Priscilla Juvelis – Rare Books Catalogue 60 - Selections for New York Antiquarian Book Fair

1. Berriolo, Elena. Sacks, Oliver. Thus We Can Listen. 3. Ediciones Dos Amigos. Genesis and Exodo (Exodus). Two [Milonville, PA: Summer 2010]. $3,000 Volumes. Buenos Aires: Ediciones Dos Amigos, 2001. $6,000 Artist’s book, unique, on Somerset laid paper, signed and dated by the One of 40 copies, all on Velin d’Arches paper, signed by Alicia Scavino artist, Elena Berriolo. Page size: 7-½ x 11-3/8 inches; 16pp. Bound: sewn in pencil on the last print in GENESIS. Page size: 12-¾ x 9-¾ inches; 84pp; and laid into wrappers and 72pp; respectively. Bound: with title on front wrap- each book loose in original drab per lettered by the artist in wrappers, GENESIS with an origi- black ink; housed in a nal engraving consisting of green, stitched off-white linen ochre, brown arabesques with title envelope case, fine. The in black on front and back panels; text, lettered in black ink EXODO with the title printed in by the artist, Elena red on front panel and in Hebrew Berriolo, comprises lines in buff above the Spanish, housed in tan paper over boards clamshell box from Oliver Sacks’ with title in black on spine, fine. Etchings and aquatints in GENESIS by MUSICOPHILIA Tales Alicia Scavino, of Music and the Brain, signed by the art- here interpreted and illu- ist on the final minated in watercolor and plate of GEN- pen by the artist. The text ESIS. Etchings and reads, “Thus we can listen again and again to a recording of a piece of music, aquatints in a piece we know well. And yet it can seem as fresh, as new as the first time EXODO by Mirta we heard it.” The text is repeated three times; with each repetition the art Kupferminc. enfolding and encircling the words is completely different - in shape and Hand set and color - and yet a harmonious whole, redolent with the organic shapes printed letterpress favored by this artist. Brightly colored, the pages are a palpable invocation in 12pt. Electra by of Sacks’ text. Elena Berriolo has created a number of books inspired by Ruben R. Lapolla, music; this is one of that series. (10577) the edition was supervised by Samuel Cesar Palui and Ernesto Lowenstein. These two companion volumes are extremely beautiful and evocative of 2. Cheloniidae Press. Robinson, Alan James. Cheloniidae - Sea the creation and deliverance stories. These books were featured in an Turtles. Easthampton, MA: Cheloniidae Press, 1987. $3,750 exhibition at the Milwaukee Institute of Art & Design - “Sacred Text / Unique copy of artist’s book, this copy with 7 original finished drawings Contemporary Form: Spiritual Traditions in the Digital Age.” for each of the sea turtles pictured in the edition book which consisted of Ediciones Dos Amigos, probably the finest letterpress publisher 41 copies, 26 of which were lettered copies which this copy is, the book working in Latin America today, comes out of the long tradition of the with seven hand-colored etchings, all on Rives BFK and handmade English private press move- Japanese Moriki paper, each etching signed by the artist, who has also ment and the French Livre signed the drawings and the colophon. Bound: loose as issued, housed in d’Artiste. Combining origi- cloth portfolio made by Claudia Cohen, with tray cases by Peter Geraty nal prints from contempo- and Linda Lembke. Page size: 10-½ x 15 inches, 44pp. The seven species rary Argentinean artists with of the order Cheloniidae texts from the Holy Bible pictured in this study enables the publishers to, as are: Green Turtle, the Decherd Turner wrote in an Hawksbill Turtle, the essay on this press, “project Loggerhead Turtle, the an explosive vitality. The Leathery Turtle, the text and art have such energy Leatherback Turtle, the that one would never think Atlantic Ridley, the “imperial” or “democrat” for Pacific Ridley and the “Dos Amigos” books have far too much power ever to be encompassed Flatback Turtle. The by such terms. Boundaries fall away, the books reach out to evoke the text is handset and whole range of human emotions.” (9720) printed letterpress by Harold Patrick McGrath in Centaur and Arrighi by Mackenzie-Harris of 4. FitzGerald & Co., Vincent. Beard, Mark. Utah Reader. New San Francisco, CA with additional hand composition by Arthur Larson. York: Vincent FitzGerald &Company, 1986. $6,000 The source of the text is JOHNSON’S NATURAL HISTORY, illustrating One of 40 copies on Arches. Illustrated with 11 single page linocuts and and describing the Animal Kingdom, with its Wonders and Curiosities, six double-page linocuts containing 41 different prints on 52 different from Man, through all the divisions, classes, and orders, to the Animalcule pieces of paper. Each linocut is a collage with extensive handwork. This in a drop of Water; Volume II, by S. G. Goodrich. A very beautiful book continuation of Mark Beard’s autobiography, and sequel to MANHAT- with the original art (3157) TAN THIRD YEAR READER, is a beautiful book, each page an astonishment and delight (the way a true artist’s book always is). The

