Opening to Stamp on Inside Back Cover with 2-½ Inches When Fully Extended, 4 Panels

Priscilla Juvelis - Rare Books Catalogue 67 – Contemporary Book Arts

Tunnel Book mirror writing, spine smooth with two sets of tooled red and gold- 1. Caliban Press. Kumano Kodo. Prints by David West. Verse gilt vertical lines and one set of by Gusai. Canton, NY: Caliban Press, 2015. $150 horizontal lines (both spelling the word THE); cork endpapers, One of 45 copies, all on St. Armand and Nepali papers, in tunnel book format, blue and grey silk headbands, top signed by the artist, David West, and the printer / publisher, Mark McMurray, edge in palladium, original wrap- on the back panel of the wrap-around covers, lower right below Japanese pers bound in, signed in blind text. Page size: 8 x 10-½ inches opening to stamp on inside back cover with 2-½ inches when fully extended, 4 panels. date and gold dot, Donald Glaister Bound: tunnel format with wrappers that and dated 2013.” An ingenious binding perfectly executed and perfectly open to expose vista; housed in brown paper suiting this beautiful book. over boards lidded box with title on spine. The text is illustrated with woodcuts, gatefolds, a volvelle, pop-ups, The English text is set in Optima and Weiss. onlays, text printed on various papers in various shapes. This is a tour de The Japanese text is printed on the back of force from master bookmaker, Mark McMurray. Certainly this is one of his the wrapper, the title on the front. The most ambitious and satisfying books in his long and distinguished career. It English verse appears on either side of the vista printed on the flaps of the is quite wonderful and a worthy vehicle for the Bard. With the extraordinary cover. The KUMANO KODO is a series of pilgrimage routes crisscrossing binding by Donald Glaister is a treasure for any library. (10929) the Kii Peninsula in Japan that have been in use for over a thousand years. Sacred to both Buddhist and Shinto traditions, the three main shrines were registered as UNESCO World Heritage sites in 2004. They are notable for 3. Caliban Press. Shakespeare, their remoteness and undeveloped beauty. David West, who has created the William. The Tempest. Printed and woodcuts for this beautiful book, studied painting and printmaking at Designed by Mark McMurray. Camberwell School of Art. A full-time artist, he lives and works in Lyme Canton, NY: Caliban Press, 2001. Regis. His association with Japan began in the 1990's when he was asked $775 to hold workshops in various parts of that country. Not much is known about As above, but in publisher’s paper binding the Japanese poet, Gusai (1284-1376) who was a Zen monk writing in the and slipcase. (8837) format of the renga, or linked verse, style of poetry quite popular in the Late Medieval Age. He was teacher to Nijo Yoshimoto (1320-1388) who 4. Cheloniidae Press. Shakespeare, William. The Birds and received credit for compiling an imperially recognized anthology of renga Beasts of Shakespeare. Text by Arthur F. Kinney. Illustrated poetry. Designed and printed by Mark McMurray, who is Caliban Press, with Woodengravings by Alan James Robinson. Easthampton, and who has created over 30 titles to date. (10900) MA: Cheloniidae Press, 1990. $3,750 Bound by Donald Glaister One of 125 copies, all on Cheloniidae Rag paper, the first book of the press with Cheloniidae watermark, each signed by the artist, Alan James Robinson from a total issue of 155 copies. Page size: 10-3/8 x 15-7/8 inches - the size 2. Caliban Press. Shakespeare, William. The Tempest. of the first folio edition of Shakespeare - Dedication Page, Half-title, Printed and Designed by Mark McMurray. Canton, NY: Caliban engraved frontispiece portrait of Shakespeare in rondel surrounded by the Press, 2001. $8,250 animals, Titlepage, i-iii [iv-v] 1-87 [88-92]pp. Bound: loose sheets boxed. One of two copies in original designer binding by Donald Glaister, from an Illustrated with 54 woodengravings depicting the birds and beasts found in edition of 125 copies all on various handmade papers by Velma Bolyard, La Shakespeare’s plays and Papeterie St. Armand, and Barcham Green, with Arches, Frankfurt and poems, plus two portraits of Mexican amate paper. The text is set in 14pt. Dante by M & W Bixler; rain the Bard: one etching and cut by Greg Lago. The book was designed, printed and bound by Mark one woodengraving. The McMurray, using the text from the 1623 First Folio (with a few liberties). woodengravings were ac- Page size: 8 x 12 inches. Bound by Donald Glaister: full grey morocco with complished by Robinson on deep blue morocco onlay cutout to reveal underlay of aluminum with onlays end-grain English boxwood of mesh, copper, from T.N. Lawrence & mylar, painted in Sons of London. The type silver, gold, red, was set at M & H Type and black, the cut- Foundry of San Francisco outs, while seem- and printed by Harold Patrick McGrath in black within a caramel-colored ingly abstract, rule on each page with Shakespeare’s own words in caramel ink. This book spell out the title uses Shakespeare’s original texts addressing the natural history, folklore, of the book, and mythology of the birds and beasts in his plays. The text was written by TEMPEST, on Arthur F. Kinney, Thomas W. Copeland Professor Literary History at the the front panel University of Massachusetts at Amherst. Certainly one of the most and the same on ambitious and most beautiful books of the Press, published to mark their the back panel - tenth anniversary. (10394) but in reverse

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] 5. Davidson, Laura. Culinaria. [Boston, MA]: 2009. $1,250 7. Ediciones Dos Amigos. Borges, Jorge Luis. Ficciones Artist’s book, one of 10 copies only, all on magnani pescia paper throughout, (Fictions). Buenos Aires: Ediciones Dos Amigos, 1987. $6,000 each signed and numbered by the artist, Laura Davidson, in pencil on the Artist’s book, one of 40 copies, all on velin d’Arches paper from a total issue colophon page. Page size: 5 x 6 inches, 20pp. Bound by the artist: stainless of 42: 40 on velin steel covers with a red and green floral print retro fabric recalling vintage d’Arches and 2 apron or kitchen cur- on Japan paper, tains on spine, copper all signed on the grommets, with brass colophon by pub- spatula ingeniously lisher, Samuel held on by magnets Cesar Palui. decorating the front Page size: 13-1/16 panel; endpapers are x 10 inches; [i] original linoleum prints [1-10] 11-175 in pink and white [176-180] pp. check, with forks, Bound: loose in knives, spoons, and original pink measuring cups within the checks. The book is comprised of 10 dry points wrappers, author’s name engraved in dark with ink wash of well-designed and useful kitchen tools, such as the egg- blue, title in light green, dark green, and gray beater, strainer, scoop, whisk, and masher. The humble objects - grater, large wood-type letters; housed in buff paper spatulas, corkscrew - have their own elegance which is highlighted in and red cloth box with red silk lining, title Davidson’s masterful prints. A must for any culinary collection. (10200) printed in black on front cover and on spine. Illustrated with 18 full-page engravings as 6. Ediciones Dos Amigos. Borges, Jorge Luis. El Aleph. follows: 3 by Gabriela Aberstury, 3 by Julio Buenos Aires, Argentina: Ediciones Dos Amigos, 1997. Pagano, 3 by Mirta Ripoll, 8 by Alicia Scavino, $35,000 and a portrait of the artist by Raul Russo. Hand One of 25 copies, but each copy unique, all printed on cream Velin d’Arches set in 14pt. Bodoni by Ruben Raul Lapolla and paper. Etchings and aquatints by Gabriela Aberastury, this copy one of the printed under the supervision of Samuel Cesar publisher’s copies, unnumbered, but signed in white pencil by the artist, Palui in three colors. The text is in black, page Gabriela Aberastury, the printer, Rubin Lapolla, and one of the publishers, numbers in red, and highlights and title page in blue and black. The book was Samuel Cesar Palui. Page size: 13-¼ x 10 inches; 176pp; each page an started in 1984 and was not published until 1987. This elaborate edition is one original print - and many times several different print processes. Bound: of the most beautiful of the press and, in my opinion, the most beautiful loose in original black wrappers with Hebrew letter (Aleph) engraved in edition of Borges’ great collection of short stories. The images so capture silver gilt on front panel and spine, housed in gray cloth over boards clamshell the author’s imagination, particularly the engravings for “El Acercamiento a Almotasim” and “Las Ruinas Circulares.” (9779)

