Priscilla Juvelis – Rare Books Catalogue 53 – Contemporary Book Arts

Unique Binding by Donald Glaister aluminum covers over- laid with brass hard- ware cloth and trimmed 1. Arion Press. A Suite of 30 Typographic Prints Shaped Poetry with brass angle and chronicling this literary form from 300 BC to the present. Edited brads, brass clasp. The with an essay on shaped poetry & notes on the selections by Glenn concept, text, and im- Todd and with printer’s notes by Andrew Hoyem. San Francisco: ages by Harriet Bart The Arion Press, 1981. SOLD which she says, “are Unique copy, bound by Donald Glaister, from an edition of 300 copies, based on a series of in- the eighth publication of the Arion Press, each of the 30 prints on different stallations involving handmade papers, different types, with each poem “shaped”. Accompa- the plumb in its many nied by a “Companion Volume” that is commentary on the 30 poems / guises: as a building plates. Page size: most 12 x 16 inches. tool, an object of initia- Bound by Donald Glaister: full royal blue morocco with recessed tion and divination, as panels on front a pendulum, and as a and black covers, metaphor in the search for that which is timeless and true.” morocco onlays The text is printed by Philip Gallo at The Hermetic Press (10198) on front and back boards and across 3. Bonnell, Mandy. The Second Life of Shells. Etchings by the spine, with red Mandy Bonnell. Poem by Gabriel Gbadamosi. London: [New lizard skin onlays North Press], 2001. $2,000 on front cover, Artist’s Book, one of 5 Artist’s Proof copies, from a total issue of 40, 20 segmented lami- copies of the book and 20 copies of the prints available for purchase nated Mylar separately, all signed and numbered by the artist, Mandy Bonnell. Page painting on front size: 8-½ x 11-15/16 inches; 20pp. Bound by Elisabeth Neville, accordion and back boards style, with black paper, lino printed in silver gilt, over boards, linoleum arranged within the recessed areas, sanded leather, blind tooling and cuts by Mandy Bonnell, housed in matching publisher’s slipcase of black spray painting also in recess areas, grey morocco strips traversing spine, paper, printed in silver gilt, over boards. The text is printed letterpress by attached only to the cover boards, allowing strips to move when book is Graham Bignell at New North Press in Condensed Sans Serif 5 for the text opened, with title in shaped letters on spine in colored tooling on two of and wood type for the titlepage. Ms. Bonnell editioned the 12 etchings the morocco strips, top edge with polished graphite, blue and red silk and collaged them to each page with small tabs of black paper printed with headbands, cork doublures and fly leaves, signed on lower back turn-in ochre stripes - obviously inspired by African textiles. The colophon page in blind as usual with gold dot, housed in custom-made cloth clamshell includes etched organic images printed in grey. Each page is reinforced box. A very beautiful binding with each of the graphic elements conspicu- at the hinge with a black fabric stamped with tiny silver gilt stripes. The ously shaped and display suggestions of forms of communication as well poem reads, “Long after the life’s gone out of them / like the ghosts of rain as the shaped poetry pages of the text. through a ruin / the beached shells frame / a congealed absence- / small- Each page contains a poem shaped through typographical arrange- holdings of silence / where the sea comes spilling in.” This text is printed ment on the page to reflect a visual image of the meaning of the subject on black paper 6 times, in grey with one line of the text printed in silver matter of the text. An example is Apollinaire’s “La Cravate” (1914) gilt, starting with the first line for the first page and going to line 2 for the shaped like a necktie in multi-color type and ornaments. Among the poets 2nd page, etc. On the last page, where the last line is printed in silver gilt, represented are George Herbert, F.T. Marinetti, Gertrude Stein, Guillaume the author’s name also appears in gilt, and it is all printed over large Apollinaire, ee cummings, Lewis Carroll, Robert Herrick, Augusto de woodtype letters spelling “Life / of / She / lls” that appear in grey. The Campos, John Hollander, and Stephane Mallarme. Mallarme’s great etchings are small and poem, “Un Coup de Des Jamais” appears in text translated into English. intricate, beautifully The “shaped poetry” French is a separate printing. This is a tour de force detailed, and play off of printing and page design from one of this country’s great private the subtly-printed presses further enhanced by a formidable binding by one of this country’s black text page. Our great binders. (10214) fascination with shells, our conviction that 2. Bart, Harriet. Plumb Bob. A Book Object. Minneapolis, their beauty is endur- MN: Mnemonic Press, 2008. $2,400 ing, is captured by Ms. Artist’s book, one of 25 numbered copies, from a total issue of 30, all of Bonnell’s elegant im- which are on Koch Antiqua and Fabriano Artistico paper, each signed and ages as well as her in- numbered by the artist / author, Harriet Bart. Page size: 5-½ x 10-15/16 tricate book design. inches; 42pp. Bound: brass covers with steel hinges by Jill Jevne, exposed Mr. Gbadamosi’s sewn spine, endpapers with chemical symbol for lead taken from Rudolph words reinforce the Koch’s BOOK OF SIGNS and drawn by him. The chemical symbol for visual component. The lead, Pb, is also hand engraved on the front panel of the brass binding. whole book is the integration of words and images that artist’s books Housed in custom-made hinged masonite and beech wood box with should be. Ms. Bonnell’s C.V. includes a degree from the Royal College

