Rare Books Catalogue 76 – Contemporary Book Arts

Priscilla Juvelis – Rare Books Catalogue 76 – Contemporary Book Arts

Pop-Up Carousel Book 2. Chiarlone, Rosemarie and Susan Weiner. Linger. Miami Beach, FL: 2016. $3,000 1. Bishop, Bonnie. The Moon-Hare and the Lynx. Unique artist’s book made from “found” beaded black silk taffeta Cornville, ME: 2018. $3,750 bolero onto which the artist has embroidered the text of Susan Unique artist’s book, pop-up in carousel format, with circle poem, Weiner’s poem, “Linger” in gold metallic embroidery floss. Size: executed in hand-painted and collaged papers on black Stonehenge 17-½ x 19-¾ x ¾ inches, 9 “pages” of 9 inside pock- ets added by the artist of black silk taffeta on which the text has been embroidered, plus a small pocket for the hand-written colophon on two pieces of black Fabriano paper lettered in metallic gold ink, housed in custom- made black book cloth lidded box with ties to hold bolero book in place. The artist’s statement tells the reader / viewer that “LINGER addresses the concept that clothing functions as a means of feminine self-expression. While indirect and thus disconnected from the inner self, it acts like a second skin. It covers and protects yet projects the inner life and true self.” Ms. Chiarlone papers for background structure and box, various mould-made has collaborated with poet Susan Weiner on several artist’s books, papers for collages and watercolor papers for pop-ups, lettered in almost all of them with a feminist message. The “found” vintage white and purple inks, signed and dated in silver by the artist, bolero vest is heavily beaded in blue, silver, and gold, depicting Bonnie Bishop, on the bottom of first page. Page size: 8 (W) x 10 half views of the larger moon and smaller sun interspersed with (L) inches; 16-inch diameter circle when open; 16pp. Bound by stars, rays in gold and silver shooting out from the respective the artist, Bonnie Bishop, folios through which a dowel slides discs. Bordering these images on a blue ground in gold beads are forming the “spine” of the book, top of dowel is black knob, symbols of the zodiac. housed in black stiff paper lidded box, The text runs along the The text in gold bottom of each page. The lynx chases the hare over white / blue gilt thread reads: “Slip tundra under the purple northern lights. The collaged Moon-Hare away / and linger / and Lynx figures leap off each page, wrapping around to the where the night / is following. A sense of motion is perfectly conveyed. When the darker & / slide into / white hare jumps and lands on the moon, the lynx is astonished, and glittering heels / and the reader is beguiled. On each page the constellation for the Lynx sparkling gown / adorn is on verso and the constellation for Hare (Lepus) in on the recto. with stars / moon rays To assemble the carousel, each page spread is unfurled and the / brilliant jewels / dowel slides through the spine paper loops. The bottom of each Glowing / promises / page folds up so that the standing carousel has the text as the Entice / embolden / where the / shadows / are.” platform on which the lynx and hare play out their story of survival This is a striking object, with a text that captures the in the Arctic. This is a movable book with a structure that conveys emboldened attitude implicit in the beaded vest - as if the wearer the meaning of the images and verse reflecting the circle of life has assumed another identity. And, as the artist, Rosemarie (except for jumping into the moon, of course). It is, all at once, Chiarlone notes, clothing, for women (and more than a few men), quite beautiful and simply wonderful. (11370) enables them to be who they want to be. (11358) 3. Culmone, Nancy. Ojitos Flora. Serafina, NM: 2015. geometry of flowers and their petals. The reader / viewer follows $7,500 the beautiful organic lettering in blue (on the maze Bodleian) or Artist’s book, unique from a series of five planned books, this white (on the MacGregor Blue) with the subtle geometric circles book on handmade Katie MacGregor blue paper and vintage in white positioned with delicacy throughout the pages, entranced by the three-dimensionality of the actual floral renderings. Of very great beauty is the double-page spread of the artist’s property surrounded by those of her Colonial-Spanish-descendant neigh- bors, heirs to the Tecolote Land Grant. Local grasses are named. The wildflowers themselves are botanically-accurate images of great subtly and beauty. The flowers are named with their Latin and common names, some with notation of the number of petals, others with their uses, or how they Bodleian, signed by the artist / author on the last page in pencil, propagate. The con- 3 5 nection between Nancy Culmone, and dated 2015. Page size: 10- /8 x 8- /8 inches; 66pp. including titlepage and colophon. Bound by the artist: hand- flowers and the rest painted archival card stock front and back covers and inside turn- of the natural world in, impressionist views of that area of New Mexico where the is encapsulated in artist resides with its blue / purple mountains with reddish high- the page that starts, lights, hand-sewn with linen on vellum tabs, title hand-lettered in “Venus, the planet white gouache on front panel; housed in custom-made blue cloth between Mercury over boards clamshell box with title in white on inset blue painted and Earth, draws a pastepaper. Ms. Culmone has lettered her text using copperplate huge pentagram pointed pens and Winsor and Newton gouache with added glair. around the Earth every eight years. The inner-most part of this orbital path, where Venus changes direction, looks like a simple radially symmetrical flower.” The tradition of florals is almost as old as humankind. Some are quite grand in size and scope; others are more manageable for single viewer. This beautiful book is certainly in that tradition and perhaps takes it further, as the author / artist is quite conscious of the fact that she may be documenting a soon-to-be lost world. A deceptively simple book of extraordinary elegance and beauty, it is to be savored. (11360)