Bound by Donald Glaister

8. FitzGerald & Co., Vincent. Beard, Mark. Manhattan Third Year Reader. New York: Vincent FitzGerald & Company, 1984. $12,000 First Edition, one of an edition of only 30 copies, this copy in unique binding, the edition on 28 different papers, each copy signed by the artist / author, Mark Beard. Page size: 15 x 11 inches; 16 signatures. Bound: unique binding by Donald Glaister, his third on this work from Beard and FitzGerald, red and black morocco, with onlays of goat skin and laminated mylar and gold and painted tooling, composed to render a view of the urban landscape, featuring obscured subway cars, altered grid paper imagery and a corrugated leather keystone shape that traverses the spine and extends to both boards. Doublures of painted cork, top edge gilt with eccentric gold shapes echoing shapes found on the covers. Binding signed by the binder, Donald Glaister, 2014, in blind with usual gold dot, on inner rear hinge. Housed in black linen box with original etching on front of box, title printed in black on the spine, clamshell box. A perfect binding for Beard’s recounting of his life in New box a bit dinged at edges, book fine. Started in 1984 and finished 13 years York. later under the direction of Samuel Cesar Palui and printed by Ruben R. This is the first of Mark Beard’s autobiographical artist’s books and Lapolla. Samuel Cesar Palui and Ernesto Lowenstein published this book to consists of 41 original linocuts by Beard which were printed and assembled commemorate the centenary of the birth of Jorge Luis Borges in 1999. The by Beard and Vincent FitzGerald, executing the work from start to finish artwork was created by Gabriela Aberastury who editioned all the prints. without interruption. The result is a work of freshness and originality that is Rather than illustrate the text story by story, Aberastury chose to explore captivating. A total of 28 different kinds of paper were used in the production and reveal the Borgesian universe. She used different techniques: oil, of this volume, papers that were selected by FitzGerald from an art store acrylic, lacquer, engraving, gofrado, pencil working with the typographer / each morning on his trip to Beard’s loft each morning. The text printing was printer Ruben Lapolla to create pages that appear to have no beginning and done by Meriden Gravure and consists of Beard’s diary cullings and no end - that seem not to have been created but rather revealed. One does commentaries from his first three years in New York. In the style of a grade- not read it as completely enter another realm and experience it with several school primer, the intentionally simple style is a magic carpet for the reader senses. The text is printed using linotype with gold, silver, copper and black / viewer. We enter the world of the young artist from Utah seeing New York used to create contrasts when the coloring of the paper required it. Truly a and the New York cultural scene for the first time - with all its attendant masterpiece of book arts, it resembles no other book we’ve seen. (9722) wonder and astonishment. Priscilla Juvelis, Inc. (207) 967-0909 [email protected] random until they are attacked and consumed by sea dragons.” Mark Beard’s brilliant artistic interpretations of these “two dimensional and ironic” characters, in their bathing suits and sunglasses, in saturated primary colors, as well as his flat presentation, overwhelm in their impact of the characters’ vapidity. With images such as Greek temple caryatids folding out to reveal the Cote d’Azur and the play’s characters rendered as paper dolls, Beard’s art interprets Kondoleon’s play so that the dragon’s crush of these pitiable, self-centered protagonists seems inevitable. A brilliant mixture of wit and irony, with difficult and innovative printmaking techniques, each page has highly unusual texture, especially in the final fold out. The resulting effect is one of almost excessive richness and mystery. The text, images, and binding all are an homage to the hedonism of the 1970’s Donald Glaister, one of today’s foremost book artists and designer and 1980’s. A beautiful book that now, 30 years later, achieves the status binders, has created a tour de force binding. His bindings, often intricate, of cultural icon. (10737) employing various materials not associated with fine binding, never lose focus of the book they cover. Here his interpretation of own interpretation 10. FitzGerald & Co., Vincent. Kondoleon, Harry. The Cote of Mark Beard’s neo-classic style is fused with his own exuberance and d’Azur Triangle. Etchings and lithographs by Mark Beard. appreciation of New York City. Long out of print, MANHATTAN THIRD New York: Vincent FitzGerald & Company, 1985. $6,000 YEAR READER, is in the collections of major institutions such as the Met, As above, but in the publisher’s yellow cloth binding. (7449) the Whitney, NYPL, and Yale, and rarely appears on the secondary market. (10671)