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] of Art and solo exhibitions and cast in Van Dyck Monotype by Winifred and Michael Bixler and at the RaMoMa Museum of printed by Harold Patrick McGrath in black and blue at Hampshire Modern Art in Nairobi Typothetae. Jan van Dorsten, Professor of English Literature at the Kenya as well as the re- University of Leiden, Netherlands and Head of the Sir Thomas Browne nowned Eagle Gallery in Institute there, has written an introduction on Browne’s life, work and London and Teaching Fel- thought especially for this volume, the text of which is Chapter XXIII of lowships from the Ford PSEUDODOXIA EPIDEMICA. In all, this is a lovely book, full of Foundation, the Tate Gal- fantasy and romance, beautifully produced and executed by one of the lery, and, more recently, an finest naturalists working today. Enhanced by Donald Glaister’s elegant Artist in Residence award binding, this is a most desirable copy. (10462) from the Josef and Anni Albers Foundation. Her work is held by several international institutions With 7 Original Finished Drawings of the 7 Species include the Yale Center for British Art and was particularly featured in that institution’s well-received 2004 exhibition, “Ocean Flowers” 5. Cheloniidae Press. Robinson, Alan James. Cheloniidae - Sea Gabriel Gbadamosi, a graduate of Churchill College, Cambridge Turtles. Easthampton, MA: Cheloniidae Press, 1987. $3,750 with an Honors degree in English, has been active as an international Unique copy of artist’s book, this copy with 7 original finished playwright, performer and education for the past 25 years. He was leading artist and facilitator in the Sustained Theatre initiative as well as Chair of drawings for each of the sea turtles pictured in the edition book their conference in 2005-6. He has been awarded the AHRC Creative and which consisted of 41 copies, 26 of which were lettered copies Performing Arts Fellowship in European, African and British playwriting, which this copy is, the book with seven hand-colored etchings, all the Pinter Centre, Goldsmiths College, University of London and is on Rives BFK and published as an essayist and poet. (10220) handmade Japanese Moriki paper, each Unique Binding by Donald Glaister etching signed by the artist, who has also 4. Cheloniidae Press. Browne, Sir Thomas. Pseudodoxia signed the drawings Epidemica: Of Unicornes Hornes. Easthampton, MA: Cheloniidae Press, 1984. $6,750 and the colophon. First Edition, one of 60 deluxe copies with an extra suite (14 plates) all Bound: loose as signed and numbered by the artist, these 60 deluxe printed on obsolete issued, housed in Whatman paper (blue-white laid ca. 1962), from the total issue of 225. cloth portfolio made Page size: 9-½ x 7 inches; 52pp. Unique binding by Donald Glaister: full grey morocco, smooth spine by Claudia Cohen, with title in gold gilt “OF with tray cases by UNICORNES HORNES” Peter Geraty and on spine, with onlays of Linda Lembke. Page pencil drawing in grey lead size: 10-½ x 15 on white paper laminated inches, 44pp. The onto Mylar of Narwhale seven species of the order Cheloniidae pictured in this study are: horn on front panel with Green Turtle, the Hawksbill Turtle, the Loggerhead Turtle, the similar smaller drawing on Leathery Turtle, the Leatherback Turtle, the Atlantic Ridley, the rear panel, the horn pierc- ing a tooled rectangle ex- Pacific Ridley and the Flatback Turtle. The text is handset and tending across the top quar- printed letterpress by Harold Patrick McGrath in Centaur and ter of the front and back Arrighi by Mackenzie-Harris of San Francisco, CA with additional panel, the tooling in a barely hand composition by Arthur Larson. The source of the text is discernable red-turning-to- JOHNSON’S NATURAL HISTORY, illustrating and describing blue line, another rectangu- the Animal Kingdom, with its Wonders and Curiosities, from Man, lar onlay of pared cork ex- through all the divisions, classes, and orders, to the Animalcule in tending out of the blind tooled only bordered at the foredge by white a drop of Water; Volume II, by S. G. Goodrich. A very beautiful vellum, (1-¾ x ¼ inches), repeated on the rear panel; white headbands, book with the original art. (3157) top edged in graphite; grey and white endpapers hand-painted by Suzanne Moore; housed in blue cloth clamshell box with extra suite laid in, grey paper label printed in black with title author, press, and date, fine. A very Unique Binding by James Brockman beautiful and subtle binding by Donald 6. Cheloniidae Press. Shakespeare, William. The Birds and Glaister, perfectly cap- Beasts of Shakespeare. Text by Arthur F. Kinney. Illustrated with turing the mythical Woodengravings by Alan James Robinson. Easthampton, MA: force as well as the natu- Cheloniidae Press, 1990. P.O.R. ral beauty of the living Unique copy bound by James Brockman, artist’s proof copy, one of the creatures described and deluxe issues (100 numbered copies),with an additional suite of the portrayed in the text. woodengravings in custom-made portfolio, each engraving in the addi- Illustrated with 15 tional suite is signed and labeled “AP” by the artist, Alan James Robinson, woodengravings and who has signed and labeled the colophon “AP” as well. The total issue of one etching by this book was 155, all on printed on Cheloniidae rag handmade paper, the Robinson, the text is set 3 7 first to carry the press’s own watermark. Page size: 