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] photographs of a bookseller’s stall on Al-Mutanabbi Street in Baghdad prior to the bombing in 2007 surround the words. The locket containing the book is housed in a brown silk over boards clamshell box, edged with the same brocade used in the locket and book binding. The box opens to reveal a richly padded presentation box for the locket and the silk cord for wearing it. The colophon pulls out from the front of the box with a brown gros-grain ribbon. linocuts were pulled by Mark Beard and Marjorie Van Dyke at Bob The artist / author states, “While the commemorative aspect of this Blackburn’s Printmaking Workshop; the prints were hand drawn by Mark piece is clear, the content of MEMENTO addresses philosophical Beard, who signed each copy of the book on the colophon. Page size: 11- questions about the nature of reading and information transfer in our own ¼ x 15 inches. Bound by Gerard Charriere: full turquoise stamped silk with lives as well as with the context of western culture in general.” The text endpapers by Richard DeBas. Mark Beard (1956-) was born in Salt Lake opens, “ You live your life (unfold pages for next line) careless of the liberty City, Utah, and is now residing in New York. His work has been acquired that you have inherited.” The second line on the next six pages reads, “For by the Metropolitan Museum of Art, the Whitney Museum, Yale you, the printed word has become commonplace (unfold pages for next University, Harvard University, the Utah Museum, The New York Public line) a substance that you take for granted like air.” Library, among others. (9371) This is a small book with a very big impact. One must only read the lines, “ A book would be a force of reckoning, an object to be cherished and 5. FitzGerald & Co., Vincent. Kondoleon, Harry. My New feared, the dividing line between the free world and the unfree world” to Existence. New York: Vincent FitzGerald &Co., 2002. $3,000 grasp the power of the text. (10575) First Edition, one of 35 copies only, all on hand-made papers including Magnani, Japanese Gampi and special paper by Dieu Donne Papermill. 7. Kaeumlen, Viola. Dear Bee. Loving Letters to a Daughter Signed by the artist, Aleksandar Duravcevic with his initials on the 1927-1935. Marshfield Hills, MA: 2012. $5,500 colophon. Page size: 14-1/5 x 9-½ inches, 38pp. Bound by Zahra Partovi: Artist’s book, one of six copies, all on a range of papers, each copy signed hand sewn with exposed spine and stitching covers of brushed aluminum, and numbered by the artist, Viola Kaeumlen. Page size: box of 13 pouches with title etched in black on front, housed in heavy felt case, fine. The type (tied with brown silk ribbon) as envelopes holding the “letters” and related was set in Century Schoolbook material written by the artist, printed list of contents, box size closed is and printed letterpress by 5-½ x 7-½ x 2-¼ inches. Bound by the artist: two-part box is brown book Daniel Keleher’s Wild Carrot cloth over boards and adorned with medallion of young woman; box Letterpress. The 9 etched pages, fastened tan silk cord woven through eight holes in the 2 parts of the box, comprising various flowers, are lined with Canson by Aleksandar Duravcevic and BFK Rives Tan pa- were editioned by D2 Press. per. The artist’s Harry Kondoleon, a graduate statement and the of Yale Drama School, won an colophon explain Obie in 1983. His death from that the book con- AIDS in 1994 left a void in an tains texts of letters American theatre but he had, by his death at age 39, created 17 long and written by Mrs. short plays as well as poetry. These posthumously published poems, Mary Arthur to her written by the dying Kondoleon, are particularly moving meditations on daughter Beatrice life and death. The book is a loving and beautiful tribute to this gifted young Arthur over the author. (9568) period from 1927 - 1935 that were 6. Flying Fish Press. Chen, Julie. Memento. Berkeley, CA: found in an old suit- Flying Fish Press, 2012. $1,575 case by Ms. Artist’s book, one of 50 copies, all on Kitakata paper, each signed and Kaeumlen in 2010 numbered on the colophon by Julie Chen. Page size: 1-9/16 x 2-1/8 x 5/16 in flea market on the Boston South Shore. The letters led to an investigation inches; 36pp; 10 of which are fold-outs. Bound: sewn into tan and gold silk of not only the women concerned but the times in which they lived, with over boards brocade, persimmon the pertinent information on the times: the Sacco-Vanzetti case, the linen spine, oval cut-out faced Lindbergh kidnapping, the Great Depression, local industry (in which with Mylar on front panel reveal- Bee’s father worked) The Cordage Company, their church in Plymouth ing title on blue / green striped where they lived (the first church established by the Mayflower colonists), Kitakata paper; housed in cop- social welfare programs of the times. per locket which can be worn The artist has located family photographs, postcards from the era, (silk cord with attachment loop paper clippings and greeting cards, all of which were scanned in printed enclosed), locket fabricated by on an archival inkjet printer on a range of papers including Epson Matte, Christina Kemp, based on a de- Red River Polar Pearl Metallic, Silver Metallic, Canson Newsprint, sign by Julie Chen. Locket size: Strathmore translucent Vellum and Sennelier Calligraphy paper. The fonts 1-7/8 x 2-7/16 x ¾ inches. The locket used are Helvetica for Ms. Kaeumlen’s own writing and general informa- opens on one side with peg clasp tion texts and Lucida Handwriting for the excerpts of Mary Arthur’s to house book, the title visible for letters. a “porthole” type opening on the This is a beautiful object, redolent of another time when hand-written front. On the reverse, the box mail meant significant time lapses in communication and correspondents opens as a triptych. The “port- had expressive and unique hand-writing as well as vocabulary. More than hole” type opening on this side that, the author / artist, Viola Kaeumlen, has taken this remarkably personal reveals words taken from the pre- correspondence and placed it firmly in a time and place in American social ambles of the constitutions of the United States and Iraq. When opened, history.