Bound by Donald Glaister

9. FitzGerald & Co., Vincent. Kondoleon, Harry. The Cote d’Azur Triangle. Etchings and lithographs by Mark Beard. New York: Vincent FitzGerald & Company, 1985. $15,000 SOLD Unique binding by Donald Glaister on signed, limited edition, one of 119 copies only on Rives BFK, all signed by the author, Harry Kondoleon, and artist, Mark Beard, hand set in Janson by Marc Shifflet and Art Larson, it is printed letterpress by Daniel Keleher at Wild Carrot Letterpress, lithographs and etchings pulled by the Printmaking Workshop of Bob Blackburn. Page size 12 x 14 inches; 58pp; 3 of which are double-page foldouts, three loose images of play’s characters. Bound by Donald Glaister: full dark green morocco binding, laminated Mylar painted triangles on recto 11. FitzGerald & Co., Vincent. Mamet, David. The Frog and verso are raised and pierced, revealing areas of treated brass, copper, Prince: A Play. Illustrated by Edward Koren. New York: aluminum, metal screen, and painted paper. The center triangle is blue goat Vincent FitzGerald & Co., 1984. $750 skin, pierced and gold tooled, revealing areas of treated brass, copper, One of 130 copies on Rives paper, printed at Wild Carrot Letterpress by crocodile suede, snake and lizard skin. The three triangles on the binding Daniel Keleher. Page size: 10 inches x 8-½ inches, fine. Illustrated by Koren refer to the three characters and can be thought of as portraits. The portraits with one original etching, signed and numbered in pencil by the artist and four on the front and back covers are of the men (which is which?) and the center plates after drawings by Koren done for this book. The etching was pulled portrait is the female character, Cleo. All three triangles are set upon other by Lynn Rogan of the Printmaking Workshop. The four additional illustra- triangles producing a somewhat jangled orientation...still triangles, but tions were printed on Misu paper certainly unhinged. The top edge is gilded with gold triangles, headbands in at The Meriden Gravure Com- primary colors repeated in printing of book: red, blue and yellow; painted pany. The title page calligraphy cork doublures and fly is by Jerry Kelly. All copies were leaves featuring tri- signed by both Mamet and Koren angle motif, signed by on the colophon. Bound in or- the binder on the in- ange cloth stamped in frog-green, side rear turn-in and hand-made endpapers by Gerard dated, in blind, with Charriere. Mamet, a leading gold dot. Housed in American playwright and Pulitzer elaborate clamshell Prize winner, has given the reader box which includes a a witty and touching play which drawer for ephemera is perfectly represented by and the plays three Koren’s familiar hairy monster characters portrayed by cut-out paper etchings. An extraordinary binding: people usually gracing the pages a piece of three-dimensional art that reflects the book’s text and images. of “The New Yorker Magazine.” (2607) Slick, yet sophisticated in every way, it becomes the metaphor for the tangled, twisted Kondoleon play of an American menage a trois. 12. FitzGerald & Co., Vincent. Rumi, Jalaluddin The author writes of his play, “a husband and wife, and her husband’s Mohammad. Fragments of Light 4. Lithographs by Fran lover go up and down the Riviera only to be disappointed by the Riviera. The dullness of the Cote D’Azur reveals to these Americans the dullness and Siegel. Translated by Zahra Partovi. New York: Vincent impossibility of love...they tire of one another and pursue sex partners at FitzGerald & Company, 2009. $3,500

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] Artist’s book, signed, limited edition, one of 35 copies, all on hand-made linen 8-1/16 x 1 inches. Bound by the artist: carrousel style book with grey cloth paper by Dieu Donne Papermill and Mylar, each numbered and signed and over boards, title printed on paper on front cover and on spine, grey gros- dated by the artist, Fran Siegel, and signed in Persian by the translator, Zahra grain ribbon ties. Julie Chen’s inventive text centers on the nature of Partovi. Page size: 6-½ x 9-½ inches; 26 leaves. Bound: as desk calendar existence from idea to form and employs the on stainless steel base, made by Milgo Bufkin, four screws fastening the two book structure itself as a visual / physical model “rings” that hold the pages of the book, housed in custom-made grey cloth of concepts portrayed in the text. The book as over boards clamshell box, box by BookLab II. The titlepage and colophon object can be displayed circularly or linearly. are printed by Jerry Kelly in black and silver with Kelly’s own calligraphy. This dual display feature contributes another Ms. Siegal’s lithographs were printed in silver on the white transparent linen conceptual meaning to the book as a whole. The by Kelly Driscoll. Each page of linen is followed by a silver Mylar page. text was printed digitally and laser cut. Each of Each etching was not re-inked when repeated on the silver Mylar page the four pages of text is overlaid with a “cat’s resulting in a shadow image. The text is laser cut. It appears first in Ms. cradle” of grey cloth connecting words essential Partovi’s elegant Persian calligraphy at the top and bottom of each page to the text. Below the text page is another page of “cat’s cradle” cut-outs with the circular litho surrounding circular disc cut into each page, “reading” in grey cloth with a fourth blank page as the base. An intricate book, it is at as silver against the succeeding silver Mylar page. It is followed by her once provocative and satisfying. (10665) flowing English translation on the silver Mylar page. This English text appears at the top and bottom of each page, and “reads” as white from the New from Julie Chen following linen page. It can be read through the linen page, just below and above where the Persian calligraphic lines appear. The circular cut-outs on 14. Flying Fish Press. Chrysalis. Berkeley, CA: Flying Fish each page are successively smaller; the final cut on the colophon page Press, 2014. $1,450 reveals the stainless steel base. Combinations of four different inks were Artist’s book, one of 50 copies, all on terra cotta colored Cave Paper and used to print each of the lithographs resulting in each page appearing slightly black denim paper from La Papeterie Saint-Armand, signed by the artist on darker as the concentric “circles” become smaller. the colophon, and hand numbered. An unusual structure, The poet / translator’s words on the significance of Rumi’s poetry a sculptural book object housed in a box; book object size: explain her work. “...the most remarkable biographical information about 7 x 11 x 7 inches when closed and 11-½ x 18 inches when Jalaluddin Rumi’s life is not the appearance and disappearance of the mystic opened, tan and gold cloth over boards; lidded box size: 6- Shams, but Rumi’s imperative and conscious decision to make a change in ¾ x 11-¾ x 6-5/8 inches, brown cloth over boards. The his career from a Sufi teacher to a poet. Here the medium is truly the book when folded is a half circle and opens to a full circle message: the most successful Sufi teacher of all times with countless 5-½ inches in diameter. The shape of the outer structure, devoted followers chooses to communicate through the path of poetry. This i.e. the “Chrysalis” for the book, is a version of an oloid, masterful poet combines philosophy, mysticism, and psychology in a a geometric shape discovered by sculptor and mathema- tician Paul Schatz in 1929. An oloid is defined by the space created by two linked circles that intersect on perpendicular planes. It is the relationship of the circles that creates the shape. The book object is held together by a series of magnets and can be opened by the viewer until all the panels lie in a flat plane, revealing an inner book with circular pages that can be held in the hand and read. All content is letterpress printed on handmade paper using photopolymer plates. The book, CHRYSALIS, has Ms. Chen’s own text, which she explains is an interpretation of the complex and transformative nature of the process of grief. The meaning seems more general to me - a comprehensive overview of the human psyche, always subject to change, reacting to daily existence. It is a beautiful object - the circular grid pattern on the interior of the “Chrysalis” conveying attempts to render logical that language so piercing as to enter the realm of music. It is this element more which is often intuitive. The numbers featured on the circles of the interior than any other which has made Rumi’s poetry so irresistible to readers for “Chrysalis” correspond to those on the pull-out tray at the bottom edge of over seven hundred years, even through the fire of translation.” the box holding the book and book object. The colophon is affixed to the Fran Siegel, currently a Professor of Drawing and Painting at Califor- inside lid of this box, where the artist /author has signed and numbered it. nia State University Long Beach, graduated from Yale with an MFA and (10920) Temple’s Tyler School of Art. She has had numerous solo exhibitions, as well as group shows, and was the US Representative at the IX International Movable Book Bienal of Cuenca Ecuador. Her collaboration with Vincent FitzGerald & Company results in an astonishing book. The other collaborators include Kelly Driscoll, who created the art for FRAGMENTS OF LIGHT II and 15. Flying Fish Press. Chen, Julie. Family Tree. [Berkeley, Milgo Bufkin (stainless steel base) who has worked with well-known visual CA: Flying Fish Press, 2013]. $975 artists such as Ellsworth Kelly and Robert Indiana. Well-known printer and Artist’s book, one of 50 copies, 16 wood blocks, 4 sides covered in paper, book designer, Jerry Kelly, has worked with FitzGerald for over 25 years, 2 sides laser engraved, signed by the artist / author, Julie Chen, on the inside helping produce very beautiful books. The Dieu Donne paper used for this back panel of the clamshell box housing the 16 wood blocks, and hand 5 book is incredibly strong and yet translucent. Mr. FitzGerald, once again, has numbered by her. Size: 9 x 9-¼ x 2- /8 inches; 16 blocks, can be arranged assumed the role of “Maestro” for these individual performers, leading and to form six variations, based on a single image by Julie Chen. The digitally coordinating their elegant performance for our benefit. (10235) printed paper used for 4 of the 6 surfaces is mulberry paper laminated onto the maple wood blocks. Clamshell box in goldish-green cloth over boards 13. Flying Fish Press. Cat’s Cradle. Berkeley, CA: Flying with paper label on front panel with title in white, inside of clamshell box with Fish Press, 2013. $950 grey tone image of tree shadows cast onto driveway, title, artist, press, and date in white on diagonal across image. The first image is the same tree, Artist’s book, one of 50 copies, all on Mohawk Superfine paper, signed and lettering in white, “walking through my neighborhood I notice the shadows numbered by the artist / author / publisher, Julie Chen. Page size: 5-3/8 x