10- /8 x 15- /8 inches Priscilla Juvelis, Inc. (207) 967-0909 [email protected] - the size of the etching and one woodengraving by Alan James Robinson. first folio edition Bound by Donald Glaister: full burgundy morocco with recessed of Shakespeare - panels on front and back in which two collages are framed. The collages dedication page, suggest birds and beasts as well as the highly stylized form of Shakespeare’s half-title, en- plays and poems. The collages are made of cork, stained maple veneer, graved frontis- alligator skin (both the finish and reverse sides), lizard skin, owl feather, piece portrait of and lashed twigs; title in gold gilt on smooth spine, cork doublures and Shakespeare in flyleaves, silk headbands of red and white signed by the binder in blind rondel surrounded on rear turn-in with his gold dot, housed in custom-made clamshell box by the animals, with the extra suite housed in its own matching maroon cloth clamshell titlepage, i-iii [iv- box. This is a most elegant binding and beautifully houses what is one of v] 1-87 [88-92]pp. Robinson’s most ambitious books. Illustrated with 52 This book uses Shakespeare’s original texts addressing the natural woodengravings history, folklore, and mythology of the birds and beasts in his plays. The depicting the birds commentary was and beasts found in Shakespeare’s plays and poems, plus two portraits of written by Arthur the Bard: one etching and one woodengraving by Alan James Robinson. F. Kinney, Tho- Bound by James Brockman: full black morocco with seven rules in mas W. Copeland varying widths in gold gilt (3), brown, orange, plum and red morocco, Professor Liter- extending down front and back edges the corners filled in with perpen- ary History at the dicular gold gilt fillets and at bottom, with elephant outlined within in University of gold gilt frame (cage) by means of blind parallel lines, four gilt lines of Massachusetts at varying widths below framed elephant, title in gold gilt on smooth spine, Amherst. The text spirit dyed Japanese endpapers; all edges gilt before sewing, double row was set at M & H of headbands in Type Foundry in orange, brown, San Francisco red, gold gilt, and and hand printed black, housed by Harold with extra suite in McGrath in black within a caramel-colored rule with caramel ink used for rounded smooth Shakespeare’s own words on each page. Published on the tenth anniver- spine black quar- sary of the press, this is a most beautiful book showing the woodengraving ter morocco and artistry of Alan James Robinson as well as the artistry of master binder, cloth clamshell Donald Glaister. (10450) box with title and press and date New from Flying Fish Press and Triangular Press tooled in gold gilt on spine. An extraordinary tour-de-force from England’s master binder, James Brockman. Perfectly suited to the elegance of this 8. Flying Fish Press and Triangular Press. Glimpse. Berkeley, Cheloniidae Press publication, Mr. Brockman’s meticulous craftsman- CA and Portland, OR: Flying Fish Press and Triangular Press, ship serves his aesthetic perfectly in this binding. 2011. $975 This book uses Shakespeare’s original texts addressing the natural Artist’s book, one of 100 copies, all on paper from the French Paper history, folklore, and mythology of the birds and beasts in his plays. The Company, each numbered and signed by the two artists / authors / commentary was written by Arthur F. Kinney, Thomas W. Copeland printers, Julie Chen and Barbara Tetenbaum. Professor Literary History at the University of Massachusetts at Amherst. Page size: 3-½ x 7-5/8 inches for each page The text was set at M & H Type Foundry in San Francisco and handprinted which is an envelope holding a removable card by Harold McGrath in black within a caramel-colored rule with caramel 3-¼ x 7-7/16 inches, 15 sleeves (flags), 30pp. ink used for Shakespeare’s own words on each page. Published on the (inserts). Bound: modified flag book structure, tenth anniversary of the press, this is a most beautiful book showing the affixed to caramel-colored Japanese book cloth woodengraving artistry of Alan James Robinson as well as the artistry of over boards serving as back panel of clamshell master binder, James Brockman. (10212) box, front cover serving as top of box, inside of tray is a German book cloth in gray, title in black Unique Binding by Donald Glaister on grey collaged label over multi-color abstract design, inside of front cover with collaged names 7. Cheloniidae Press. Shakespeare, William. The Birds and of press and collaged images on paper. The Beasts of Shakespeare. Text by Arthur F. Kinney. Illustrated with “flags” are hinged with German book cloth. The Woodengravings by Alan James Robinson. Easthampton, MA: sleeve text was written and designed by Julie Cheloniidae Press, 1990. $13,500 Chen; the card text was written and designed by Unique copy bound by Donald Glaister, from an edition of 100 copies, Barbara Tetenbaum. Both artists, Julie Chen with an extra suite of the woodengravings, signed and numbered in the and Barbara Tetenbaum created the binding colophon by Alan James Robinson on the colophon. The total issue of this design. The text was printed letterpress from book was 155, all on printed on Cheloniidae rag handmade French-fold hand-set type, wire, antique news cuts, dingbats paper, the first to carry the press’s own watermark. Page size: 10-3/8 x 15- and photopolymer plates. The text starts, “We 7/8 inches - the size of the first folio edition of Shakespeare - dedication define our lives as a series of events, each one as page, half-title, engraved frontispiece portrait of Shakespeare in rondel a discrete as the beat of a drum on the sleeves. surrounded by the animals, titlepage, i-iii [iv-v] 1-87 [88-92] pp. The inserted cards respond with specific dates Illustrated with 52 woodengravings depicting the birds and beasts found and times and the occasional legend, i.e., “there in Shakespeare’s plays and poems, plus two portraits of the Bard: one was nothing on TV” and “we watched Yellow Submarine at his parent’s

