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Rare Books Catalogue 54 – Contemporary Book Arts

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Rare Books Catalogue 54 – Contemporary Book Arts Priscilla Juvelis – Rare Books Catalogue 54 – Contemporary Book Arts 1. Cheloniidae Press. Poe, Edgar Allan. The Black Cat by Edgar appears in roman numeral on the Allan Poe. Illustrated with woodengravings by Alan James back cover. Along the foredge of Robinson. Easthampton, MA: Cheloniidae Press, 1984. $400 the box (tomb), 13 cow’s teeth One of 250 copies, all on Rives Lightweight and vintage Bodleian papers, have been set in handmade silver and signed and numbered by the artist, Alan James Robinson, from a total bezels. The inside covers each issue of 325: 250 regular copies (this copy), 60 deluxe copies and 15 state have four brass and copper rods 7 (oxidized green). The book itself proof copies. Page size: 6-½ x 9- /8 inches; 28pp. Bound in handmade black paper wrappers by is bound in boards with linen Rugg Road over black boards. Poe’s tale of spine which are “leafed, and var- madness and guilt is effectively retold here with iegated and painted in metallic 11 woodengravings by Alan James Robinson, fungoid patterns over which the who has designed the book with Arthur Larson. author has painted a female figure The text (taken from the 1845 Wiley-Putnam to represent one of the stories edition) was set in Bulmer Monotype by (author’s description).” The Mackenzie-Harris of San Francisco. The book gessoed boards are copper colored and the female is in blue with onlays was printed by Harold Patrick McGrath at of four small white bones outlining the skeleton. The book lays into the Hampshire Typothetae. An elegant presenta- marble box (tomb). The four illustrations are hand colored by the author tion, soberly detailing through word and image, who has also made a number of small revisions in the text. The text is the narrator’s descent into madness and evil, compounded by the effects letterpress by Alastair Johnston in Electra and Cochin with display in of alcohol. Poe’s classic tale is well-served by Robinson’s mastery of the Caslon, Marbleheart, Rimmed Lith and Astoria at Poltroon Press. The title woodengraving; his cats turning from sympathetic pet to enraged witness. page is printed in three colors, guards of black and gold gilt Japanese paper. (9327) William T. Vollmann was awarded the National Book Award in 2005 for his novel, EUROPE CENTRAL and in 2007, the American Academy 2. Cheloniidae Press. Robinson, Alan James. A Fowl Alphabet. of Arts and Letters Award in Literature. His artist’s books are in prominent private collections and several institions. There are few of these artist’s Northampton, MA: Cheloniidae Press, 1986. $450 books in circulation, making them highly sought after. (8352) Artist’s book, one of 150 copies, all on Rives lightweight, each signed and numbered by the artist, Alan James 4. CoTangent Press. Vollmann, William T. The Grave of Lost Robinson, from a total issue of 226. Page size: 8 1/2 x 5 1/2 inches. Bound: tan hand- Stories. [Sacramento]: CoTangent Press, [1983]. $1,500 marbled paper over boards, tan label on Artist’s book, unique copy from an edition of spine with title in brown, fine. Printed by 200 all on Johannot and each signed by Harold McGrath on Rives paper in three Vollmann and Ben Pax. The book is the same colors, the text is from ANIMATE CRE- as one of the deluxe books with the special ATION, a popular edition of OUR LIV- binding, but unlike the 15 copies comprising ING WORLD, a Natural History by Rev. the deluxe edition it does not have the marble 7 J.G. Wood, Vol II birds, 1885. Illustrated with 26 woodengravings by case (tomb). Page size: 9- /8x 7-¾ inches; 31pp. Robinson and with an alphabet designed by Suzanne Moore printed in Bound: sewn pages bound into hand-painted yellow, with the common name of the bird printed in brown and the Latin binding of acrylics in rose and turquoise, with name in the same yellow as the letter of the alphabet. Alan James Robinson, black grit imbedded in the paint, with bone Suzanne Moore and Art Larson designed the book, which is one of the fragment onlaid to front cover, tan linen spine, loveliest of the Cheloniidae publications. It is also one of the most endpapers of black Japanesse tissue. See entry #3. (10490) successful. With each bird’s image extending beyond the framed black border, these creatures seem to be preening for their “close-up” - asking 5. CoTangent Press. Vollmann, William T. The Grave of Lost the reader / viewer to admire them, which we do! (5161) Stories.