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] Beatrice Arthur, the “Dear Bee” of the letters, is perhaps the The poet Robert prototype of the 20th century woman who earned a bachelor’s degree in Adamson and the art- Business Education and completed post-graduate work at Harvard, ist Peter Kingston, Boston University and Bridgewater State College and worked summers in both born in 1943, the Plymouth Cooperative Bank, the Plymouth Cordage Company office, grew up on opposite and as a civil service secretary in the U.S. government as well as marrying sides of Sydney and raising her step-children and teaching in Plymouth. (10608) Harbour: the poet on the north shore at Neu- 8. Kingston, Peter and Robert Adamson. Shark-net Seahorses of tral Bay with Taronga Balmoral: A Harbor Memoir. Twenty-one Linocuts by Peter Park and Balls Head Kingston and Twelve Poems by Robert Adamson. Together with a nearby, and the artist Song Composed by Peter Kingston. Sydney, Australia: Chowder on the south side at Vaucluse, near the now Bay Press, 2012. Publisher’s List Price: $7,950 lost Wintergarden Cin- Artist’s book, one of 26 lettered copies, A-Z, all on Japanese Iwaki ema and Sydney Sta- Mulberry paper for the linocuts and Rising Stonehenge paper for the dium. They shared a poems, with wrapper supports of Suecia Antiqua Chamois, each book deep attachment to the signed and lettered in pencil, by the artist, Peter Kingston, and the author, foreshore and water, although their paths diverged: Kingston was sent to Robert Adamson. There are twenty-one prints by Kingston, including a prestigious private school, and Adamson graduated from delinquency to three long internal wrappers, a folding leporello, the upper lid of the box, Long Bay Gaol; and Kingston eventually moved across the Harbour to and the illustrated colophon in the base of the lining. Page size: 13-¾ x 13- Lavender Bay, while Adamson left for the Hawkesbury River. However ¾ inches; 14 folios consisting of poem title on recto, poem on verso, linocut in this autobiographical collaboration they recall some of the landmarks, (chine colle) on recto (one of which is double page fold), verso blank; plus formative events, and magical experiences of their childhood, like the titlepage and colophon, plus wrappers consisting of double-page linocut seahorses that Robert Adamson used to see taunting a groper on the other on Iwaki Mulberry paper to hold colophon and color photograph of Mr. side of the shark net at Kingston and Mr. Adamson. Bound: loose as issued in linocut-printed Balmoral, where he green wrappers of Iwaki Mulberry paper showing wide-eyed, iridescent swam every day. silver - pink - and blue seahorses in a black net on green ground on front Peter Kingston is of wrapper with groper swimming into the net on the back cover; the a well-known Austra- wrappers are one continuous double-size linocut - and quite an extraordi- lian artist whose work nary one it is. Housed in custom-made wood box (radiata pine) with Peter is held by the National Kingston’s view of Sydney Harbor on a cream painted ground (by Peter Gallery of Australia, Kingston) then printed silk screen with his view of Sydney Harbor in red, Canberra; the Art Gal- blue, black, and yellow and finished by hand. One the inside front cover lery of New South of the box is Peter Kingston’s musical score for piano, “Francis Webb’s Wales, Sydney; the Song” printed on Rising Stonehenge paper. Francis Webb, well-regarded State Library of New Australian poet and Adamson’s poetic hero, was the subject of his South Wales, Sydney; inaugural lecture as founding Professor, CAL Chair of Poetry, University the Museum of of Technology, Sydney. A light sensitive circuit plays this song without Sydney, several re- words when the box is opened. Another linocut, the logo of Chowder Bay gional galleries and in- Press, is revealed on the inside pastedown of the box, again printed in color ternationally by the with the wood spoon technique by Peter Kingston, again signed and Bibliotheque de la ville, numbered by him. Belgium; and the National Film Library in Tokyo. A monograph of the Each of the 21 linocuts is hand finished by Peter Kingston, especially artist’s work titled Harbourlights: the art of Peter Kingston was published the cover wrapper of sea horses which are accomplished by hand (eyes, in 2004. Robert Adamson, one of Australia’s leading poets, has been a key scales, etc.) The sea horses enchant and invite the viewer / reader to get player in the growth of the ‘New Australian Poetry’ and was editor of the caught in the “net” of this wonderful memory of a shared environment. Poetry Society of Australia’s magazine, was President of the Poetry Meticulously printed, designed and assembled by Nicholas Pounder, set Society of Australia, and has been writer-in-residence at Australian in Bembo type, using archivally stable Japanese pigment ink, the book universities. reflects a true collaboration between author and artist and printer. Infrequently, a book with text and images can so capture “spirit of place” that all who read it make the place their own. This is the accomplishment of SHARK-NET SEAHORSES. This remarkable book is accompanied by a recent trade publication, PETER KINGSTON DRAWINGS, signed by Peter Kingston, reproducing 62 drawings by Kingston and an essay by Hendrik Kolenberg. (10659)

