and fabric, using pressure and heat; in other words: has stated, “My work becomes a book the instant one recognizes printing with plant material without the use of paints and inks. A its potential ‘to read.’” Featured in the Guild of Book Workers book to celebrate the subtle joys of nature and the garden. (11318) 2009 exhibition “Marking Time.” (11329) 14. Wascher-James, Sande. Percy and His Sisters. Earth Laughs in Flowers - R.W. Emerson Whidbey Island: 2017. $1,350 Unique artist’s book, a book object as well as book using actual 13. van Zanten, Merike. Angel of Nature’s Time. vintage photograph of three anonymous children in the artist’s Acton, ME: 2017. $1,500 own collection, the book signed and dated by the author / artist, Unique artist’s book, eco prints on Arches Text Wove and abaca Sande Wascher-James, on the bottom edge of volume titled papers, signed by “Gladys” The piece consists of three individual volumes, each one the artist on the named after the imaginary children whose stories the artist / hand-printed and author has written. The three children’s names printed in black on lettered spine la- spine. The texts of each are typed on the top and fore edges of each bel and printed volume. Page signature on size: 7-¼ x 8-3/ 1 colophon. Page 8; 8- /8 x 5-¾; 8- size: 6-¼ x 4-¾ ½ x 5-½ inches inches; 76pp; all but the first many fold-outs volume on back plus colophon. panel, the first is Bound by the art- placed upright ist: Coptic bound on bottom edge. book with Books consists wooden covers, of blank book front panel has fastened clock face and brass “halo” and lock with blocks, which another wood cast-off loosely resembling angel’s wings at top the artist has right corner, housed in custom-made green cloth over boards cased into clamshell box lined with paper printed with gray ginkgo leaves Davey board which is repeated on all edges, handprinted and handwritten label covered with on spine with artist canvas covered with multiple layers of mediums to achieve title and artist. depth and antiqued feeling, including gesso and acrylic gel me- The texts, quo- dium and lace fabric, vintage photograph of three young children tations about on front panel of volume titled “Percy”. Blue is included in covers gardening, are as a reference to cyanotype which was invented and popularized printed on during the time of the photographs. The three books are firmly some pages and held together as a large book block by several layers of PVA. The on others are text of the three volumes (written by the artist, Sande Wascher- printed on tea James. This “sculpture with books” is based on the photograph of bag labels af- a little boy who is standing between a crying girl and another fixed to pages seated girl that he is trying to keep from falling. The texts of each with strings loose above and below top and bottom edges. The volume are on the fore edge of each sealed book, allowing the texts are by various authors - including Oliver Wendell Holmes, reader only a part of the story. As with women, what children William Shakespeare, Ralph Waldo Emerson, Vincent Van Gogh, thought, previous to the last 50 years, was not considered signifi- et al. The overlay pages of light blue handmade overbeaten abaca cant enough to record. The texts read: PERCY I never did have a paper are harmonica folded and printed with quoted gardening brother, just sisters and they were as different as night and day. euphemisms by famous people. As well, tissue-thin handmade Gladys stayed close by Mama’s side and people remarked on how overbeaten abaca papers are embedded with dried flowers and sweet a disposition she had, but Mildred was another matter. She plants, and further enhanced with hand stitching. Also, encaustic was like a force of nature, and when she got something in her head teabag papers are collaged with pressed dried flowers and plants. it was like bucking a head wind to try and change her mind…(11300)