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] house.” The last few sleeves bear the text, “The moment that we think of / where it goes, leaving behind it / a train of sparkling loveliness, / as silence / May contain the entire lifetime of the sound that came before widening as the ship goes on. And what a treasure it brings / to every land, / But it passes so quickly that we barely notice its existence / Before our scattering the seeds of / truth, justice, love, and piety, / to bless the world attention is diverted by the constant search for meaning in the chattering in ages yet to come! (10466) of time.” An intriguing text combined with images that are at once mundane and evocative of other times result in a most satisfying visual 11. Leavitt, Nancy Ruth. Thaxter, Celia. Early Morning. experience. (10465) Excerpts from An Island Garden by Celia Thaxter. Stillwater, ME: 2009. $6,500 9. Glaister, Donald. A Few Questions. Vashon, WA: 2009. Unique artist’s book, text from Celia Thaxter’s AN ISLAND GARDEN, $3,500 pp. 112-113, painted and lettered by Nancy Leavitt, on Arches text wove, Artist’s Book, one of 10 copies, each signed and numbered by the author. with Katie MacGregor handmade endpapers, signed and dated by the Page size: 8 inches square, 15pp. Bound by the artist, Donald Glaister, artist on the colophon. Page size: 9 x 12 inches; 44pp; 27 of which are exposed sewn spine, Mylar and collage. The text, a short essay of 99 painted and / or lettered by the artist, words, on the nature of being and the history of time, is laser printed in Nancy Leavitt. Bound by Joelle Leavitt gill sans. The pages are Mylar encapsulated, with interior collages of Webber, Mermaid Bindery, hand sewn various materials. Mr. Glaister has created the ultimate deconstructed with exposed vellum cords on hand- book. The artist states, “Description: A Few Questions is an informal made paper by Katie MacGregor, exploration of the na- small watercolor seascape painting ture of matter, exist- on front by the artist, housed in cus- ence and time, in a tom-made cloth clamshell box with prose piece of 99 title lettered by Ms. Leavitt in blue on Arches paper on spine, the interiors words. The book is a of the box lined with paper hand-painted by Ms. Leavitt with ‘color fields’ progression of polyes- inspired by her test sheets. Painted in gouache and watercolor, the text is ter encapsulations, lettered in built up Uncial capitals. similar to those used Nancy Leavitt has taken the text of Celia Thaxter’s AN ISLAND in document conserva- GARDEN as inspiration - just as Childe Hassam and Sarah Wyman tion, which are bound Whitman did in 1894 for with paper hinges. The sanded film encapsulations envelop paintings, the beautiful first edition of drawings and type on paper and transparent film, layered to produce an Celia Thaxter’s homage to effect of depth and space within each page. The binding is made with her justly famous garden on cover boards made with encapsulations similarly constructed. (10203) Appledore Island in the Isles of Shoals. The result is a 10. Leavitt, Nancy Ruth. Dickinson, Emily and Theodore beautiful book - redolent of Parker. A Ship of Truth. How Books Carry the Human Soul. color and sunlight and the joy felt at being surrounded Stillwater, ME: 2011. $1,800 by the sights and smells of a Artist’s book, one of 12 copies, all on archival paper vellum and New England garden in summer. Thaxter wrote, “ In the sweet silence transparent vellum with original (each different) collages of hand-made before sunrise, standing in the garden I watch the large round shield of the pastepaper by the artist, Nancy Ruth Leavitt, and archival Mohawk full moon slowly fading in the west from copper to brass and then to Superfine paper for the hand-lettered text, each signed and numbered by whitest silver, throwing across a sea of glass its long, still reflection, while the artist, Nancy Ruth Leavitt. Page size: 4-¾ x 7 inches; 16pp. Bound the deep, pure sky takes on a rosy warmth of color from the approaching by Joelle Leavitt Webber: accordion folds based on a structure developed sun. ...When in these fresh mornings I go into my garden before any one by Hedi Kyle and re-interpreted by Joelle Leavitt Webber, each fold is awake, I go for the time being into perfect happiness...”