9. Krause, Dorothy Simpson. HERetic: Joan of Arc. Marshfield Hills, MA: Viewpoint Editions, 2009. $950 Artist’s book, artist’s proof copy, one of 6 deluxe copies plus 3 artist’s proof copies, bound in vellum, from a total issue of 71, 55 regular copies, all on Mohawk Via Superfine Eggshell 100# text paper, each signed and numbered in gold ink by the author / artist, Dorothy Simpson Krause. Page size: 5 x 7-1/8 inches; 56pp. Bound: sewn in velum wrappers with red suede tie, black paper endpapers, housed in protective box of stiff paper with cloth ties, designed to resemble a well-worn library enclosure for a rare book with “Rare Book Handle with Care” and “Not to Circulate” stamped on

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] front cover, spine with and is stamped with the logo of Editions Lucie Lambert in the lower right labels - one circular with corner. The text is designed by Crispin Elsted and set in 8pt. Bembo and numbers, rectangular is printed on an 1833 Albion handpress by Jan Elsted at Barbarian Press. with red border reading D. G. Jones, poet, literary critic, editor and translator, is considered one ‘Rare Book Reference” of the major lyric poets in English in Canada. His poetry is, according to followed by numbers, The Canadian Encyclopedia, a “Taoist meditation on language, love and title in small typeface, art.” Ms. Lambert, who has studied Chinese and Arabic calligraphy as well “HERetic / joan of arc” as Haida sculpture, worked with the word images just as the poet worked on red bordered label, with the visual images. followed by smaller la- This book is, then, the bel with numbers, the result of a close collabo- images of coffee or tea ration and interaction cup stains imprinted on the inner folds of the case, fine. The left pages are with the poet, D. G. text from “Le Ditie de Jehanne d’Arc” by Christine de Pizan, a French Jones. It is a bestiary poetess who wrote in 1429 when Joan was at the height of her successful influenced by the Far campaign. It celebrates Joan of Arc’s life and achievements. On the right East, as well as the west facing pages, are various images of Joan of Arc with comments printed in coast native Indian art. red outlining her brief history. The pages covering her trial for heresy This fantasy of colorful incorporate her own words. These are printed in gold below the red and and delicate wood en- are taken from the trial document. Printed by Acme Bookbinding on the gravings, designed and HP Indigo Press 5500, the fonts used are German Latin (sepia) for the text executed by Lucie Lambert, works perfectly with the verse of D. G. Jones. by Christine de Pizan, Uncial (red) for the history, William Shakespeare (10603) for the numerals, and 10th Century Bookhand (gold) for the words of Joan of Arc. The images of Joan of Arc, paired with the at once glorious and tragic 12. Lambert, Lucie. Jean-Marc Frechette. Terre d’or. Seven Poems words, documenting this young girl’s brief history and struggle with the by Jean-Marc Frechette, Translated by D[ouglas] G[ordon] male power structure of the time, tell their tragedy with a 1-2 punch. A Jones. with Seven Wash Drawings by Lucie Lambert. Vancouver, strong feminist statement artfully rendered. (10282) BC, Canada: Editions Lucie Lambert, 2001. $3,500 Artist’s book, one of 36 regular copies from a total edition of 43 (7 deluxe 10. Lalou, Frank. Psalm 23, The Lord Is My Shepherd. Lettered with original drawing and gold sculpture on binding and 29 regular copies and Painted by Frank Lalou. Nice: 1993. $1,500 and 5 reserved for the artist, all on kizuki hosho paper, each copy signed One of a kind artist’s book, on Fabriano paper. 34pp; plus one four-fold by the artist, Lucie Lambert, and the author, Jean-Mark Frechette, on the 15 1 page. Page size: 14- /16 x 7- /16 inches. Bound: hand-painted and lettered colophon. Page size: closed 10-13/16 x 6-7/16; opens to 16-¼ inches wide; Fabriano wrappers by Lalou in various shades 9 double-fold fascicles (7 of white and blue with “David - The lord is my text and image and 1 title shepherd - Lalou” within white frame lettered and 1 colophon). Bound in very deep blue, title repeated on spine. by Pierre Ouvrard: gold Loose in folios, red guards, fine. Lalou has Japanese bookbinding lettered the 23rd Psalm in Hebrew and English cloth over boards fold-over and using the English and Hebrew letters in his box, title stamped in gold paintings of blue, black, and flame red and gilt on front panel with orange. This is a beautiful book; Lalou’s let- ornament of tree in gold ters in Hebrew and English in black with initial resin onlayed below title, letters in orange and black are modern, yet in housed in custom- keeping with the sacred text. This book was made Plexiglas featured in a recent exhibition at the Milwau- slipcase, fine. The kee Institute of Art & Design - “Sacred Text text of Jean-Marc / Contemporary Form: Spiritual Traditions in Frechette’s poems the Digital Age.” (5345) in French with D. G. Jones’ English translations is set in Jan Tscichold’s 12-point Sabon and printed letterpress by Michael Caine in Paris. The 11. Lambert, Lucie. D[ouglas] G[ordon] resonant sumi wash drawings of Lucie Lambert were translated into Jones. A Thousand Hooded Eyes. Nine Poems by D[ouglas] traditional Japanese multi-block woodcuts by Masato Arikushi. The G[ordon] Jones and Seven Woodcuts by Lucie Lambert. Vancouver, delicate graduated tones redolent in the fruits pictured and described form BC, Canada: Editions Lucie Lambert, 1990. $2,500 a work of subtlety and fascination. Ms. Lambert’s interaction with M. Artist’s book, one of 45 copies, all on handmade Japanese paper, the seven Frechette - as well as the sensitive translator and noted poet in his own woodcuts pulled on Chinese rice paper and chine colle, each copy signed right, D. G. Jones, has resulted in a harmonious book with images that are by the artist, Lucie Lambert, on the colophon. Page size: 6-½ inches square, as much the text as the words. (10604) 1-¼ inches deep; 22pp. + colophon. Bound by Pierre 13. Lambert, Lucie. Rainer Maria Rilke. Les Roses. Preface by Ouvrard: accordion-style Yvon Rivard. Translation by D[ouglas] G[ordon] Jones. Woodcuts with front panel in green frog by Lucie Lambert. Vancouver, British Columbia, Canada: Les skin with sterling silver oval Editions Lucie Lambert, 2003. $3,750 medallion by artist, Lucie Artist’s book, one of 24 copies of the deluxe edition bound in goatskin, from Lambert, inset into center of a total issue of 57 copies (33 in cloth and 24 in goatskin, 6 copies for the front cover. The medallion is artist) all on Tairei Japanese paper, each copy signed by the artist / cast as a fanciful frog with rather oversize eyes looking out at the reader publisher, Lucie Lambert, and the Preface author, Yvon Rivard and the / viewer. The back panel of the accordion style binding is in black leather printer, Martin Dufour. Page size: 7 x 10 inches; 112pp; 26 French-fold