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] 15. Wascher-James, Sande. The Typing Class. Whidbey who we are. I feel them Island, WA: 2017. $1,650 guiding me forward with Unique artist’s book, a book object as well as book using actual every “click-clack” of vintage photographs of anonymous women in the artist’s own those keys, but I do miss collection, the book signed and dated by the author / artist, Sande them so as I make my Wascher-James, on the bottom edge of volume titled “Agnes.” way to…” OPAL’s The piece consists of five individual volumes, each one named story: “I thought after the imaginary author, Cathrine, Opal, Mattie, Agnes and one Clarence and I would be volume which the reader / viewer learns is by Elizabeth; other married by now, but it names printed in black on spine. The texts of each are typed on the doesn’t look like that 1 5 will happen, and here I top and fore edges of each volume. Page size: 9-¼ x 6- /8; 8- /8 x 15 5 7 7 7 am on my way to being 6- /16; 8- /8 x 5-¾; 8- /8 x 5- /8; 8- /8 x 5-¾ inches all but the last (not titled) volume are standing on bottom edge; the last is placed an old maid. At least I on its spine. Books consists have learned to type and of blank book blocks, which can earn a respectable the artist has cased into living, even if it is not Davey board covered with what…” CATHRINE’s artist canvas covered with story: “I did it! No one multiple layers of mediums expected me to be able to achieve depth and antiqued to pass the typing course feeling, including gesso and because I was not a very good student in most of my classes, but acrylic gel medium and lace I was determined and all that practice paid off. My speed was not fabric, vintage photograph of the best in the class, but my spelling was good, and now I have a job five young women of “The in an office instead of the laundry. I saw how working there wore Typing Class” on back panel down my mother and sisters, and felt there had to be something of untitled volume. The five else for me that would not make me old before my time…” books are held together as a (11317) large book block firmly closed by several layers of PVA. The text illuminates the struggles for encountered by women in daily life 16. Wequetequock Cove Editions. Baltazar, Julius trying to make a living independent of a husband or family fortune. and Michel Butor. Etant l’Etna. Being Aetna. Bi- The idea of females working in offices - or anywhere outside the lingual edition with English translation by Joshua home except in service - was radical right up to the beginning of Watsky. Stonington, CT: Wequetequock Cove the 20th century. The typewriter, a U.S. invention in 1867, trans- Editions, 2010. $3,000 formed the nature of office work and by the 1890’s large numbers Artist’s book, one of 26 copies, hand-painted throughout on velin of women had entered the work force. It was a game-changer for d’arches, each copy signed by the deceased author, Michel Butor, them - leading them to demand the vote, equal wages for equal the artist, Julius Baltazar and the translator, who is also the work, and all the benefits enjoyed by their males in the workforce. publisher, Joshua Watsky. Page size: 10-¾ x 7-½ inches; 38pp. This is a handsome piece - either as a book, book object, sculpture. (including 4 hand-painted endsheets). Bound: loose as issued by The texts read: ELIZABETH’s story, “Today is graduation day and the press, in tan wrappers with title printed in black in French and I am so excited to be on my way. I graduated first in my class, English on both the spine and front cover, housed in custom-made imagine, me, Elizabeth first! I’ve never been first at anything black cloth over boards clamshell box with title in both French and before this, but I really wanted to succeed. Having typing skills English in black on white paper label on spine. Hand-painted has opened up possibilities for me, made me part of the future. I throughout by Julius Baltazar, the art is in a palette of lavender and can become a secretary or who knows what all. I feel like the sky earth tones of brown, blue, red and yellow, with black and white is the limit, and it does not involve cleaning, cooking, or mending, highlights. Michel Butor’s poem, the French with Joshua Watsky’s mending being my least favorite. That typewriter is a mechanical forceful English translation following it on each page, is a narra- wonder, that is until that ribbon gives you trouble or you make a tion by the volcano itself. “...I am seized with a fury rising from my mistake, then it’s a whole different story. Changing that ribbon agitated gut...bursting from my crater my vengeance upon human can make you feel…” AGNES’ story: “People told me I was a big corruption and the shame of armies...” Capturing the force of girl and a little plain, as if I couldn’t see that for myself, and might nature, never subject to human control, Etna’s words recount how not find a husband. Maybe so, but I am a good typist and off to work it unpredictably spews ash, flame, and destruction on mankind. in an office which makes my prospects for the future…” MATTIE’s Butor’s text is complemented by Baltazar’s paintings - each page story: “Wish Mama and Papa could see me this day, they would be a whirlwind of nature’s wrath in grey ash and red lava, turning the so proud, but it was not meant to be. They told me to work hard and skies (page backgrounds) a lavender-grey only infrequently let- make something of myself, to remember that our people had ting in glimpses of light (white). Accomplished in watercolor and always been able to hold our heads up high and not apologize for