. holding a double-sided leaf with Ms. Leavitt has interpreted and brought to life these lines with an text on one side and collage on exuberance of color and form - but not by giving a botanically accurate the reverse, all housed in a hand- reproduction of a garden or even the impressionistic watercolors turned painted pastepaper (inside and into chromolithographs for Thaxter’s last (and best) book, as Hassam did. outside) box, hinged with Japa- Rather, she has chosen to use abstract swathes of color to surround and nese paper to open as a Japanese- enfold the words enticing the reader into that state of joy that comes with style box, lying completely flat, being in such a flower garden in the early dawn. (10451) with button closure. The book can be read by turning each page 12. McCarthy, Mary. Ode to Iris. Boston, MA: 2006. $3,500 as in a conventional book or can Unique artist’s book consisting of original poem, ODE TO IRIS, by the be removed from the box and artist / author, Mary displayed as screen of the collages. As with the collages, each box varies McCarthy, signed by in colors, but all are in the blue-purple-green palette. The text is hand- her and dated on the lettered in black Sumi ink in an Italic script by the artist. Both texts - the printed scroll contain- Emily Dickinson the more well-known - are complementary and both ing the text, on Kokta irresistible to any bibliophile. The text of the verse by Emily Dickinson paper with 12-panelled (Verse 1263) reads: There is no Frigate like a Book / To take us Lands accordion fold table away / Nor any Coursers like a Page / Of prancing Poetry. This Traverse screen of pale mauve may the poorest take / Without oppress of Toll / How Frugal is the Chariot checked cloth over - That bears the Human soul. The text of Theodore Parker’s The Book Davey board with me- Lover reads: A great book that comes from / a great thinker - it is a ship tallic gold interior, pa- of thought, / deep-freighted with truth / with beauty too. It sails the ocean, per collaged with images of iris in various stages of growth. Size: 6-3/8 x / driven by the winds of heaven, / breaking the level seas of life into beauty 13 x 2-¾ inches boxed; unfolded accordion 12 panel screen with scroll is

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] 10 x 15 x ½ inches; scroll with text is ½ x 10 inches. Bound: accordion THE SAINTS in 2010. Once again, the artists have taken the not fold screen is in 2 pieces, 6 panels each, the back covered in mauve silk uncommon story of redemption and applied it to women’s lives, revealing and the scroll inserted into a lavender suede pouch affixed to the back of not only specific stories but a general history of women for the past 20 the first panel of the screen with snap closure. The scroll winds on a green centuries. (10467) painted dowel with clear glass bead ends and can be hung by means of purple silk cord sewn to the top end of scroll. Housed in a matching box 14. Moore, Suzanne. Something Beyond. Text by Corinne with the edges the pale mauve checked silk and the back and front wrap- Johnson’s I Want a Garden. Vashon Island, WA: 2010. $3,000 around closure of purple cloth closing with magnet. The text is printed Unique artist’s book, one in a series of six, each different, all on Arches with an Epson 2200 in blue ink 18 pt Lucida calligraphy. The panels are and Katie MacGregor hand-made papers, as well as translucent (sized) paper collage images of iris in various stages of growth - in greens and Japanese papers, signed by the artist and dated. Page size: 7-1/8 x 10-¾ purples - all on a metallic gold paper which has been patterned in blind inches with fold-out pages ex- by the collaged images on the opposite page creating a most haunting tended to 25-½ inches; 30pp. with image of gardens past or yet to bloom. (10468) 10pp. simple color fields. Bound by the artist: hand-made paper 13. McCarthy, Mary and Shirley Veenema. Bad Girls. Boston, for single section manuscript, MA: 2011. $6,000 cloth over boards enclosure with Unique artists’ books, six “dos-a-dos” books in the set, the saint produced painted paste-downs and label. twice - first as the “bad girl” and then as the converted saint. Each saint Ms. Moore has selected part of is pictured behind a “door” or cover which opens to reveal an image of the Corinne Johnson’s text from I woman, with the biography in the middle of the dos-a-dos book, with the WANT A GARDEN that de- image of the converted saint inside the back cover. Signed by the artists scribes the symbolism on the inside lid of the box holding all six books. Page size: 8-½ x 6 x ½ and effect of the gar- inches x 1-¼ inches, den gate: “...a true box 8-¾ x 8-¾ x 6-½ Alice in Wonderland inches. Each woman unfolding. One passes saint placed in a shal- through it (the gate) low box with door at- into another world...”. tached to left side of The translucent papers box and again on back contain the contempo- inside a shallow box rary Roman lettering and are enclosed by a four panel fold-out of richly with door attached on painted pages heightened with gold gilt and bright colors suggestive of a the left. The entire box rich garden. (10329) stands and can be opened for display First Book front and back. The set of 6 women saints are housed in a tan cloth over boards with a fold-over 15. Perishable Press. Hamady, Walter. The Disillusioned lid opening to reveal the individual books, each wrapped in gray paper Solipsist. [Detroit, MI]: The Perishable Press, 1964. $2,650 with label printed in brown ink in white paper. One of 60 copies, signed and numbered by the author / printer / publisher. The six titles are: Seductress, Promiscuous Actress, Rich Man’s Page size: 9 x 7-½ inches, 20pp; bound: brown wrappers of Canson MI- Mistress, Miser, Mass Murderer, and Robber Plunderer. Each cover was Teintes paper, hand-sewn by the author. Printed in Caslon Old Style from produced to accentuate and reveal the image of the bad girl behind it. the Detroit Type Foundry handset and printed on the Chandler & Price at When the cover is opened the bad girl and her environment is revealed in Wayne State University (at a shallow (½") box. Turn the box over and you see a double page spread that time Hamady was there revealing the story of the bad girl and how she turned good. Close the as an undergraduate stu- spread and find another cover revealing another image of the girl in a ½" dent) on white bond offset. box repenting. Images of the women are done in cut paper and the covers As is the case with all cop- are acrylic over layered paper. The text is printed in Apple Chancery on ies of this book that I’ve Ingres paper. The shallow boxes for the images of each woman are seen, the glue has stained covered in marble paper by Chana River Marblers. Each box is Brillianta through to some pages, and light brown cloth over binder’s board, lined with Canson paper and the photograph and two acrylic on paper for decorative covers. Box closes with magnets. The etchings have come loose BAD GIRLS are: Pelagia of Phoenicia - 5th century Promiscuous as the glue has dried out, the original wrappers are chipped at extremities. Actress; Mary of Housed in custom-made clamshell box. A scarce book . TWO DECADES Egypt - 4th cen- OF THE PERISHABLE PRESS, # 1. (10463) tury Seductress; Gladys of Wales - 5th century Rob- ABC of Wildflowers ber, Plunderer; New from Alan James Robinson Olga of Rus - 9- 10th century 16. Press of the Sea Turtle. Robinson, Alan James. A Wildflower Murderer; Joan of Alphabet. Lettering Design by Suzanne Moore. Designed & the Cross - 4-5th Illustrated by Alan James Robinson. Easthampton, MA: Press century French of the Sea Turtle, 2011. $750 Miser; Margaret One of 150 copies, signed by the artist, Alan James Robinson, all on of Cortona - 13th century Rich Man’s Mistress. Inspired by the research paper. Page size: Heavyweight Presentation Giclee paper, 90#. Page size: both artists did while working on a collaborative project of DOORS TO 3-½ x 6 inches; 38pp. Bound: accordion style with yellow pastepapers on

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] each board end, 18. Verdigris Press. Bishop, Elizabeth. 12 O’Clock News. white label printed [Octon, France]: Verdigris Press, [2006]. $1,300 in blue on front One of 40 copies from a total edition of 50, all on Hahnemuhle paper, board, binding by signed by the artist, Judith Rothchild and the printer / binder, Mark Sarah Creighton. Lintott; 10 of the 50 are deluxe copies with an original copper plate and Designed by Alan additional mezzotint, 40 regular copies (this copy). In addition 20 suites James Robinson, of prints from the original copper plates were printed. Page size: 11-½ using lettering de- inches x 16-7/8 inches. Bound by Mark Lintott: original gray-green paper sign by Suzanne over boards, paper has been silk-screened with yellow moon and title Moore originally printed in khaki green created for A with exposed sewing FOWL ALPHA- in ivory linen thread, BET, the alphabet blood red cloth hinges, is represented by red paper spine with American wildflowers and their attendant insects. Printed giclee on an title printed in black Epson 9890 Giclee Printer, from original watercolors by the artist. Each with author and artist’s copy with have one original watercolor added - a butterfly as the name, blood red end- penultimate fold. The wildflowers range from Red Clover to Ladyslipper papers, housed in to Jack-in-the-Pulpit to Knotweed and include bees, hummingbirds, publisher’s matching spiders, and butterflies. The colors are strong and vibrant and the alphabet slipcase, fine. Illustrated by Judith Rothchild and designed by Judith in cherry red, while not overpowering the floral images, introduces them. Rothchild and Mark Lintott, including two original mezzotints, pulled The common names are printed in blue. This is the first Giclee book from from two copper plates, one full page and the other copper plate cut into Alan James Robinson and his first book in several years. It is lovely and eight sections and each of the eight plates separately re-printed and true to the natural world which has always inspired this artist. Of note: in inserted in the text corresponding to the indications given by the author addition to this edition, there will be a limited edition of 15 hand for a total of 10 mezzotints.. The text is set in Vendome Romain and was watercolored copies, each one unique, on Windsor Newton 140# water- printed on an 1867 Albion press by Mark Lintott, who also made the color paper. (10470) bindings, slipcases and boxes. The text is set in Vendome Romain and was printed on an 1867 Albion press by Mark Lintott, who also made the 17. Red Angel Press. Melville, Herman. Rock Rodondo. bindings, slipcases and boxes. Sketches Third & Fourth of “The Encantadas” Bremen, Maine The date of publication, according to the artist and printer, was and New York: Red Angel Press, 1981. $1,300 February 5, 2006, which was the third anniversary of Colin Powell’s Signed, Limited Edition, one of 100 copies, all on Fabriano paper, each speech to the UN Security Council. Parts of that speech are printed in signed on and numbered by the artist/printer on the colophon. Page size: black on the blood red recto of the rear free endpaper. 12 O’CLOCK 12 x 12-¼ inches. 26 pp; plus triple-page wood engraving. Bound: beige NEWS was originally published in GEOGRAPHY III in 1976. Elizabeth linen cloth that has been printed in very pale blue and gray at the out third Bishop’s prose poem, certainly surreal in outlook, with a great sense of front and back irony as well as parody, takes a look at the author’s desk top but isolating panels, title images and viewing them as minutia. The results, as detailed in Bishop’s stamped in black “new report” could not be any more wrong. The parallel with the on spine. Front American Secretary of State’s speech at the U.N. is devastatingly obvi- pastedown is an ous. (9824) original paper mache sculpture Bilingual Edition - Hugo’s Plea to Save John Brown of grayish-tan handmade paper 19. Verdigris Press. Hugo, Victor. Aux Etats-Unis d’Amerique. of the “Rock Gravure en maniere noire de Judith Rothchild. [Octon France]: Rodondo” with Verdigris Press, 2007. $1,250 the Frigate-bird, One of 4 deluxe copies, each with an original pencil and Chinese ink wash according to painting, double page spread, which is a preparatory study for the book’s Melville, the mezzotint. from a total edition of 45, all on Rives BFK for the text and “...man of-war hawk...