4. Jackman, Sandra. Alas! [New York, NY]: 2018. $2,800 Unique artist’s book / book object, on white card stock, signed and dated by the artist, Sandra Jackman, on the inside rear pastedown. Page size: 4(W) x 6(H) inches; 18pp. Bound by the artist: accordion-style book (leporello) with front and back covers black cloth The drawings are in sumi ink and white and yellow gold leaf over boards, front panel collaged colored pencils, gouache and glair. The artist used technical with white paper which has been drawing tools - ruling pen, dividers, compass - with gouache and heavily painted and further walnut ink. collaged with cut-out images The artist notes in her “Artist Statement” that she has drawn which have also been lettered and only the wildflowers on the property of her home in New Mexico painted, title on top left of cover, as the subject of this extraordinary book. “The semi-arid land, at lettering in white ink on black on 6,000 feet, is surrounded by tall mesas and the foothills of the lower half of front, “In a few Rockies. The wildflowers growing here bloom every 1 to 7 years moments there might be nothing depending on rainfall and timing.” Now, with warming tempera- left to suggest what happened tures and less rain, she notes she sees fewer flowers each year. here.” Back panel collaged with She ends with the desperate and haunting statement, “Sadly, this “frame” structure around image series of books may become a record of what was.” of mass destruction superim- The page spreads flow seamlessly into one another. The artist posed with open book, red text intersperses circular diagrams in white or pencil, which act as a above frame: “Who will spin unifying thread throughout the book and reflect the basic words into wheels?” and below, “Who will fix all that’s broken?”

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] Pope with a red line across his eyes set against a map of Germany and central Europe. Images of the Virgin and Baby Jesus are collaged against what might be wire fences. Hitler and the praying Virgin appear to be free falling on the penultimate page. Perhaps the most disturbing page is that featuring the various Nazi concen- tration camp badges worn by inmates. In all, the disturbing juxta- positions re-enforce the dismay with which the west has viewed this Concordat. The Reichskonkordat was a treaty between Germany and the Holy See normalizing relations between the Catholic Church and the Nazi regime which had recently come to power in Germany. Housed in black wood presentation box, with touches of red along Pope Pius XI had approved the treaty, and it was signed on July 20, edges, book viewed through plexiglass window that is removable 1933 by the Vatican Sec- to release book. Sculpture on back of box uses watch parts, metal retary of State, Cardinal findings, thread and paint to suggest space vehicle with a tiny Eugenio Pacelli, (later plastic soldier aboard standing in the shadow of a larger figure Pope Pius XII) and Franz who might be a hero or villain; smaller craft hovering nearby made von Papen. It was a con- of collaged found objects. The book and its presentation case are troversial treaty which a cautionary tale of impending disaster. The book reads, in part, seemed to promise that “The clouds are gathering” and “Small people appear and the Church could carry disappear...Warning...Keep Out...make no mistake small people out its spiritual mission. are a danger to our purpose...Chaos...This is how it began each This was not the case. time...Under a blanket of noise...” Densely painted pages with By March of 1937, Pope lettering in red or black or white on various grounds create a book Pius has issued the Mit Brennender Sorge encyclical, accusing full of dire warnings. While no context is specified, it is not hard the Nazi Government of violations of the 1933 concordat and to see the anti-immigrant stance of the USA and other western sowing “suspicion, discord, hatred, calumny, of secret and open nations skewered here. The ingenious painted and collaged wood fundamental hostility to Christ and his Church.” Some have box houses it all very neatly. If only countries could contain the viewed the Concordat as a manifestation of the Pope’s preference spinning chaos in a confined space as the box does. (11356) for dictatorships over democracies and disregard for German Jews. The Vatican insisted, however, that they approved the 5. Krause, Dorothy. Concordat. Fort Lauderdale, agreement simply to protect the church. The Concordat remains FL: 2018. $2,200 in effect to this day. For additional documentation gathered from Artist’s book, unique, on paper the Vatican archives, see: Cornwell, John. Hitler’s Pope: The that has been hand painted, Secret History of Pius XII, Viking Press, NYC, 1999. (11351) monoprinted as well as collaged, with additional mica overlays. Page size: 5-½ (H) x 3-¾ (W) inches; 26pp. with printed artist’s statement laid in. Bound by the artist: hand-sewn drum leaf binding in black leather, the leather from a vintage jacket, housed in custom-made black lidded box made by the author / artist with title lettered in red on black paper label. Images of wood and stone by 16th century Wurzburg sculptor Tilman Riemenschneider are contrasted with photographs from the exhibition, “Fascination and Terror” at the Nuremberg Documentation Center. The title uses the Gothic font Maximilian Zierbuchstaben by Dieter Steffmann. A close-up view of the face of Durer’s Christ-like self-portrait of 1500 is the frontispiece. The portrait has been modified with a swastika over the right eye with a mica circle (as if a monocle) on top of it. Images of 16th century sculptures of 6. Leavitt, Nancy Ruth. Garden in the Mind. Texts by nuns are collaged on the red mono printed pages with red lines Kabir, Sarah Margaret Fuller, Hypatia of Alexandria, blotting out their eyes. On the opposite page an image of a Nazi sculpture is featured with the legend, “Reichsparteitag / 1930 / John Stuart Mill, Li Po, Liliane Kell, Lau Tzu, Nurnberg / 8014 Septembr” referring to the annual Nazi rallies Anonymous, Mary Wollstonecraft. Stillwater, ME: held each fall. Other images include an image of a sculpture of a 2018. $8,500