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] of trees branching on the sidewalk beneath my feet and in that instant that suggesting space and time. The metal frame is positioned I register what I am seeing I am also not seeing, subconsciously naming the on the base overlooking the porthole. The book itself has sources unaware that I have stopped looking.” The engraved images on the the title, THE FACE OF TIME, set on an aged silvered wood colored in turquoise are again the same frame, inset with an tree with the addition of one word on each old token GOOD FOR block: for example, “connections” and “emerg- ONE FARE. ing” and “identity”. The next printed image is The text and the tree shadow in white with text in black. images are the original Following these is the tree shadow in ochre painting, lettering, engraved on the maple with the words engraved collaging, etc. of the in the same ochre. The next image printed on artist. Papers and ad- paper, bordered in red, has the text “connected- hesives are acid free. ness explained through contact.” This same The book, in its 6-½ image is on the final side of the block “picture” inch fabric bag that can bordered in turquoise. The always inventive be draped over the Julie Chen explores the themes of personal framed photo, is sym- identity and family history - and visualizes her bolic of the covering “text” as a “hands on” exploration of images, sculpture and words. The of mirrors in Jewish structure is at one with the content - a remarkable achievement - and one homes when a loved one dies. Tav, the last letter of the Hebrew alphabet that is fun and intriguing. (10798) is part of a collage on the last page of the book. The artist’s text reads, “Someone else’s time / Follows me home / Climbs thru / My window. / The 16. Gehenna Press. Baskin, Leonard & Kaplan, Sidney. A night whispers / A time so old / And wrinkled / With imperfections / Its Gehenna Alphabet. The Drawings by Leonard Baskin with meaning / is Unmistakable.” The artist states, “ We watch time carefully for Aphorisms & Poems by Sidney Kaplan. Lurley, Devon, UK: the tell tale signs of transience. Its features are as familiar as the earth under The Gehenna Press, 1982. $2,500 our feet and as mysterious as nature.” Measuring time is one of man’s oldest preoccupations. Measuring First edition, one of 89 copies, all on either white, cream or green handmade systems - calendars based on lunar movements, water clocks, the hourglass, papers, made in Maidstone, Kent, from a total issue of 110 copies, all signed sundials, Stonehenge and Newgrange were all used to mark astronomical by the artist, Leonard Baskin, and the author, Sidney Kaplan. Page size: 9 time. Horology, the art and science of making timepieces or of measuring x 6-¼ inches; 38 leaves including colophon, errata, and hand-colored wood time, becomes increasingly complex. However, time, for the artist, has its engraved owl and pomegranate press mark. Bound by Grey Parrot: cream own meaning - here made visible. (10908) smooth paper resembling vellum, gilt-stamped owl in oval by Leonard Baskin on front cover below title, also stamped in gold gilt, title in gilt on spine, housed in blue marbled pa- 18. Jubilation Press. DeForest, Cathy and Derek Pyle. per over boards publisher’s Alchemy: Invitations and Offerings. Three Volumes. Ashland, slipcase. With 26 drawings OR: Jubilation Press, 2011. $900 printed from line cuts, set in One of 10 copies, consisting of three portfolios containing 20 letterpress Caslon and printed letter- broadsides of poetry, plus 3 introduction sheets, on various papers, including BFK Rives, Stonehenge, Hahnemuhle, Bamboo, and Canson, designed and printed by Cathy DeForest and Derek Pyle, who together are Jubilation Press. Page size: various sizes and designs, all laid into size by slipping into sewn corners of sheets measuring 10 x 13-½ inches. Bound by Sabina Nies: broadsides, loose, laid into three portfolios, maroon cloth over boards, title on each stamped in black on maroon leather and tipped on to front panel at foredge, the three volumes held together by hand-tooled leather band with press, the text for each letter is brief, i.e. “R / black bone closure. Volume 1, Alchemy, houses eight broadsides featuring What doth the Rat / Prescribe for the Cat?” and the work of Cathy DeForest and Derek Pyle - not only their poetry but also the drawings take the letter form. See “F / The Ms. DeForest’s photography of Thich Nhat Hahn, Nobel Peace Prize Fable of the Fox...” A large part of the edition nominee. Volume 2, Invitations, holds six custom-designed poetry broad- was thought to have disappeared; but the Baskin sides, each signed by the author. Included are the work of Robert Pinsky, Estate recently discovered some copies now made available. Gehenna Mark Doty, Li-Young Lee, Albert Rios, Matthew and Michal Dickman. Press The Work of Fifty Years, #81. (10919) These works were a result of the Chautauqua Poets and Writers Series starting in 2006. Volume 3, Miniature Book Offerings, houses six broadsides created to raise 17. Jackman, Sandra. The Face of Time. New York, NY: 2015. money for various national and international causes and $4,500 features the work of Wayne Unique artist’s book, miniature measuring 1-½ x 1-½ x 1 inches; 4pp; 2 of Mueller, Michael Meade, which are double-page spreads, one folio opening and the other folding hippy icon Wavy Gravy, down, pages are bound into hinged metal fold-out covered in black leather, among others. Some broadsides were printed in limited editions and some signed by the artist on the back panel, housed in black fabric draw-string were done as open editions. However, only 10 sets were assembled by the pouch that drapes over a framed photograph 2-½ x 3-¾ inches of a painting Press for sale. The colophon, affixed to the inside back cover of Volume 3, (by the artist) of humanity fading away. The base for the presentation of this so states, and is signed and numbered by the publishers. Each broadside, artist’s book / book sculpture is a repurposed found object - a piece of however, brings a unique sensibility to its text. Still, there is an unexpected polished wood with a glass-domed porthole. The base is 7 x 5 x 4-¾ inches. harmony in this assemblage of disparate verses and images that exudes a The artist has constructed a scene that can be viewed through the porthole sympathetic humanity. (10916)