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] folios plus 2 French-fold folios of Pref- ace in English and French. Bound by Pierre Ouvrard: laid in loose in pale pink goatskin- covered clamshell box (the skin the middle-skived piece that has a suede-like feel and appearance) with inset of title, author, and publisher printed in red with large black woodengraving of rose, box lined with pale pink moire, edges of box and tray-case in black cloth, the clamshell box housed in custom- made Plexiglas slipcase, fine. This beautiful bi-lingual edition contains 27 original woodcuts printed in black of the magical rose by artist / publisher, Lucie Lambert. The woodcuts were printed by Martin Dufour, as was the text. The text is set in 18pt. Nicholas Cochin type with the fonts and French accents cast by Jim Rimmer in New Westminster. The text is printed in two colors (red titles and initial letters) by Martin Dufour on a Vandercook cylinder press. The English and French versions of the Preface were each printed separately by offset on Mohawk Ticonderoga paper, tucked into holders, one at front and one at back of the box holding the poems. The overall design and layout was by Robert Reid and Martin Dufour. First published in 1927, Rilke’s 24 poems written in French were then translated into English by Canadian poet, D. G. Jones. Both the original French and English translations of among the last poems by noted poet, book which is wrapped in its own blue and silver blanket which encases Rainer Maria Rilke, are included here. The Preface, “The Rose-Man” by the magical snowflakes. Yvon Rivard, the author of the first publication by Lucie Lambert, is a Nancy Leavitt has created for her 104th book this stunning evocation reflection on the artist relating to his physical world, as he discusses Rilke’s of the classic American children’s fairy story, creating 104 hand-made profound verse. Ms. Lambert’s images of the rose explore the endless snowflakes complementing her hand-lettered text in gouache and water- arabesque lines created by nature in this much-loved flower. (10602) color. The 104 snowflakes are sewn in layers of paper and sheer fabrics – actually quilted - and these pages then sewn into the text block. The text 14. Leavitt, Nancy Ruth. Snow Palace. Text from The House is excerpted from Barbara Newhall Follett’s THE HOUSE WITHOUT without Windows and Eepersip’s Life There by Barbara Newhall WINDOWS AND EEPERSIP’S LIFE THERE published in 1927 when Follett. Stillwater, ME: 2013. $8,500 she was just 12 years old, although completed when she was just 9 years Unique artist’s book, on Katie MacGregor’s handmade papers, signed by old. When a fire in the family home destroyed the manuscript, she spent the artist, Nancy Ruth Leavitt. Page size: 9-½ x 11 inches; 54pp; 30 of the next three years re-writing the story for the Knopf 1927 publication. which are hand-sewn and decorated blue, white, and rose net fabrics (some New Hampshire-born author, she mysteriously disappeared in 1939 at age iridescent) 24 pages of which are hand-lettered on paper. Bound by Joelle 25. This child prodigy’s novel is a children’s fairy story / transformational Webber of Mermaid Bindery, hand sewn layers of paper and fabric housed tale in which the young girl, Eepersip, runs away from home to live in a in custom-made grey cloth chemise that folds back to act as stand for the very kind natural world, surviving on berries and roots, with elves and gnomes and butterflies as her playmates. Eepersip morphs into a fairy wood nymph, invisible to all mortals, “save those few who have minds to believe, eyes to see. She is ever present, the spirit of Nature...” Ms. Leavitt’s snowflakes, described by Follett as “delicate touches on her shoulders” are encased in layers of white, several shades of blue, grey, rose, gold net, some iridescent, and hand-made paper, hand-stitched with gold, white, silver, and dark blue thread with sparkles and sequins. Each page shimmers with the quilting and snowflakes creating a design of swirls like storm that envelops Eepersip. The story recounts how the young girl goes through the storm to a “paradise of silver, gold, and red” and the reader / viewer follows right along with pages of those colors (our own aurora borealis?) entering into this child’s vision of fairyland. The beautiful text is accomplished blue watercolors and gouache and is taken from the third section of THE HOUSE WITHOUT WINDOWS AND EEPERSIP’S LIFE THERE. Nancy Leavitt has included a biography of Barbara Newhall Follett, along with an image of the young girl (printed in blue tones and surrounded by snowflakes) as well as an appreciation of the tale. This beautiful book, wrapped in its own snowflake blanket is a stunning visualization of a classic American children’s tale. (10657)