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] Bindery: sewn binding of collaged (mostly green in color) handmade papers Katie MacGregor and artist’s own paste papers, housed in grey-green cloth over boards portfolio with title hand- lettered in green on white paper label inset into front panel, black and white striped cotton ties. Accomplished in gouache and watercolor by the author / artist. Ms. Leavitt, noted calligrapher and book artist, has a degree in biology and here combines two of her fields of expertise. Her text explains how human beings have altered natural habitats with Artist’s book, one in a series of two, each consisting of 9 vehicles and interstate highways, creating an artificial vortex fascicles, each separately bound, all on handmade paper by Katie which shakes the plants and transports seeds more rapidly and over MacGregor, each with original eco prints by the artist, the prints greater distances than previously - with all the unintended conse- on Arches text wove, text selected and hand-lettered by the artist, quences. Her double-page spread of a highway lined with weeds signed on the hand-lettered colophon on the rear inside tray case against various shades of greens is a treat. The common and Latin of clamshell box, Nancy Ruth Leavitt and dated 2018. Page size: names of the weeds are in dark green letters with the common 3 each 11-½ (H) x 8- /8 (W) inches; each fascicle 9pp. including name reading horizontally and the Latin name reading vertically - wrappers, 81pp. total. Bound by Joelle Webber in 9 different their names standing in for the actual plant growing by the side of pastel-colored handmade MacGregor paper wrappers, each hand- the road. She ends her essay with a quote from John Burroughs, numbered with an original eco print of a leaf, each leaf different, entwined with a flowering weed, “One is tempted to say that the hand-sewn and tied with silk ribbons in 9 pastel shades; housed in most human of Plants after all, are the weeds.” A charming and custom-made green fabric over boards disarming look at man’s alteration of the natural world, an edition clamshell box with label lettered by artist version of a larger, more elaborate, artist’s book from last year. in green on grey paper on spine, inset (11359) dedication “for L.” on inside front tray case and colophon on inside rear tray case, 8. Leavitt, Nancy Ruth. The Sargasso Sea. Amherst, a subtle and elegant presentation. The texts MA: Tomato Press, 1986. $2,500 vary from one line to 22 lines. Each is profound, reflecting on life Artist’s book, one and eternity. In perfect harmony with the plant material immortal- of 25 on Arches, ized in the prints, colors and materials and lettering are thought- each signed and fully integrated. The philosophers included all relate the human numbered by the condition to nature, and the artist reinforces the connection with artist / author, the organic lettering in earth-toned gouaches. From Margaret Nancy R. Leavitt. Fuller’s (#2) pithy observation, “Very early I knew that the only This is the artist’s / object in life was to grow” to the lengthy text by Lao Tzu (#7) author’s first book which concludes, “Don’t accept the modern myths of aging. You featuring her own are not declining. You are not fading away into uselessness. You science-based text. are a sage. A river at its deepest and most nourishing. Sit by a river Page size: 15 (W) x bank sometime and watch attentively as the river tells you of your 1 11- /8 (H) inches; 9 life” the reader / viewer is taken on an exploration of self through leaves including TP and the natural world. It is a journey worth making.” (11362) Colophon. Bound: loose as issued in black portfolio 7. Leavitt, Nancy Ruth. Plant Corridors. Stillwater, case. This is an early work by ME: 2014: 2014. $1,250 the artist and the first in which Artist’s book, one of 3 copies, each hand painted and lettered by she has illustrated her own the author / artist, Nancy Ruth Leavitt, all on Arches text wove science-based text with eight papers, signed and dated by the artist / author, Nancy Ruth Leavitt. original woodcuts, each hand- Page size: 7 (W) x 12 (L) inches; 20pp; 1 of which is a double-page numbered and signed in pen- fold-out, 9 of which are lettered and / or painted in gouache and cil, The original eight cuts green ink. Bound by Joelle Leavitt Webber at the Mermaid illustrate life in the Sargasso Sea “as it exists for several species