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] 19. Kingston, Peter and Fairlie Kingston. Missing Dot and Her description of Other Stories. [Tamarama, Australia: Polar Bear Press, pondweed and where 2014]. $1,200 it is found detail the First edition, one of 26 copies only, each signed by the artist, Peter Kingston mutually-beneficial ef- and author, Fairlie Kingston, and hand-numbered and dated, all on Magnani fects of this plant and Velata Avorio paper for the text and other life found in its Japanese Iwaki Mulberry paper for proximity. The non- 7 13 text pages are water the linocuts. Page size: 7- /16 x 9- /16 inches; 124pp; 8 of which contain colored in shades of tipped-in original linocuts colored in green (2/3 of the page) Sakura oil-based inks each with hand- for the pond and orange for the area above the water line. The abstract written captions and signed by Peter watery landscapes are highlighted by an adjacent page of cut-out lime-green Kingston. Bound by the printer / de- paper which affords a surface view - rather the artist’s interpretation of this signer, Nicholas Pounder, hand sewn view - of the plants covering the watery surfaces. These views - the in buff wrappers, housed in grey cloth watercolor on the verso or the lettering on the recto - are seen through the over boards clamshell box with cloth artist’s lace screen. There are four such lace cut-out pages. cut-out collage by Peter Kingston on Ms. Leavitt’s affinity for the natural world finds perfect expression front panel showing trailer hooked to here - from the elegant calligraphy to the refined page design to the colorful car, night view with lights in trailer waterscapes. This common plant (weed) is rendered beautiful and magiste- showing as bright yellow, all on black rial, it’s place in the natural world defined and described and drawn with ground, image 6 x 5-½ inches. Nicho- appreciation and respect. (10901) las Pounder has designed this charming “slice of life” text and images, which he letterpress printed in Bembo. Peter Kingston’s bold, colorful linocuts for 21. McCallion, Barry. Object from the Hall of Superstitions. sister Fairlie’s loosely connected stories of life in the 1950’s in rural [East Hampton, NY: 2012]. $2,750 Australia. The reader / viewer quickly enters into their world - evocative, Unique artist’s book, on Saint-Armand paper, signed and dated by the artist, touching and colorful. (10918) Barry McCallion in red ink on the colophon page. Page size: 7-¾ x 5-3/8 inches, 32pp; + titlepage and colophon. Bound: loose as issued, 4 fascicles New from Nancy Leavitt of 2 folios each, laid into taupe paper over board portfolio with titlepage and colophon printed on white paper affixed to front and rear panel, black silk 20. Leavitt, Nancy Ruth. Plants Speak I. Stillwater, ME: ties, front panel painted with circular motif in red and black India ink using the taupe paper backdrop as base for circles, curves, and arabesques, 2015. $5,000 Unique artist’s book, an exploration of the genus potamogeton, American Pondweed, accomplished on Katie MacGregor and Arches text wove papers, signed by the artist and dated, Nancy Ruth Leavitt, 2015, on the colophon page. Page size: 11 x 6-1/8 inches, 54pp; 42 of which are painted and/or lettered all in watercolor in shades of green. Bound by Joelle Leavitt Webber: hand-sewn on tabs, with Ms. Leavitt’s own painted paper (by Katie MacGregor) wrappers indicating a watery landscape at sunrise (or sunset), housed in custom-made box of dark green cloth over boards, interior lined with Ms. Leavitt’s matching hand-painted papers label in green ink on white paper with drawing of a single stalk of pondweed, with title lettered below in green ink. This is the 109th manuscript book by the artist, who, for this project, has written the text, as well as compiling texts of earlier housed in brown cloth over boards custom-made clamshell box with title botanists, particularly Eugene Cecil Ogden and Edith Bolan Ogden, both printed in black on white paper label, “object from the Hall of Superstitions” affiliated with the University of Michigan and the University of Maine. and signed in black ink below title, “Barry McCallion.” The artist notes in Included are other 19th and 20th century botanical descriptions of potamogeton the colophon that “Object” is to emphasize the “thingness”: Independent, with line drawings of various species, some double-page spreads, as well as non-relational, self-referential. He adds the title derives from the “hall of a botanical list of Superstitions,” a Surrealist exhibition designed by Friedrich Kiesler for pondweed from ex- Gallery Maeght, Paris, 1947. The artist has created a beautiful object - full isting herbaria with of ambiguities. The text, in black ink, on every page, is interrupted or a line-drawing of a highlighted by decoration in metallic and India inks. Or, perhaps, the page graceful stalk of paintings are interrupted by the black ink script. The script is not legible - potamogeton ex- rather it resembles hand-writing with symbols, diacritical marks, and tending along the punctuation - it is the artist’s invention. The pages at first glance remind the entire left margin viewer of early astronomical manuscripts. They do not reflect any actual as well as 14 origi- planetary system - but are structurally sound nonetheless. Frederick John nal (mostly ab- Kiesler (1890-1965) was born in what is now the Ukraine. Before moving stract) watercolors to New York in 1926, he had pursued a career as an architect, theoretician, of the plant’s wa- theater designer, artist and sculptor, collaborating with the Surrealists, De tery habitats. The Stijl, and many major figures of the European avant-garde. (10930) reader / viewer is transported and 22. McKee, Elizabeth. Departure. Pasadena, MD: 2008 & submerged into 2015. $4,500 these aquatic and verdant landscapes through Ms. Leavitt’s words and Unique artist’s book, on Arches Text Wove paper, signed by the author / images, and it is a magical journey. artist, Elizabeth McKee in pencil on the colophon page. Page size: 11-7/8 x