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] made from hand-but rubber stamp on front cover, title printed in gold and silver in stylized “Greek” script; housed in purple portfolio with printed label on front panel, here printed in black and pale red. The Kozo papers at front and back in- troduce the images and text perfectly with block prints of the same image used on front cover but this time printed in a pale gold bordered in red with images black India ink, Baltazar’s art, with Butor’s (and Watsky’s) words associated with the complete a dizzying natural cycle. The text is hand set in 18pt. art of ancient Greece. The calligraphy is accomplished with metal Garamond and printed letterpress at Francois Huin, Typographie, pens, black sumi ink, red acrylic ink and pan-gold highlights. The in L’Hay-les-Roses, France. hand-cut rubber blocks were printed with water-bade inks. The Julius Baltazar (1949-) is a noted French painter and titlepage repeats the print on the cover, this time printed in black, printmaker, who has worked with major poets and writers to create gold, red, blue, and turquoise. Each page of text is bordered at right livres d’artistes of the highest quality. In the early part of his edge hand-painted red line at deckle. There are four full-page career, he was championed by Dali and the resulting influence of surrealism can be seen in his work where words and image create images of haunting beauty. Joshua Watsky, American teacher, translator and poet, is the publisher as well as translator of this livre d’artiste. Michel Butor (1926-2016), born in France, has taught in Egypt, Manchester, Salonika and the USA, and has been awarded the Prix Renaudot, Prix Feneon and Prix Apollo, among other accolades. Considered an experimental writer, his novels, essays, and verse explore various structures and unconventional voices - as here with the volcano speaking to us. He is noted for the livre d’artiste - as exemplified in this provocative piece of art / literature. (10946)

LAST MINUTE ADDITIONS:

17. Maurer, Paul. Greek Tragedies. Extrapolations from works by Aeschylus, Euripides and Sophocles. prints in black, red, gold and turquoise. There are 4 text pages: Serafina, NM: 2017. $2,000 Aeschylus PROMETHEUS BOUND and Sophocles O[E]DIPUS Artist’s book, 1 of 3 copies, Rives BFK, various Japanese papers REX and ANTIGONE and Euripides MEDEA. Each page - lettered including Kozo Mulberry, Strathmore Printmaking inserts, each in black and red - contains quotations from these classic dramas. signed, numbered and dated by the artist on the hand-written The pages of text are separated by inserts with portions of the full- colophon, also signed and numbered on the inside front cover. page prints but here on Strathmore and in black (not multi-color) Page size (in- only (a portion of print with portions of the play!). Bold hand- cluding covers lettering and bold block prints - a reflection of the ancient world and flyleaves): but not copied - make this a beautiful book. The reader / viewer is 15 x 10 inches; encouraged to return to these archetypal stories - provoked by 24pp. + colo- their greatness. (11333) phon affixed to inside of back 18. Smith, Richard Reitz. Longfellow, Henry wrapper. Wadsworth. Underneath the Big Sea. From Seaweed Bound: hand- by Henry Wadsworth Longfellow. Camden, ME: 2018. sewn in black $1,350 Rives BFK Unique artist’s book, on layered black Hiromi Kozo and Mead wrappers with Bond papers by Richard Reitz Smith, signed by him on the original print colophon in pencil and dated. Page size: 10-¼ x 14-½ inches

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] folded; 39-½ x 29-½ inches; 2pp; opening to fold-out of 8 panels of monoprints of underwater scenes on Mead Bond collaged to black Hiromi Kozo paper. Bound by the artist, Richard Reitz Smith, in blue Canapetta and linen cloth over boards, housed in black cloth over boards portfolio case with title printed in grey on front panel, grey ribbon tie, lined with black Kozo paper with monoprints of swimming fish in lighter black. The monoprints were made using stencils that included natural seaweed on a glycerin and gelatin plate with Speedball Water-Based Printing Ink. The images and text are letterpress printed on a Vandercook Universal III with custom ink at Maine Media Workshops. Collaged to the monoprint seascapes are various images of sea creatures - sea horses, oyster, lobster, various fish - printed from photopoly- The publication of SEAWEED (1850) marked one of the most mer plates, then chine colle and collaged, with hand-color applied, sustained images of the sea in American lyric poetry. Longfellow’s adding depth and motion to the overall seascape. Longfellow’s themes of poetry and creativity lend themselves to an artist’s verse, taken from his collection, SEAWEED, is handset in Optima book, as does the backdrop of the sea. This fold-out format book with Americana supporting text (the colophon printed in blue ink reveals itself to the reader / viewer in subtle steps. When one on black Hiromi), printed with polymer plates, the black text of finally has the entire book unfolded, one is “swimming with the the poem on the photopolymer sheet boldly appears from the blue fishes” - entering into the poet’s and artist’s world. A book full of monoprint of the swirling sea, onto which it has been collaged. wonder and beauty. (11332)

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Priscilla Juvelis, Inc. 11 Goose Fair Kennebunkport, Maine 04046 (207) 967-0909 [email protected] ~ www.juvelisbooks.com

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