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] of sea turtles who inhabit the weedlines” of this circle of currents Dictyolsteliomycota, Sporangium, Spores, Amoeboid, Flagella, in the north Atlantic Ocean ... bordered by the Azores in the east Mitosis, and Plasmodium. The original prints are paper pulp and the Bahamas in the west. The woodcuts all convey the myster- paintings made by Ms. Leavitt with Katie MacGregor papers. ies inherent in the natural phenomena and the motion implicit in Working with Ms. MacGregor, the artist assembled her pulp the story of these turtles and the world they inhabit. Each print has colors in plastic squeeze bottles and “squirted” them onto a a hand-lettered title above and hand-lettered text below consisting formed sheet of wet paper. The effect is at once organic (as befits of words associated with the naturally-occurring events of the slime molds) and colorful with a depth and texture also befitting Sargasso Sea: migrate, swim frenzy, instinct, weedline, algal the organisms. The artist has hand lettered each print with the mats, air seeds, plankton, tunicates, etc. An elegant harbinger of name of the mold in a colored gouache complementary to each things to come. (11363) pulp paper painting. The text is lettered in multi-colored gouache harmonizing with the paintings - mostly orange, shades of green, 9. Leavitt, Nancy Ruth. Slime Molds Have Eleven yellow, pink and blue. The entire presentation is witty and charm- Sexes. Poem by Margaret Price. Stillwater, ME: 2018. ing - words not usually associated with molds. Such is the talent $4,500 of the artist, Nancy Leavitt, that she was able to accomplish such beautiful work. (11364) Artist’s book, one in a series of three all on Katie MacGregor hand-made papers, the suite of 10. Lee, Beth. Letters Words Books. Texts by Horace, plates on paper William Massey, Edward P. Morgan, Thomas Carlyle, made by Ms. William Goudy, Andre Maurois, Rudolf Koch, MacGregor and Tallahassee, FL: 2004. $850 “Pulp Painted” Artist’s book, unique, hand-painted and hand-lettered, on Arches while in the mold Text Wove paper, signed and by Ms. Leavitt, dated by the artist, Beth Lee, on the last page. Page size: 6-½ (W) x 10 (L) inches; 12pp. Bound by the artist: hand-sewn into grey handmade St. Armand paper, printed marbled endpapers. The pages of this delightful homage to the beauty and power of the written word is accomplished in a variety of colored inks and gouaches. Using various styles of calligraphy for each signed and numbered by her on the colophon. Page size: 15 (W) quotation, usually one to a page running vertically and another x 10-¼ (L) inches for volume with text of poem and plates; plate running horizontally across the bottom, the artist balances her portfolio: 18 (W) x 12 (L) inches; 10pp; and 11 original prints in page designs with colored “blocks.” Some with recognizable separate portfolio. Bound by Joelle Webber: full lime green book letters and some with those that are not. Some are with high- cloth over boards for text and plate volume with original pulp lighted grounds, but always the page design is pleasing and high- paintings in oranges and greens inset into front panel, matching lights the concept of the importance of the written word. Beth print portfolio in Lee, who lives and works in Bozeman, MT, is a calligrapher and larger size; both book artist. In her artist’s statement, she notes, “The act of writing laid into an or- also connects the unseen world with the physical world. It ange cloth over crystallizes thoughts and allows them to be turned over and boards custom- examined, tasted and built upon. For me, calligraphy is the made clamshell physical revelation of the structure of ideas. It is a reflection of box, hand-let- the shape, texture and color of the phrases. And it is the tered paper label integration of words’ texture and color with their meanings.” in lime green on With this work she accomplishes her thoughts onto paper and white inset into gives them solidity. This is a paean to the written word and a lovely spine, the whole book. (11367) a playful and arresting presentation. The artist’s choice of text, the poem “Slime Molds Have Eleven Sexes” by Professor Margaret 11. McCallion, Barry. The Cask of Amontillado by Price (Ohio State University) is a playful list of nature’s more Edgar Allan Poe. East Hampton, NY: 2018. $4,250 obscure creatures. Her verse was originally published in “Gay and Artist’s book, one is a series of three, all on beige Arches BFK Lesbian Review” in November / December 2003. The slime mold paper for the text and grey Arches BFK for the prints, signed and vocabulary (each print is labeled) is: Eukarya, Protista, Zygote, dated by the artist, Barry McCallion, on the colophon. Page size:

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] 9.5 (W) x 12 (L) original painting, lettering, and bas-reliefs of Gilgamesh and inches; 34pp; in- Enkidu as well as other elements in this epic, signed by the artist, cluding titlepage Barry McCallion and dated April 2017 on the colophon. Page and colophon size: 10-½ (W) x 15-¼ (L) inches; 27pp. plus colophon and and 9 original linoleum-cut engravings, each of these with cap- tion from text, numbered and signed all in pencil. Bound by Joelle Leavitt Webber: red paper wrappers with exposed sewing (brown kitchen twine) and housed in custom-made red cloth over titlepage. Bound: hand-sewn by Joelle Webber at Mermaid Bind- boards clamshell box with ery, black boards with tan book cloth spine, inset painted collage title on painted paper label of Gilgamesh and Enkidu on black and gold printed paper with on front panel and spine of gingko leaf pattern, gingko paper used as flyleaves; housed in box, the inside front and back custom-made tan book cloth clamshell box with same gingko leaf trays of box housing two of paper as inset on front panel, label on spine with title and author the original red linoleum hand-painted and lettered in black on white and yellow ground. blocks. The text of Poe’s Each of the book’s twenty-seven paintings began as a sheet of Gothic horror tale is hand- white Rives collaged with text pages of the epic from the N.K. written in black India ink. Sandars’ translation. Gesso was applied and rough borders with The original linoleum cuts marking pen added. The images were worked with a variety of are printed in black and then materials including pen, pencil, stains, acrylic, pearlescent inks enhanced by the artist in and paints, print and print collage. The “action” depicted on each acrylic inks and paints. The page is noted by a section of Sandars’ text from this epic poem. rough texture of the prints, Bright colors alternate with greys and beiges and gold. The painted as well as their sharp per- and collaged “bas relief” figures reflect the ancient texts while spective, increases the three- retaining their curious modernity. dimensional aspect of each image. The reader / viewer enters the depraved world of the narrator as almost entering an ever-narrowing room. The frontispiece of a spiral cut-out on black paper showing against the white of the succeeding page (or the red of the front flyleaf) gives a hint of the horror to come: there is no escape for the victim nor for the narrator. The linoleum blocks in this copy are of the 2nd and 3rd prints: “I passed down a long and winding staircase” and “I knocked off the neck of a bottle.” “In pace requiescat!” (11361)

12. McCallion, Barry. Gilgamesh and Enkidu. [East Hampton, NY]: 2017. $6,500 Accepted as the first great surviving work of literature, it is an Artist’s book, unique but the second in a series centering on the epic poem pre-dating Homer by 1,500 years and known to the Mesopotamian hero, Gilgamesh, on white BFK Rives paper, with world from Tablet V dating from 2003-1595 BCE. Gilgamesh was Priscilla Juvelis, Inc. (207) 967-0909 [email protected] a semi-mythic King of Uruk (there are references to his existence of bloodied fields and trenches, mountains and found in ancient inscriptions), but it is as a hero questing for the beaches, mud and wire, snow and sand...A book meaning of life that captivates and keeps his name alive in the 21st in protest, his and this.” He has used images century. His transformation from belligerent tyrant to thoughtful, from the First and Second World Wars, Korea, purposeful human being is brought into sharp focus by the juxta- Viet Nam, Iraq and Afghanistan. He adds in the position with his enemy turned friend, Enkidu. Man’s duality and colophon, “I have attempted to heave up a the human condition (death) are themes in Gilgamesh that are century’s weight of agony and loss in one book, brought to dazzling life in this artist’s book. The reader / viewer grouping images from different times to cre- enters an ancient world, still relevant today, with Gilgamesh, his ate a single, immediate and simultaneous present.” loves, losses, and search for eternal life. (11313) Henri Barbusse wrote UNDER FIRE in 1916 after serving in the French army for fifteen months in the trenches in World War I when wounds lifted him from the French front line. Considered the first of the modern anti-war novels and was awarded the Prix Goncourt. The author’s harrowing details of trench warfare have lost none of their power to appall. Mr. McCallion’s book suc- ceeds in calling to mind the terrible tragedies and loss when people go to war. (11365)