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] 13-¾ inches; 12pp. Bound by the artist: brown cloth spine with red cloth over boards painted with white “glyphs” on front cover, housed in red cloth clamshell box with white runes on top front half as if part of larger circular motif - the Phaistos Disc, a Minoan artifact, actually a holy relic of the mother goddess, from 1700 BC. Painted in jeweled and earth tones in pastels made permanent with the application of SpectraFix, with the addition of acrylic ink and paint, Ms. McKee has created her own translation of the glyphs of the Phaistos Disc. Ms. McKee started this book in 2008, finishing it in 2015. When she started DEPARTURE, there seemed little chance of the Phaistos disk being translated. However, in 2014, Dr. Gareth Owens announced that he and John Coleman had “cracked” the Minoan disk. Owens concludes that the disc may contain a prayer to a Minoan goddess. The earth tone-painted pages of the book are Ms. McKee’s own origami and other bits of decorative imaginary interpretation of the Phaistos Disc characters - but her story is as paper. The application of postage much a prayer to a female deity as the Owens’ translation. She has created stamps was suggested by Joan Machinchick. pages that are irregularly shaped with fold-over edges, attached folders, as The text, inspired by Mary Oliver’s well-known verse, “Wild Geese” well as unfolds at bottom; however, all the fold-overs work together to was composed by Beth and lettered in an alphabet based on a circular “o” create a unified page design. It is as if the reader / viewer were excavating - her own creation - executed in white Ziller ink on the black first side of the while reading - exposing multi-layers of images - reflecting the actual book amidst the flying geese, the lines sometimes extending across a double- discovery of the Phaistos disc in 1903 on the island of Crete. page spread, sometimes not. Sometimes the lines are curving up, sometimes swooping down. The incredible sense of movement in this book - flying geese indeed - compels the reader / viewer to turn the page, soaring with the geese, flying as part of their world, if only for a moment. (10917)

24. Moore, Suzanne. A.Musings. Vashon Island, WA: 2015. $1,100 Artist’s book, one of 26 copies, all on Rives BFK paper and Revere papers, lettered A to Z, signed and dated by the artist, on the colophon. Page size: 9 x 15 inches; 20pp. + colophon. Bound by the artist: painted maize colored Magnani Paper, with the letter “A” tooled in silver and gold gilt on front panel, rather abstract as if assemblage of bamboo, paper portfolio to house book. Titlepage extends across two pages and features a large script A, debossed followed by a smaller, printed MUSINGS (Bodoni Outline) This book evolved from random marks made on a full sheet of paper separated by gold-gilt dot. Designed, hand-lettered and painted and collaged, made by five women meeting together one day to work on their art. Ms. printed monotype, debossed and hand-cut by the artist with hand-set type McKee took the remains of some of their prints and a dragonfly stamped composition and letterpress printing by Jessica Spring at Springtide Press. image and created her own world of swirling circles and fleeing female Each page is an original composition capable of standing on its own. Yet, figures from this maze. Reflecting traditional Minoan images and myths, this there is a narrative clearly evident in A.MUSINGS, and the reader / viewer book is very much a contemporary feminist statement. McKee’s images of is compelled to turn the page to find new images of the first letter. The a small female figure in white outlines against increasingly dark jewel- beginning of the written word is no small subject; Ms. Moore has explored colored pages insist the reader / viewer accompany the female figure on this it in a previous unique book and here again rises to the challenge. With great journey through a labyrinth opening to freedom. (10527) subtlety and her usual sureness of technique, she explores historic forms of the letter, visually and textually. For any lover of language and art, A 23. McKee, Elizabeth. Wild Geese. Text by Elizabeth McKee MUSINGS speaks directly and will resonate long after the pages are closed. with help from Mary Oliver. [Pasadena, MD: 2012]. $5,000 The shaped printed page in Optima, which contains the artist’s own Artist’s book, unique, meander format, on Arches Text Wove, signed by the definitions of the letter “A”, is beautifully constructed and printed by Jessica artist in pencil, “Elizabeth McKee” on the penultimate page of the darker Spring. The backdrop for this translucent page is a drawing, alluding to the side of the meander book and dated 5 Oct 2012. Page size: closed 6-¾ x 10- geometric roots of classical 3/8 inches; open flat: 40 x 25-½ inches; 32pp. including both sides. Bound by Roman letterforms. The the artist: black cloth over boards with inset of miniature cotton quilt in Wild ending words, “Tops. First. Geese pattern, red on black ground with red boarder, housed in black felt Creme de la creme. Aleph” slipcase with basting stitch borders in red with red appliques in diamond certainly apply to this book - shape, actually magnets underneath, with red fabric band at top inside flap, as well as the letter A. also with magnets, to hold slipcase closed, gussets on each side of slipcase, A.MUSINGS final page is extraordinarily handsome. on a black painted ground The colophon explains that this complicated book started as a collabo- with a plethora of vividly ration between Heather Mallett, Judy Bainbridge, Nancy Ellis and Beth colored letter forms, all of McKee. When Nancy Ellis announced she was moving away from the letter A. These A-forms calligraphy and into quilt making, Beth suggested a collaborative book (all but one of African ori- project to use up some of her excess paper. Nancy’s contribution to Beth’s gin), jostling up against one book were micro quilt blocks, which Beth took as inspiration for the theme another, create a page of of her book, placed them on the black side, later made even darker by Beth, intense visual energy. This is in direct contrast to the previous pages of A’s with the wild geese pattern the dominant side of this meander book. on white grounds, in black, highlighted with multi-color designs and gold gilt Heather’s writing and Judy’s gold lines would be on the back. Beth painted which are concrete and placid - suiting perfectly as these are representative over Heather’s collages with gesso and then added additional collages. She of the Greek letter forms based on geometric shapes. A truly beautiful ode then transferred some digital images onto the gesso, adding goose patterned to the “vanguard” of letter forms. (10884)

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] 25. Moore, Suzanne. Zero: Cypher of Infinity. Texts by Emily Text by Walter Hamady Dickinson, Ralph Waldo Emerson, Rainer Maria Rilke, Wassily From his Journal Kandinsky, Gregory Orr, Isaac Newton, Charles Seife, Victoria Finlay, and Lucretius. Vashon Island, WA: 2014. $3,500 26. Perishable Press Limited. Hamady, Walter. A Timeline Artist’s book, one of a series of 50, each copy with variations, all on Arches of Sorts. Desultory Liftings from the Journals of WSH Hamady. Text Wove and BFK papers, with occasional Japanese paper interleaves, First Segment 1963-72. Mount Horeb, WI: The Perishable signed and dated by the artist, Suzanne Moore. In addition, there is projected Press Limited, 2012. $3,250 a deluxe edition limited to the first 5 with additional hand-lettered pages, to First edition, signed, limited to 80 copies, this is the 131st book of the press, be priced at $7,000. Page size: 11-½ x 15-½ inches; 35pp. Bound by the on various papers artist: custom-dyed black Cave Paper, tooled in gold and silver gilt ara- with art by many of besques, almost forming circles with lines and circles radiating out from the artists, including center, housed in custom-made black cloth over boards, felt-lined clamshell the printer / publisher box with grey paper label printed in black with the title and artist’s name, / author, Walter highlighted with red and gold gilt circles by the artist. The book is Hamady. Page size: accomplished is a variety of mediums: original painting and drawing as well 10-½ x 7 inches; as silkscreen prints, with texts in wood and metal types (from the types of 80pp. Bound by the the Springtide Press) and polymer plate letterpress printing, embossing, and printer / publisher / gold foil and 23k gold leaf, all by noted artist and calligrapher, Suzanne author and Scott Keller. Hamady punched and sewed the text block which Scott Keller cased it in tan cloth printed with image of the author printed in brown across top 5/6 of spine extending 1/3 into covers. Walter Hamady’s unpublished Journals (daily writings since 1963) might well be the ultimate source book for 20th century American book arts. In TIMELINE, he lets the reader sample journal entries from the first 10 years, with references to authors and artists he has published as well as his own writing and printing, papermaking, and binding. This is a provocative and beautiful book. The “List of Illustrations” page is stunning; the Preface page is magical. Stamped and collaged, amended, with shaped texts, this could only be the work of Walter Hamady. (10833)