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] 15. Leavitt, Nancy Ruth. Sunscapes. [Stillwater, ME: 2012]. title HEART OF DARKNESS / KURTZ printed in white on black ground $4,500 inset on paper label on front cover. The text is taken from Joseph Conrad’s Unique artist’s book, on Arches text wove paste paper, signed and dated HEART OF DARKNESS, specifically those passages describing Kurtz. by the artist, Nancy Ruth Leavitt. Page size: 13 x 8-¾ inches; 56pp. all of The images spread across each page, making a double-page spread with the which are painted and 43 of which are painted and lettered. Bound: loose text lettered below it in terracotta colored ink. The images are all land- as issued by artist, housed in custom-made black cloth with orange flecks scapes: brown and black ink with collaged colored paper (the green textured over boards clamshell box, interior of box lined with the artist’s own paper) in green, terracotta, and blue. Often the backdrop of the landscape pastepaper. The text is the artist’s own, combined with the text from a is a series of parallel lines suggesting an impenetrable fence. The landscapes publication of metal furniture manufacturer, Steelcase, Inc., who supply are not benign; rather they maze-like and negotiating through them has an schools (among other institutions). The sun motifs were inspired by air of difficulty and almost futility. Mr. McCallion’s interpretation of this children’s drawings and important character in one of western literature’s important novels leads rock petroglyphs. In the reader / viewer to the conclusion that Conrad’s setting is as much a vibrant orange, yellow, character in novel as the actual named figures. (10644) and gold, this book is like a warm summer 17. McCallion, Barry. Joseph Conrad. Marlow - Heart of Darkness. day. The artist has cre- [East Hampton, NY]: 2012. $3,500 ated a vibrant page by Artist’s book, unique, hand-painted and collaged with text cut from printed lettering on the paper edition of Conrad’s book and collaged line by line on Richard de Bas paper, and then painting with signed by the artist, Barry McCallion, on the verso of the titlepage, and chalk pastels and then dated “August / 2012” on the last page. Page size: 6-3/8 x 5 inches; 64pp. pasting it. Additional (larger trim size and more pages than the companion piece by the artist, lettering and paint in gouache and watercolor were then added. The result is a resounding luminosity - many times in a sunburst pattern. Words related to the sun, as well as facts relating to earth’s source of light, radiate out on some pages while others are traditional lettering, but all are on a ground of pink, orange and yellow. For example, below a green sphere, lettered in blue, is the text, “Chloroplasts give plants / their green color and use / light energy to power / the formation of organic / compounds, in a process / called photosynthesis.” There are further pages about white light and color. We are reminded of the very basic relationship of man to the sun, from the dawn of time with man’s early attempts to mark seasons. One page is devoted to color - and the visible spectrum. The effects of light and vision which are so central to the human psyche are beautifully written out in words and visually portrayed in a gorgeous sunburst of yellows and pinks. Reading / viewing this book is to feel the warmth of the sun and to revel in it. (10567)