14. Owen, Jan. Mysterious Affinity. Texts by Iris Murdoch, Plato, Senaca, Wen Fu, Virginia Woolf, Arthur Koestler, Marcel Proust, William Shakespeare, Paul Valery, Rainer Maria Rilke, Friedrich Neugebauer, Barthel, and Goethe. Belfast, ME: 2013. $1,300 Artist’s book, unique, on painted Hollytex, in acrylics and sumi, 13. McCallion, Barry. Henri Barbusse. Under Fire. signed and dated by the artist, Jan Owen, on the inside back cover. The Story of a Squad. (Le Feu: journal d’une escouade). Page size: six signatures of 5 Translated by Robin Buss. East Hampton, NY: 2017. layers each of $4,500 varying size: 6- Unique artist’s book, on three different St. Armand papers in tan ¼ (W), 5-¼ / brown, signed and dated by the artist, Barry McCallion, on the (W), 5 (W), 2- colophon page. Page size: 9-½ x 12 inches; 63pp. plus colophon ½ x 12-½ (L), and titlepage. Bound: hand sewn by Joelle Webber at Mermaid 8(L) inches. Bindery into tan St. Armand paper wrappers, laid into grey felt The painted portfolio by Barry McCallion with title stenciled in red outlined Hollytex is in in silver gilt with two pieces of barbed wire separating under and yellow, tanger- fire and underlining “fire” with black mesh screening in three ine, peach, etc. pieces on spine, housed in tan cloth over boards clamshell box calling up the with title lettered in black on tan paper insets on spine and front well-known panel. The book is a selection of phrase, “rosy- texts from the novel by Henri fingered dawn” Barbusse. The artist has selected and providing a perfect ground for the black, bold words. Bound by sentences and paragraphs from Alison Kuller: hand-sewn yellow painted paper over card stock, the text, copied them, enlarged exposed spine, with title some, printed on various papers in black ink on front and collaged to the pages of this panel, hand lettered by book. They are surrounded by Ms. Owen with title in photographs from various con- words and binary code, flicts, with painting, handwritten each part of the title on a words in India ink, printing ink, different piece of trans- metal foil and acrylic paint. The lucent paper collaged to whole reflects on the brutality the front panel, artist’s that is war - each and every war. Barry McCallion notes in his name and date, housed colophon, “The hundred years between then (publication of UN- in matching paper over DER FIRE) and now have seen a recurring and uncanny sameness card stock slipcase with

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] hand-lettered label on spine and front panel. The title comes from While palimpsest usually refers to a piece of vellum that has an excerpt by Virginia Woolf: “Science they say has made poetry had the original writing on it scraped off to be re-used, a secondary impossible...but the instinct of rhythm is profound and definition of palimpsest is “something having usually diverse primitive...Find the relation between things that seem incompat- layers or aspects apparent beneath the surface.” Ms. Owen’s dense ible yet have a mysterious affinity...” Iris Murdoch’s words “The lettering in a variety of calligraphic styles and sizes, with several quality of a civilization depends on its ability to discern and reveal repetitions of text certainly fits. The reader / viewer is teased by truth” have a particular relevance in today’s political climate. An a different text with each turn of the page as the translucent paper intriguing page design, the texts viewed through other texts refer allows the pervious page to show through. The reader / viewer is to the title, MYSTERIOUS AFFINITY, the phrase in Virginia left with the impression that prayers - no matter who wrote them Woolf’s remarkable text. The binary code suggests chains binding - have a commonality, and that is giving thanks. This work is humanity to words and knowledge. This work is inspirational as inspirational as well as aesthetically pleasing. (11372) well as aesthetically pleasing. Selected for inclusion in the Center for Maine Contemporary Art Biennial Exhibition, it was also featured as the lead image in the November / December 2014 issue of ART NEW ENGLAND. Colorful and intriguing, it is subtly provocative. (11371)