27. van Zanten, Merike, Muir, John and Albert Einstein. Moore. Ms. Moore collaborated on the letterpress printing with Jessica Back to Nature [Acton, ME: Double Dutch Design, 2010]. Spring of Springtide Press. While the book is an edition, the amount of hand $1,100 work makes each copy slightly different. The reader / viewer is taken on a Unique artist’s book, on various papers, with book cloth and book board, heady ride of visual images and words that are in the traditional linear format signed and dated by the artist, Merike van Zanten, on the last page. Page of a book: turn the page and move forward. However, the repetition of size: 6-7/8 x 5 x 1-¾ inches; opening to 34 inches; 20pp. each page with fold- circles on each page, either as “zero” in various shapes and sizes printed in over flaps serving as frames for each page. Bound by the artist: accordion black, or as they appear in the painted images as giant circular swirls in a style, hand sewn with various colored threads (green, gold, blue) decorated myriad of colors, or multiple combinations of text and image forming with beads in shades of brown, housed in custom-made green cloth over intriguing and provocative images, leads the reader / viewer around to zero, boards, clamshell box, original white bark collaged to front panel, with title, subverting or enhancing or furthering the linear concept of the book Nature, cutout to reveal in green below, outline of leaf to left of title taking (reader’s choice!). As an example of the complexity of this intriguing book, off top layer of white bark, green brocade over edges, lined with green silk, the opening text page spread is a series of zeros and printed text (by Moore with bookmaker’s bronze ticket at top of inside of case. The stamped texts, and Denis Guedj) on a white ground. Ten pages later, the same design of some enhanced with hand-stitching and/or glitter, appear randomly. Usually zeros and text blocks (text now by Gregory Orr and Moore) is on a black they surround see-through “envelopes” cut from mica. The opening page ground. Of course, it looks completely different than the same art and spread is a quote by Albert Einstein, “Joy in looking and comprehending is printed text on the white ground - or does it? Coming full circle indeed! nature’s most beautiful gift.” This text is in brown enhanced with sand, with Suzanne Moore started investigating the complex history of the simple transparent window hold- digit, “0” in two earlier commissioned artist’s books, ZERO, FACES OF ing a brown leaf with gold THE VOID (2007), and ZERO: CYPHER OF INFINITY (2009). In this and blue-green stitching, edition book, she investigates concepts and controversy around Zero. She seed pearls, the threads long has incorporated texts by Denis Guedj, Charles Seife, the A. E. Stallings and loose. The “windows” translation of Lucretius, Sir Isaac Newton, Victoria Finlay, Gregory Orr, of each page are visible Wassily Kandinsky, Rainer Maria Rilke, Ralph Waldo Emerson and Emily from either side of the Dickinson. She ties this seemingly disparate group of authors / scientists leporello. The windows are together with her own words, pointing out the alarmingly limitless possibili- filled with seed pods, twigs, ties of Zero. These texts present questions that explore the complex history sprigs of dried flowers, etc. and eternal mystery of the void taken from science, philosophy, calculation, John Muir is represented by and symbology all interpreted through art and text. A most beautiful book! this quotation near the end (10101) of the first side of the book, page flaps decorated with fragments of white bark, “in every walk with nature one receives far more than he seeks.” Also

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] by Muir is the quotation that runs along the bottom edge of the second side The 36 pages of eco prints (prints made of leaves and plants steamed of the leporello, “Everybody needs beauty as well as bread, places to play between leaves of paper) are further embellished with mica, dye from abaca in and pray in, where nature may heal and cheer and give strength to the body tea bags, gold and soul.” A lovely combination of machine-made elements and nature, leaf, encaustic, truly inventive, this book is a delight. (10909) and black ink. hand-stitching, 28. van Zanten, Merike. Lovers’ Game. [Acton, ME: Double twine, with cut- Dutch Design, 2011]. $2,200 outs as well as Unique artist’s book, by Merike van Zanten, signed by her on the colophon. onlays. This is a Inspired by magnetic fridge poetry, the “book” consists of a vintage two- beautiful book - a drawer watch part stacking cabinet with the original glass vials. Black metal rich tapestry of two-drawer stacking cabinet measures 13-¼ x 10-¼ x 3-¾ inches; brass tans, browns, and colored pulls on each drawer, label holders on each drawer with “I love you” gold and black. It and “I love you not” printed with archival inkjet printer in grey ink, original is eco printed - Newall label on Drawer 1 and another with the addition label in gold with red banner not legible of rust prints on Drawer 2. Four small posts on from metal grates and brackets - hand-stitched, collaged layer upon layer, which to stack another cabinet on top, much as the forest floor is. The artist is offering the reader her own intensely four holes for placing bottom on top of personal and magnified view of nature. (10912) another cabinet, a utilitarian survivor. There are 144 original glass vials in 30. Verdigris Press. Sand, George and Emile Zola. Vues de Drawer 1 and 144 words or phrases Venise. Mezzotints by Judith Rothchild. Octon, France: inserted, one in each vial. There are Verdigris Press, 2002. $1,300 148 glass vials in Drawer 2 with 144 One of 6 copies, from a total issue of 50, (8 with an original copper plate and words or phrases inserted, one in each vial. Examples from Drawer 1: “your additional mezzotint, 6 with an additional mezzotint, this copy, 36 regular dreams” and I love you” and “kiss me.” Examples from Drawer 2: “you’d copies) all on Hahnemuhle paper, this special copy with an additional be nowhere” and “after all these years” and “a mudpool.” mezzotint not in the regular edition, each signed and numbered by the artist, The artist notes in the colophon that the words, like the magnetic words Judith Rothchild. Page size: 8 x 10 inches; 16pp. Bound: reversible for “refrigerator poetry,” could be assembled to make “adorable messages accordion-fold, covers of hand-marbled Venetian papers in red, black and for loved ones.” The artist further notes that she thought it unfair that only gold over boards; as issued in black slipcase with Venetian paper accents, people in love got the chance to express themselves this way, thus title in letterpress in black on marbled paper insert, white label on cover discriminating against the (probably larger) number of people who had fallen boards a bit ink spotted, else fine. Text in original French. out of love. This book, which is completely re- The game words were printed on an archival inkjet printer on versible has on one side a text on Venice Hahnemuhle Copperplate paper. Each cabinet drawer contains a printed list by George Sand and on the other by Emile of the words with numbers Zola, each with three Rothchild mezzotints matching the vial numbers. The of doorways, bridges and canals. Sand’s printed list in each drawer is the delightful description of Venice in spring- form used to order parts from time forms a sharp contrast to Zola’s grim Newall. This adapted parts list portrayal of a decadent city in decay. Like contains all the words matched the illustrations themselves, the texts pro- with the numbers of the vials. vide a provocative study of contrasts. An LOVERS’ GAME is at once a extraordinarily beautiful book redolent with formerly utilitarian object now the eternal allure of Venice. (9939) whimsical and imaginative and, as such, is provocative and wor- 31. Verdigris Press. Rouanet, Marie. Magie Blanche. thy of attention. Words - an attraction for any bibliophile - are here offered Mezzotints by Judith Rothchild. Octon, France: Verdigris in a most unique setting. This sculptural artists’ book was included in 500 Press, 2006. $1,750 Handmade Books Vol. 2. (10911) One of 30 copies, 27 of which are for sale, all on Hahnemuhle paper, each hand numbered and each signed by the author, Marie Rouanet, and the artist, 29. van Zanten, Merike. Thoreau, Henry David. Insect View. Judith Rothchild, on the colophon. Page size: 12 x 16 inches; 21pp. Bound: [Acton, ME: Double Dutch Design, 2014]. $1,250 loose in original publisher’s box with original serigraph of mimosa braches Artist’s book, on Hahnemuhle Copperplate paper, with additions of various in blue-green on yellow ground over boards, title on front panel in black on other papers, signed by the artist on the colophon, “Merike van Zanten.” yellow label; spine with title, author, artist, Page size: 7-9/16 x 5-7/8 inches; 36pp. Bound by the artist: hand-sewn with and press in black on serigraph of mimosa exposed spine, boards of vintage photo album, with centerpiece of brown with green ground, original serigraph front dyed silk that has been padded and hand-stitched in white and tan thread, and endpapers of mimosa branches on to form images of trees, title in black on white paper inserted at bottom edge; green ground, new. There are 11 original blue endpapers printed in black, leaves and seed pods collaged to pages, mezzotints comprising 10 full-page spreads, mica sheets, over eco-printed natural images; housed in tan corrugated each page is hand-numbered and initialed cardboard fold-over case with green brocade flaps, elastic and wood button by the artist. The text, by French poet Marie close. The first page is an oak leaf on which the artist has lettered a quotation Rouanet, is prose / poetry relating distinctly by Henry David Thoreau: “Nature will bear the closest inspection. She to each sumptuous image. The still life’s of invites us to lay our eye level with her smallest leaf and then take an insect olives, cheese, langoustines, and mushrooms view of its plan.” This text is in black on a green leaf. The colophon page once again reflect Ms. Rothchild’s mastery of her medium and particular is also hand lettered in black on green leaf. feeling for natural world. The displays of wine bottles, an almost abstract