[that] makes his first land at Rodondo”, flying Hahnemuhle for the double page fold-out mezzotint, each signed and towards it. The back pastedown has a tan fold over with wood engraving numbered by the artist, Judith Rothchild. Page size: 7-7/8 x 4-5/8 inches; of Frigate-birds in flight, protecting a triple-page fold-up wood engraving 14pp. Bound by the printed on ivory Japanese paper of the “Rock Redondo,” with the aquatic printer, Mark Lintott, birds that inhabit it. The back flyleaf contains an “Artist’s Note” with a leporello style with key to the birds pictured on the “tower.” The binding is the result of the brown marbled paper collaboration between Ron Keller of Red Angel Press and Philip Warner over boards and black who designed and screen-printed the image on the covers. Mr. Warner, clot showing at spine who lives and works in New York City, teaches at the Parsons School of and edges, title and au- Design; and his work, on textiles and papers has been exhibited in thor in black on spine numerous one-man and group shows throughout the country. and front panel, inte- This is an elaborate and unique presentation of Melville’s text. rior guards with tan Hand-set and printed in Bembo, the text is handsomely set off by Keller’s marbled paper over graceful birds. The title page also features the Frigate-bird in flight; these boards, opening with are blind stamped. An elegant presentation, an homage to Melville. Out the French text on the of print for several years, it is available only on the secondary market. left and the English translation on the right, the double page mezzotint (10253)

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] unfolds across the middle, the book and the special portfolio housing the piece of book making - beauti- original painting are both in publisher’s custom-made black cloth clamshell fully printed and designed. It is box with tan and brown marbled papers on spine and front panel with title full of fun and will certainly make on front and title, author, artist, and press on spine, This is Victor Hugo’s the reader / viewer smile. For impassioned plea to the American public to rescind the condemnation to example, while probably never death by hanging of John Brown on December 16, 1859. It is addressed seen in nature, the image of five to the Editor of the “London News,” but is clearly directed to the Humpback Whales churning up American people. He refers to the American Republic as the sister of the foam around the text that calls French Republic and urges her to follow universal moral law and save them the “most gamesome and John Brown. The mezzotint is of a man’s feet, obviously from a hanging light-hearted of all whales” is a body, in chains. (10295) treat. The structure here surely made for bibliophiles and ex- 20. Verdigris Press. Verlaine, Paul. Clair de Lune. [Octon, ecuted with the care they require. France]: Verdigris Press, 2009. $750 This is Ms. Vogel’s first book. We eagerly look forward to more from this Artist’s book, one of 20 copies, from a total issue of 24 copies (4 deluxe talented artist. (10461) with an original copperplate and 20 regular), all on Hahnemuhle paper, each signed and numbered by the artist, Judith Rothchild. Page size: 7-¾ 22. Wascher-James, Sande. Adams, Abigail. Remember the x 4 inches; 14pp. Bound by Mark Lintott: leporello style laid into Ladies... [Whidbey Island], WA: 2008]. $1,200 bordeaux paper-over-boards folder, title in black on front panel, match- Artist’s book, one of 10 copies only, each hand numbered and signed on ing publisher’s slipcase, papers are original serigraph prints made by Ms. the colophon page by the artist / author, Sande Wascher-James. Book size: 4 x 10 inches; page size: 4 x 6 inches; 108pp. Bound by the artist: pink flowered Liberty Lawn fabric over boards, with portrait of Abigail Adams in grey on specially prepared fabric that is archivally sound, collaged and stitched on front and back panels at foredge, her famous admonition to her husband, John, “Remember the Ladies...” hand printed with a Gocco on white ribbon and collaged and stitched to other edge of front and back panels. Each page is a different colored Liberty Lawn fabric that is bordered in embroidery thread. Sitting one atop another, Rothchild with darker bordeaux printing in pattern of sunflowers and within the chintz frame, the text block forms solid bands of color going tendril border, matching label on spine with title, author, artist, and press from black, red, green, yellow, purple blue back to purple, green blue and printed in black. Mr. Lintott has hand-set and printed Verlaine’s poem in black. The book can Vendome romain, taken from his FETES GALANTES. The text follows be opened and read as the seductive mezzotints that are still life’s with shells, moon, feathers, a conventional text. It and dice - fantasy images with a decidedly art moderne feel. Another also can be displayed elegant book from Ms. Rothchild and Mr. Lintott. (10304) as a “book object” when stood on its 21. Vogel, Sarah. Herman Melville. Cetology. Text from