16. McCallion, Barry. Joseph Conrad. Kurtz - Heart of Darkness. [East Hampton, NY]: 2012. $3,500 Artist’s book, unique, hand-lettered, hand-painted and collaged on Japon Nacre paper, signed by the artist, Barry McCallion, on the titlepage, and dated “August / 2012” on the last page. Page size: 5-5/8 x 3-¾ inches; 35pp. Bound: loose as issued, housed in green paper over boards wrappers with title on front cover collage which also features pen and ink painting of black heart on terracotta ground, housed in green cloth over boards clamshell box,

KURTZ). Bound: loose as issued, housed in green paper wrappers with title on front cover collage which also features pen and ink painting in blue, black and terracotta, housed in green cloth over boards clamshell box, title HEART OF DARKNESS / MARLOW printed in white on black ground inset on paper label on front cover. The text is taken from Joseph Conrad’s HEART OF DARKNESS, specifically those passages describing Marlow and particularly his observations on the setting of Conrad’s story. The physical location, while described by Conrad, is more imagined by Marlow. The artist has interpreted the text in his own way. For example, “He has to live in the midst of the incomprehensible, which is also detestable. And it has a fascination, too, that goes to work upon him. The fascination of the abomination...” is set opposite a collaged image on painted black ground, the vegetation (or are they flames?) preventing any

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] light from coming through. The following page is another painted collage on terracotta ground, maybe the world aflame, consuming those who are there. The bleakness of Conrad’s prose is set against paintings and collages that are dark and complicated landscapes that, in their abstractions confound and challenge the reader / viewer. This is a beautiful book, challenging and rewarding with images and text that command attention. (10645)

18. McCarthy, Mary. Give Thanks. [Boston: 2012]. $2,050 Unique artist’s book, on Bagasse paper from Nepal, signed and dated in pencil by the author / artist, Mary McCarthy on the titlepage. Page size: 6-1/8 x 5-½ inches; 36pp. Bound by the artist: woven spine, handmade paper in shades of brown over boards, cover with title printed in Dakota Handwriting on brown label decorated with hand-prints on front panel of turning the page, the first line of the poem appears. Then, the excitement book, housed in tan starts. Images that are inspired by Klee’s art (think “Red Balloon”) are cloth over boards interwoven with “Paul Klee’s line” as well as Ms. McKee’s own lines and clamshell box. The 36 images and her selection of quotes from the eminently quotable artist. For pages comprise example, Klee’s words, “Art should be like a holiday: something to give printed texts taken a man the opportunity to see things differently and to change his point of from Native American view” is strategically placed in a quadruple page spread of an almost map texts listed at end of of a city, with blotches of color indicating squares. Ms. McKee has placed description. The text a small figure of Paul Klee walking out with his line (!), houses vibrating, is printed in Dakota trees that look like balloons, and bodies of water, all of which hum towards 14pt. on brown paper another quote from Paul Klee, perfectly situated on the foredge of the collaged onto the Ba- spread, “A drawing is simply a line going out for a walk.” The quotes are gasse paper The im- on rainbow grounds of triangles, squares, rectangles, and circles. What ages are mixed media could be a hopeless jumble in the hands of a lesser artist is sheer joy from paper collages, usually Ms. McKee. Truly a delight, this is a book to provoke and enjoy. (10594) in earth tones with gold and silver metallic pa- 20. Stone, Tamar. A Very Safe Place. Vintage Doll Bed with pers for the sun and Embroidered Texts. New York, NY: 2008. $5,500 moon and star images. Unique artist’s book in form of vintage doll bed with text hand and machine The author / artist tells sewn on vintage cotton sheets and pillowcases with “Alice in Wonderland” us the “premise of this pattern, blankets, mattress of vintage striped cotton flannel, vintage cotton book is about the earth and how we as people have gotten away from the feed sack and vintage hand-sewn child sam- respect Mother Earth deserves, lessons learned from reading Native pler. Texts excerpted from Charlotte American thoughts.” Her sources include: Lame Deer, John. Lame Deer Perkins Gilman AUTOBIOGRAPHY, Seeker of Visions, 1972. Neihardt, John G. Black Elk Speaks, 1932. Arden, Emmeline Pankhurst MY OWN STORY, Harvey and Steve Wall. Wisdom Keepers, 1990. Philip, Neil. Editor. In Christiane Fischer’s LET THEM SPEAK a Sacred Manner I Live, 1997. (10635) FOR THEMSELVES - WOMEN IN THE AMERICAN WEST 19. McKee, Elizabeth. Paul Klee & the Line. Pasadena, MD: May 1849-1900, VOICES IN 2012. $5,500 THE NIGHT: Unique artist’s book, on Arches text wove paper that has been treated with WOMEN SPEAK- konnyaku and made into momigami, signed and dated by the artist / author, ING ABOUT IN- Elizabeth McKee. Page size: various sizes, each page a fold-out, dimen- CEST, MOTHERS sions of book closed are 6.25 x 8.625 inches; 24pp; 8 of which are double OF THE SOUTH: or triple page fold-outs. Bound by the artist: black cloth over boards with red onlaid momigami paper onlaid to front panel, hand-sewn using Secret Belgian Binding technique. Housed in black cloth over boards custom- made clamshell box, onlays of paint lines on momigami paper and hand- painted label, PAUL KLEE & THE LINE on spine of box. PORTRAITURE OF THE WHITE TENANT FARM WOMAN. Bed size: 11(W) x 19 (L) x 9(H) inches; vintage yellow tin doll bed. The artist’s statement reads, “These are the stories of dreams, comfort, dis- appointments and sexual awakening for girls in their beds. Whether it was the coldness of a parent’s love, or Elizabeth McKee has written a poem, PAUL KLEE & THE LINE, overhearing the disappointment in a which runs through the book, across the brightly colored pages, folding and parent’s voice who wanted a son unfolding, with the actual “line” below Ms. McKee’s poem. On opening instead of a daughter, memories in the book, the reader / viewer sees Paul Klee’s line without text across their childhood bed shaped the future brightly folded pages. On opening the first fold, the title page appears. On personalities of these young girls.”