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] image, are no less masterful and compelling. The colophon tells the reader New from William T. Vollmann / viewer that the collaboration was inspired by the restaurant “Le Mimosa” created by Bridget and David Pugh and the book is a celebration of the 34. Vollmann, William T. Bible Prints. Sacramento, CA: Co- Languedoc region where the restaurant and collaborators in the book live Tangent Press, 2015. $6,500 and work. The text is hand set and printed by Mark Lintott in Vendome Artist’s book, one of 6 copies, 5 of which are for sale, all on Nideggen paper, Romain on an 1867 Albion press. Boxes were made by Lisa Knoblauch. each copy signed by the artist, William T. Vollmann, on the colophon and on (9926) the hand-lettered titlepage and on the 32. Virgin, Tom. Conversation Too (Convo2). [Coconut reverse of each print. Grove, FL]: Extra Virgin Press at Jaffe Center for Book Page size: 17 x 12-7/8 Arts, 2013. $750 inches; 12pp. Bound: Artist’s book, one of 50 copies, all on Rives BFK Tan Heavyweight, signed loose as issued; suite by the artist / designer / printer, Tom Virgin, along with those who of prints and titlepage collaborated with him on this work, visual artists Kari Snyder, Laura Tan and and colophon are writers John Dufresne, Michael wrapped in buff Rives Hettich and Yaddyra Peralta. Page lightweight and housed size: 12-½ x 8-¾ inches; 25pp. + colo- in a custom-made phon and Acknowledgements. Bound black cloth over boards by the artist: kettle stitch on exposed clamshell box, with title tape with red cloth over board covers, and artist printed in endpapers of red, white, tan and black black on white label on Katazome paper, title printed letter- spine, box by Joelle Leavitt Webber at The Mermaid Bindery. press in black on front cover. Printed Each of the 6 copies contains 5 original woodblock prints printed with by Tom Virgin at the Jaffe Center for Book Arts on their Vandercook 4 a spoon in Charbonnel and Daniel Smith oil-based inks, with additional hand- Proof press while the artist was the Helen M. Salzberg Resident Artist at work done a la poupee. the Jaffe Center in 2013. This book follows an earlier, related volume, The wood blocks were Conversation. Here the text is from three South Florida writers and the engraved on pine images from three visual artists. Poetry and prose are assembled with blocks over pencil images all printed letterpress. Boxcar Press made the plates from which the drawings of two dif- book was printed. An assemblage that works - with the aesthetics of 6 artists ferent female models. harmonizing under the leadership of Tom Virgin. The images include a The Nideggen paper variety of mediums including collage, etch, woodcut, and letterpress printed was first under-painted from polymer plates. (10931) with black acrylic in order to reverse his 33. Virgin, Tom and Michael Hettich. Solitude. NP but usual negative-tone Coconut Grove, FL: Extra Virgin Press, 2015]. $350 style. Each print was Artist’s book, one of 5 copies + one AP, all on grey-green cotton rag paper, then archivally glued signed by the artist / publisher, Tom Virgin, to hand-painted, edge- and dated and hand-numbered, and also wrapped archival card signed by the poet, Michael Hettich. Page colored with Daniel Smith gesso and Golden acrylics. The back of each print size: 9 x 6 inches; 14pl. Bound by the artist, was waxed with Renaissance wax. The outlines were then embellished with drum leaf binding in Cave Paper with hand translucent sanguine etching ink on the outlines. The reverse of each print stamp - orange outline of fish - on front has a card, tipped onto the top left corner, with the number of the set and panel. Michael Hettich’s verse is printed each signed by William T. Vollmann and dated. In addition, in the lower right with polymer plates, linoleum blocks, corner is a hand-written quotation from the Bible which refers to the image silkscreen, hand stamps and hand coloring, on the verso; chapter and verse are cited. the images and decorations surrounding the text. A quiet book - and lovely William T. Vollmann’s Bible Prints are all of women – as God speaks depicting the natural world in all its richness in word and image. (10932) in a feminine voice. For this always provocative author, God is Goddess. The Biblical quotations so reflect this interpretation. The images are at once fundamental and sophisticated with real punch / power. (10915)

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Priscilla Juvelis, Inc. 11 Goose Fair Kennebunkport, Maine 04046

(207) 967-0909 PH e-mail: [email protected] web: www.juvelisbooks.com

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