Chapter “spine” and the pages XXXII of MOBY DICK and printed in Three Volumes. Chicago, fall open as a fan. IL: 2011. $1,500 Housed in a custom-made box with drop-down front edge and lift-off Artist’s book, one of 15 copies, three volumes each signed and numbered cover, all in Liberty Lawn fabric of red roses on white ground, portrait of in pencil by the artist, Sarah Vogel, all on Stonehenge and Velk Losiny Abigail Adams digitally printed in grey, collaged and stitched to the top papers. Page size: Folio of the box lid with her quotation, “Remember the Ladies...” hand printed Whales: 24 x 15 inches; in black with Gocco on white fabric and stitched in white thread to the top Octavo Whales uses the of the lid, new. Each page contains postage stamps of famous American same size parent sheet but women that have been digitally printed onto specially prepared, archivally folds into eighths measur- sound fabric and collaged and stitched onto the chintz grounds, with lines ing 5-½ x 7-½ inches closed; of text, hand and printed with a Gocco on white ribbon in black and Duodecimo Whales utilizes collaged onto the page, as have bits of lace, sequins, and other fabrics, as the same size parent sheet, well as additional copies of the stamp on different fabrics, in various sizes folds into twelfths and mea- and placement. Among the women honored are Georgia O’Keefe, Susan B. Anthony, Elizabeth Cady Stanton, Lucretia Mott, Carrie Chapman sures 3½ x 7-½ inches closed. Each of the Catt, Frances Perkins, Patricia Harris, Rosa Ponselle, Mahalia Jackson, three volumes is bound in grey paper over Dorothea Dix, Elizabeth Blackwell, Jacqueline Cochrine, Babe Zaharias, boards with black linen spine, title in deep Mary Cassatt, Eliza- grey on front panel, each wit grey paper beth Wrightman, sleeve with black cloth spine. All are housed Harriet Tubman, Ruth in black cloth slipcase with specially fitted Benedict, Sacagawea, compartments for each volume. Margaret Mitchell, Ida The text is printed letterpress in B. Wells, Alice Paul, two colors with hand-carved linocut illus- Eleanor Roosevelt, trations in black. Ms. Vogel’s artist’s state- Rachel Carson, So- ment alerts us that her texts were selected journer Truth, Helen for their often-overlooked humor. She has Keller and Anne paired Melville’s text with whimsical prints. The whales swim and splash Sullivan, and Louise around the shaped text - sometimes looking as if they are aiming straight Nevelson. The Adams quotation reads, “Remember the Ladies, and be for the words and other times leaving the text in their wake. This is a lovely more generous and favorable to them than your ancestors. Do not put such

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] unlimited power into the American women included in the book are Ida B. Wells, Frances Perkins, hands of the Husbands... Alice Paul, Susan B. Anthony, Marion Anderson, Dorothea Lange, If perticulair (sic) care Martha Gellhorn, Helen and attention is not paid Keller and Anne to the Laidies we are de- Sullivan. termined to foment a On Thursday, Rebelion, and will not March 27, 1958 at the hold ourselves by any United Nations in New Laws in which we have York, at the Tenth An- no voice, or Representa- niversary of the Uni- tion.” versal Declaration of Abigail Adams’ senti- Human Rights, Eleanor ment was eloquently Roosevelt, Chairperson elaborated upon by Eliza- of the Commission on beth Cady Stanton in her Human Rights which statement before Con- was responsible for this remarkable document, spoke. Her speech, IN gress, THE SOLITUDE OF SELF, and which stands as a philosophic YOUR HANDS, was subtitled A Guide to Community Action. She cornerstone of American women’s rights. The founding fathers may not distributed 18 copies of her speech, IN YOUR HANDS, one for each have remembered the ladies, but “the ladies” took it upon themselves to commission member — noting that this was a token of our faith that, change their lives, and the lives of others. Each of the women honored under your leadership, the communities of every country will bring herein did “foment a Rebelion” in their own field, forever changing and human rights to full reality in the community of the world. re-defining the American life. This is a beautiful homage to “the Ladies.” Sande Wascher-James has honored Mrs. Roosevelt and her stirring (10177) words with this beau- tiful rendering of the 23. Wascher-James, Sande. In Your Hands. Text by Eleanor text with images of Roosevelt at the Tenth Anniversary of the Universal Declaration those women who, of Human Rights. Whidbey Island, WA: 2010. $850 throughout our Artist’s book, one of 18 copies, all hand-painted and digitally printed on nation’s history, have Lutradur, (man made product which was coated with a UV spray) endeavored to change designed and bound by Sande Wascher-James, signed and numbered on the world for the bet- the colophon by her. Page size: in the shape of a hand, 8 x 5-½ inches, the ter. Unfolding in the hand-shaped pages cut with a Graphtec Robo cutter; 32pp; including shape of a circle of covers. Bound: hand-sewn by the artist in blue thread matching the hands, the book visu- Liberty of London floral fabric on which the text and stamp images of alizes the harmonious women, especially Eleanor Roosevelt, were collaged, scanned, and then world described printed. Housed in custom-made box of pale blue hand-made paper over therein. (10310) boards with collage of stamp of Eleanor Roosevelt on lid. Among those

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

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