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] Noted artist Tamar Stone has created a beautiful book object, combing visual images that involve the reader in making and unmaking the bed to read the texts. Ms. Stone’s works always are provocative and carry a strong feminist message. Exhibited in the American Museum of Art and Design, the St. Petersburg Arts Center, NY Center for Book Arts, Berman Museum at Ursinus College, among others. Her work has been acquired by private collectors, libraries and museums across the country. (10238)

21. Verdigris Press. Neruda, Pablo. Ode to a chestnut on the ground. Translated from the Spanish by Margaret Sayers Peden. hood and femininity. The book structure was learned from Paul Delrue and Mezzotints by Judith Rothchild. Octon, France: Verdigris Press, modified to meet the materials used. 2013. $1,100 The book deals with how women perceive themselves compared to how the media sees them. The 10 women featured are: Ella Fitzgerald, Signed, limited edition, one of 50 copies, all on Hahnemulhe paper, each Georgia O’Keeffe, Maria Goeppert Mayer, Carrie Chapman Catt, Mar- numbered and signed by the artist and printer, Judith Rothchild and Mark guerite Higgins, Sacagawea, Frances E. Willis, Dorothea Dix, Martha Lintott. Page size: 4-¾ x 12-½ inches; 17pp. Bound: loose as issued,

Graham, and Mary McLeod Bethune. The women speak for themselves with their words printed across the page spread in black with collaged images; each paragraph of biography is in a contrasting color ink harmo- nizing with the beautifully designed page featuring the silhouette of the woman whose words we read and whose images we see. From “To create one’s world in any of the arts takes courage” (Georgia O’Keefe) to “Knowledge is the prime need of the hour” (Mary McLeod Bethune), the texts and page spreads are meaningful as well as captivating. A singer, woman’s rights activist, dancer, reformer, reporter, painter, scientist, explorer and guide, career diplomat, and educator have left their mark on our culture by going beyond what was conventionally expected of women. They are celebrated here. (10651) leporello format, housed in publisher’s slipcase and sleeve of screen- printed paper over boards, the paper printed in shades of brown with chestnut leaves, author and title printed in black on spine, slipcase and sleeve by Mark Lintott. Pablo Neruda’s poem is handset and printed letterpress in Univers on an Adana 8 x 5 by Mark Lintott chestnut-colored ink. There are three mezzotints by Judith Rothchild as well as embossings to accompany the text. These images capture the texture and complexity of this remarkably large, delicious and beautiful seed with its “bristly foliage” protecting it. Judith Rothchild’s printed papers and engraved images are a wonderful homage to the natural world. A deluxe edition with an additional mezzotint and clamshell box is to be produced in an edition of 6 at $1,500 and a deluxe copy in an edition of 4 with the additional mezzotint and an original copper plate is to be produced at $2,100. (10653)

22. Wascher-James, Sande. Who Does She Think She Is? Whitby Terms of Sale: All items are subject to prior sale. Payment should accompany order unless credit has been established. Mastercard and Visa Island, WA: 2013. $1,250 accepted. ME residents please add 5% sales tax. Institutions may receive Artist’s book, one of 12 copies, all on heavy-weight white paper with text deferred billing. Posting is additional: $10.00 for the first item and $5.00 for and photos printed on acetate attached to each side of the white paper, each additional item. All items are guaranteed as described and may be returned signed and numbered by the artist, Sande Wascher-James, on the colophon. for any reason, with notice, within seven days of receipt, providing they are Page size: 7-½ x 5 inches; 22p. each 3 layers. Bound: by the artist: purple- in the same condition as when shipped. Please call in advance of a return. gold iridescent Asahi silk book cloth with white paper endsheets covered with acetate printed with collaged images of the 10 women featured in this Priscilla Juvelis, Inc. 11 Goose Fair book; with the title hand foiled with matte gold foil. The matching drop Kennebunkport, Maine 04046 side box is also covered in the same cloth with foiled lettering. There are double-page spreads for each of these notable women alternating with (207) 967-0909 PH ~ (207) 967-4466 Fax double-page spreads of advertising showing changing notions of woman- e-mail: [email protected] web: www.juvelisbooks.com

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