Catalogue 58 – Contemporary Book Arts

Priscilla Juvelis – Rare Books Catalogue 58 – Contemporary Book Arts

Bindings

Bound by Samuel Feinstein in gilt and black with a pattern of gold dots, top edge gilt, publish- ers full brown morocco slipcase, 1. Caliban Press. McMurray, Mark. Lecons de Livre pour spine paneled, with press, title, Calyban or Prosper’s Parisian Printing Parade. Bon mots, author, binder, designer, place and bagatelles, & tableaux de l’imprimerie. Also a sometime type date stamped in gold gilt on spine, specimen & leaf book. As Told to an American. Pochoir by Jef signed on the lower rear turn-in in Aerosol. St-Zotique, Quebec [Canton, NY]: Cat’s Head Press gold gilt, “R. Ashwin Maynard” [Caliban Press], 2008. $2,500 on left and “George Fisher” on One of 114 copies, all on various papers including Rives and Arches, right above double gilt rule and vintage Barcham Green handmade, St-Armand handmade from Montreal, “The Gregynog Press” centered Quebec, Kochi from Japan and handmade lokta from Nepal, each signed below double gilt rule, the fine by the author / printer. Mark McMurray has created his own look at John Roland Abby copy with his printing history in Paris, with a dark back story of immigrant life in the ex-libris on the front pastedown. “City of Light.” Page size: 8-¼ x 12 inches; 48pp. This is a beautiful binding, de- Unique binding by Samuel Feinstein: full dusty rose morocco goatskin, signed by R. Ashwin Maynard naturally grained with pigmented finish, resembling stingray skin and who also engraved the portrait of called by same name, Chagreen; hand-sewn double-core silk headbands in Christina Rossetti which opens pale salmon, front panel with 12 black fillets in string-shaped twist the Introduction on p. vii as well reaching to spine and 12 onlays of eggshell white leather circles joining 12 as the shadow initials. Robert gold gilt fillets re- Ashwin Maynard (1888-1966) studied under Walter Sickert and was a peating design on noted printmaker as well as the first controller of The Gregynog Press. rear panel, with George Fisher (1879-1970) became the chief binder at The Gregynog Press solid ¾ inch band after working as a finisher at Riviere Bindery in London. The book was of gold wrapping printed by Robert Ashwin Maynard in Baskerville type, hanging titles in both boards and red. (10627) spine, tooled in gold with a multi- Bound by Donald Glaister faceted brass fin- ishing tool; text 3. Caliban Press. Shakespeare, William. The Tempest. Printed from book in gold and Designed by Mark McMurray. Canton, NY: Caliban Press, gilt on back panel 2001. $8,250 set above the twist One of two copies in original designer binding by Donald Glaister, from in the fillet design an edition of 125 copies all on various handmade papers by Velma Bolyard, (in French, “Imprimer / Devrait Etre Imprime / Sera Imprime” and in La Papeterie St. Armand, and Barcham Green, with Arches, Frankfurt and English on the front panel, “To print / Should be printed / Will be printed Mexican amate paper. The text is set in 14pt. Dante by M & W Bixler; rain / Can be Printed?” set below twist of fillet design; marbled pastedowns by cut by Greg Lago. The book was designed, printed and bound by Mark the binder in black, white and salmon with black Ingres paper flyleaves, McMurray, using the text from the 1623 First Folio (with a few liberties). top edge gilt, blind stamped by the binder on inside back cover, Samuel Feinstein; housed in custom-made grey cloth over boards clamshell box with tray case housing original binding of the edition. An extraordinary binding from Mr. Feinstein, a talented, young binder, beautifully executed and catching the playfulness of this Caliban Press book and reflecting this bi-lingual edition of printing history in Paris. (10642)

Bound by George Fisher / Robert Ashwin Maynard

2. Gregynog Press. Christina Rossetti. Poems. Chosen by Walter de la Mare. Engraving by Robert Ashwin Maynard after Dante Gabriel Rossetti. Newtown, Montgomeryshire: The Gregynog Press, 1930. $7,000 One of 25 specially-bound copies by George Fisher from an edition of 300, all on India vellum paper, each copy hand numbered. Page size: 6 x 9 inches; 107pp. + Colophon. Bound by George Fisher and Robert Ashwin Maynard: full crimson morocco, covers with stylized foliate design ruled