15. Owen, Jan. Prayer Palimpsest. Texts by Robert Louis Stevenson, Meister Eckhart, e.e. cummings, Stuart Kestenbaum, Gerard Manley Hopkins, Rainer Maria Rilke, Pablo Neruda, Iris Murdoch, George Herbert, Walt Whitman, William Blake, Pierre Pradervand, Emily Dickinson. Psalms. Belfast, ME: 2013. $900 Artist’s book, unique, on plain and painted Hollytex, in acrylics and black sumi, signed and dated by the artist, Jan Owen, on the front wrapper. 3 Page size: 6- /8 5 (W) x 11- /8 (L) inches; 44pp. each page com- 16. Poehlmann, Joanna. Pencil Museum for Bottiicelli. pleted covered in hand-lettered Milwaukee, WI. $1,500 3 5 text with the ex- Artist’s book / book object, consisting of box 6- /8 (H) x 10- /8 ception of the (W) x 2 inches deep (cigar box) covered in blue-green marbled center page paper with hand-lettered label in small gold metal frame on front spread which cover, compartments fashioned from thin shims making pencil reads “If thank box, filled with 7 metal containers, each 1inch diameter with clear you was the only plastic tops, each filled with tiny shells, box also contains a Venus prayer you ever Comb Murex, Venus Drawing Pencil, pencil sharpener, 9 small said, it would suf- vials with cork stoppers, each filled with coral or small starfish fice” hand-let- etc. and a hand-lettered accordion book, 1 (H) x 4-¾ (L) inches; 3 8pp; signed and dated by the artist on the last page, JoAnna tered on a smaller sheet 4- /8 (W) x 9-½ (L) inches. Bound: hand- sewn by the artist, Jan Owen, housed in white card stock folder Poehlmann 2017. The inside lid of the Botticelli Pencil Museum with the title and artist and date lettered in black on front cover, has a reproduction of “The Birth of Venus” affixed to it. The small housed in painted slipcase in yellow, title and artist hand lettered book contains a fragment of a poem by Dylan Thomas and reads, on label collaged to “It was my 30th year to heaven / Woke to my hearing from front of slipcase harbour and neighbour wood / and the mussel pooled and the and again on spine; heron / Priested shore...there I could [sic] marvel my birthday also collaged to / Away but the weather turned around...” One of JoAnna front cover, running Poehlmann’s lovely and intriguing book objects, a small treasure. perpendicular to (11348) title is a portion of Hopkins’ great 17. Poehlmann, Joanna. Pencil Museum for Thoreau. poem, Pied Beauty. Milwaukee, WI. $1,500 Artist’s book, book object, one in a series of 5, containing book

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] dovetailed vintage box, felt-covered bottom. An unusual and charming use of vintage materials, the images brought to life with Ms. Poehlmann’s addition of red or yellow or turquoise or white. (11350)