[Sacramento]: CoTangent Press, [1993]. $900 Artist’s book, unique copy from an edition of 200 3. CoTangent Press. Vollmann, William T. The Grave of Lost all on Johannot and each signed by Vollmann and Stories. [Sacramento]: CoTangent Press, [1983]. $5,0000 Ben Pax. This is an artist’s proof of one of the Artist’s book, one of 15 deluxe copies only, 13 of which are for sale, all deluxe books but without the special binding. (15 on Johannot paper, each signed and numbered by the artist/author and copies comprising the deluxe edition with a marble 7 binder, from an edition of 200 box and special binding). Page size: 9- /8 x 7 -¾ (185 regular edition). Page size: inches; 31pp. Bound: sewn pages laid into black 7 7 paper wrapper with original print by the author 10- /8 x 7- /8 inches. Bound by Ben Pax: steel and grey marble / artist, William T. Vollmann. See entry #3. box (tomb) fitted to custom steel (10489) hinge by means of a copper sheet riveted to the steel and then 6. Davidson, Laura. Anonymous Women - lost & found. Nine crimped upward to form a pan. Drypoints. Boston, MA: 2011. $1,000 The hinge is powder-coated black as is the interior. The front cover is Artist’s book, one of 12 copies, on magnani pescia paper, and wood, signed incised with the title, author’s initials and Poe’s dates. The copy number and dated by the artist, Laura Davidson. Page size: 4-1/8 x 3-1/8 inches; 20pp. Priscilla Juvelis, Inc. (207) 967-0909 [email protected] Bound: wrappers with plates loose as issued symbolic and thus meant to share information beyond a single lifetime. The housed in small painted walnut wood box with impulse to create symbolic marks to capture an idea and fix it in time is as silver point hand-written title on the top cover. old as our oldest ancestors. Ms. Ferraro cites THE CIVILIZATION OF Inside, the covers of the book are two tintypes THE GODDESS (1991) by Marija Gimbutas as influencing her work with sewn to a ribbon spine with marbled endpapers. its references to early marks, probably by women, on ritual vessels, alters, The titlepage and the text on verso are written in plaques and many small anthropomorphic sculptures, overwhelmingly ink and wash. The nine hand-colored drypoints female, indicating that early forms of writing could be based on something are laid into the wrappers. Ms. Davidson’s other than male-derived economic transactions. A beautiful series, intended to convey the magic of writing by a talented scribed who takes the reader / viewer from pre-historic cases to the glow of the computer screen. (10464) elegant drypoints in- terpret a world gone 8. Glaister, Donald. Brooklyn Bridge: A Love Song. Cleveland, by, where women OH: Foolsgold Studio, 2002. $8,500 were often nameless. One of 60 copies, each signed and numbered by the artist / author, Donald The lovely images are Glaister; 10 of which HC, all on 10 mil aluminum. Page size: 14 x 12 inches; an homage to the name- 28pp. Bound: quarter leather grey Nigerian goatskin with aluminum onlays less women whose tin- on front and back. The aluminum pages are set on paper hinges for ease type images she has accumulated over the years. (10509) of opening. Endpapers of coarse black textured paper. The book is housed in a felt-lined aluminum box. There are portraits of the Brooklyn Bridge 7. Ferraro, Cari. Alphabet Ancestors. San Jose, CA: 2011. which are painted with acrylics on sanded aluminum as well as collages $1,800 suggesting the construction of the bridge which are also on sanded Artist’s book, consisting of three small hand-painted picture books of aluminum and painted, letters and symbols, and a fourth with a printed essay, all on Arches Text with wire aluminum Wove paper painted with casein, a milk-based paint, each signed and dated tape, laminated poly- by the artist / author, Cari Ferraro. Page size of each book: 5-1/8 x 3-¾ inches; ester film and sand all 13pp. Size in case: 5-¼ x4-¼ x 1 inch. Bound: each individual book is hand- attached to the pages. sewn into Cave paper in an accordion fold structure with beaded tassel on The type is Avant spine; each Cave paper decorated by the artist with a different figure or Garde and is silkscreen sign, all four books housed in a wrap-around printed. Selected for case made of Mexican bark paper lined with inclusion in Wellesley deerskin suede and tied with a leather thong College exhibition and and a rock. When removed from wrap- catalogue RESONANCE AND RESPONSE (2005). around case, the books are structured to The Brooklyn Bridge has, since its opening in 1883, inspired many unfold to make a great circular case, as if writers and artists: Hart Crane and Walker Evans perhaps the most famous looking into a deep well of the past. of these. The bridge was, on completion, the first Steel Cable Suspension The pages are first painted in Bridge, the longest suspension bridge in the world, and the first major bridge casein, a milk-based paint with roots in to use multiple pneumatic caissons.
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