19. Verdigris Press. Sacre, James. Quelque chose a roule. Poeme originale de James Sacre. Octon, France: Verdigris Press, 2018. $750 Artist’s book, one of 35 regular copies all on Hahnemuhle paper, each signed and numbered by the artist, Judith Rothchild, and the 7 author, James Sacre. Page size: 5- /8 (L) x 14-¼ (W) inches, 3 opening to 47- /8 (L) x 14-¼ (W) inches. Bound by Mark Lintott: leporello fold, 8pp, first page is verso of front blank with author, title, artist, and press printed in black on fold-over from front that is one of an edition of 20 (also sold separately), repurposed blank, loose as issued, housed in custom-made page beige cloth cigar box with hand-lettered paper label affixed to front lid, over boards, grey cloth spine, with title in large grey seriograph interior divided into sections with shims, with trays for 8 small letters with im- glass vials with cork stoppers containing seed pods, dried insects, ages of the “thing larger trays containing pine cones and dried plant material, center to roll” - i.e. egg tray contains hand-lettered and water colored accordion format - on the inside of book, 3 (L) x 3-½ (W) inches, bound in tan bark, tied with twine, clamshell box. titled “A JOURNAL FOR HENRY D” and signed JoAnna Ms. Rothchild Poehlmann and dated 2017, numbered 2/5. The box is edged in has succeeded in fire-painted decoration in a roll on top and bottom edges, sides of creating 4 suc- box incised to mimic tree interior, ca. 1940, but the whole cessive images suggesting 19th century American folk art. The book contains of a rolling egg quotes from Thoreau and watercolors to accompany each senti- with her velvety, ment, some with collaged titles. For example, “What is the use of organic engrav- a house if you haven’t a tolerable planet to put it on?” is accompa- ings. The reader nied by an image of a tiny bird’s nest on a branch and “Nature sees and feels the excels in the least of things.” accompanied by a portrait of a motion as the curled, sleeping mouse. The artist notes in her colophon that as oval form moves across the top of the pages while the boldly-set Thoreau’s family “operated a pencil factory it seems appropriate text, in Olive, handset and printed on Adana and Vandercook to honor him with a pencil museum.” The delicacy and beauty of presses by Mark Lintott, decorates the bottom quarter of each Ms. Poehlmann’s watercolors do honor the great American natu- page. James Sacre’s poem wonders about the egg as a rolling ralist. (11349) object like our own planet, and what we see in words and light and shadows. The images are simple, yet mysterious as befitting the 18. Poehlmann, JoAnna. Year Book 1853. Milwaukee, verse of M. Sacre, French born-poet who taught at Smith College WI. $800 for many years before retiring to Montpellier. A beautiful book, Artist’s book, unique object in form of paint box with original full of wonder. (11337) pastels in compartmentalized box, with brush in tray case, the lid with 14 original glass negatives each brightly hand-colored by the 20. Verdigris Press. Sacre, James. Quelque chose a artist, JoAnna Poehlmann, affixed to black board inset to inside roule. Poeme originale de James Sacre. Octon, France: lid, signed by her Verdigris Press, 2018. $1,400 with her initials Artist’s book, one of 4 deluxe copies all on Hahnemuhle paper, the on paper label 7 3 deluxe copies with an original copperplate, 3- /8 (L) x 5- /8 (W) and dated 2017 inches, each copy of the book signed and numbered by the artist, on the outside 7 Judith Rothchild and the author, James Sacre. Page size: 5- /8 (L) lid with the title, 3 x 14-¼ (W) inches, opening to 47- /8 (W) x 14-¼ (L) inches. YEARBOOK Bound: loose as issued, leparello fold, housed in custom-made 1853. Box size: 3 page beige cloth over boards, grey cloth spine, with title in large 3-½ (H) x 7- /8 grey seriograph letters with images of the “thing to roll” - i.e. egg (W) x 2-¼ (D) - on the inside of clamshell box. Ms. Rothchild has succeeded in inches, brass creating 4 successive images of a rolling egg with her velvety, closure on front, organic engravings. The reader sees and feels the motion as the nicely-made

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] bottom cover of the base book, Sande Wascher-James, and dated 2017. The front cover of the top volume uses a vintage photograph of an anonymous woman named “Henrietta” by the artist. The edges of each volume have hand-written texts that is a story the artist has her character, Henrietta, tell. Each volume is the title of another person in Henrietta’s life, with their story written on the book’s three edges. Overall size of piece: 11-½ (W) x 14 (L) inches; page size per volume in inches: Henrietta 6-¼ (W) x 9-¼ oval form moves across the top of the pages while the boldly-set (L), Etta 5-¾ (W) text, in Olive, handset and printed on Adana and Vandercook x 8-½ (L), Jennie presses by Mark Lintott, decorates the bottom quarter of each 5-½ (W) x 8-½ page. James Sacre’s poem wonders about the egg as a rolling (L), Walter 5-½ object like our own planet and what we see in words and light and (W) x 8-½ (L), shadows. The images are simple, yet mysterious as befitting the Mother 6-¼ (W) verse of M. Sacre, French born-poet who taught at Smith College x 9-¼ (L). Books for many years before retiring to Montpellier. A beautiful book, consist of blank full of wonder. (11338) book blocks, which the artist has cased into Davey board and covered with mul- tiple layers of mediums to achieve depth and antiqued feeling, including gesso and acrylic gel medium and lace fabric. The five books are held together as a large sculpture of stacked books firmly closed by several layers of PVA. The text starts, “I was reminiscing today, something I seem to do more often lately and sometimes not a good thing to do as it can make you melancholy...” Each of the texts are recollections of her mother, husband, daughter, and best friend, with her own 21. Wascher-James, Sande. Henrietta Reminisces. exposition at the top. The artist / author has given a plausible life Langley, WA: 2017. $3,000 to the photograph of this woman, taking her out of the realm of Artist’s book, book object, consisting of five individual books “Anonymous Was a Woman” and into the realm of a reality. fixed together as a sculpture, signed by the artist / author on the (11316)

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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]