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] Page size: 8 x 12 inches. Bound by Donald Glaister: full deep blue morocco the “Planes” section with its torn with black morocco onlay cutout to reveal underlay of aluminum with pages and interrupted texts. The onlays of mesh, copper, mylar, painted in silver, gold, red, and black, the checkerboard motif is also used in cutouts, while seemingly abstract, spell out the title of the book, TEM- grey and white on the printed and PEST, on the front panel and the same, but on reverse mirror writing, on collaged titlepage of the book and the back panel; spine smooth with tooled vertical lines (as in the spines the “hidden” texts appear start- of books on shelves) in red and gold; cork endpapers, black and gold silk ing with the titlepage. Mr. headbands, top edge gilded in palladium, original wrappers bound in, signed Glaister’s own checkerboards on in blind stamp on inside back cover with date and gold dot, Donald Glaister. grey painted mylar, and in wood An ingenious binding perfectly executed and perfectly suiting this beau- veneers painted in shades of red. tiful book. The mylar pieces have text (not The text is illustrated with woodcuts, gatefolds, pop-ups, onlays, legible) across the checkerboards. text printed on various papers in various shapes. This is a tour de force Joyce’s text and the heady mix of from master bookmaker, Mark McMurray. Certainly his most ambitious images are well served by this book to date, it is quite wonderful and a worthy vehicle for the Bard. With extraordinary binding. the extraordinary binding by Donald Glaister is a treasure for any library. Vincent FitzGerald’s re- (10618) markable publication captures and enhances the prose of Joyce’s Bound by Donald Glaister EPIPHANIES, the writings in his early notebooks that are the basis for the rest of his great works and which 4. FitzGerald & Co., Vincent. Joyce, James. Epiphanies. have never been published before. The EPIPHANIES are astonishing Interpreted by Susan Weil and Marjorie Van Dyke. New York: fragments of dreams, overheard conversations, and particles of experiences. In making the book, the artists and publisher divided THE EPIPHA- Vincent FitzGerald & Company, 1987. $21,500 NIES into four sections: “Dreams,” “Games,” “Planes,” and “Death.” One of 65 copies only, this a unique copy bound by Donald Glaister, 50 Each Epiphany is printed on a separate page with the page number printed in the edition for sale and 15 Artist’s Proofs, all on Moulin du Gue paper in a different color. The four printed Introductions to the image sections and Japanese papers, with 62 etchings, employing over 150 plates, original each have printed on them, in the same color as the actual page number, watercolors, collage and hand cutting. Collage by Vincent FitzGerald and all the page numbers that relate to that image section. Marjorie Van Dyke Zahra Partovi, etchings printed by Marjorie Van Dyke assisted by Maria developed the images for the dreams and the games sections; Susan Weil Luisa Rojo at the Printmaking Workshop. Lithographs editioned by developed the planes and death sections. These paragraphs and accompa- Marjorie Van Dyke with Rhae Burden. Calligraphy by Jerry Kelly. nying images take the reader / viewer through a series of Joyce’s experiences Letterpress by Dan Keleher and Bruce Chandler at Wild Carrot Letterpress as a boy, seeing and overhearing the world around him. in 40 colors. Type set by Dan Carr and Julia Ferrari at the Golgonooza Selected by the Independent Curators for the Franklin Furnace Letter Foundry. Page size: 12 x 14 inches; 94 leaves, 3 of which are double exhibition “Contemporary Illustrated Books” as one of the 50 best folds, one printed page loose as insert (Dreams section), two fold-out illustrated books from 1966-1988, it was also featured in the Boston images (Death section). Athenaeum exhibition, “Artists of the Book, 1988: A Facet of Modern- Unique binding by Donald Glaister: full blue/black goatskin binding ism.” This important book was sold out within six months of publication with recessed areas on front and back boards and on spine; gold and painted and is now infrequently available on the secondary market. It is hard to tooling; title in gold on spine (EPIPHANIES in triangular shaped lettering); overstate the importance of this book in contemporary book arts. It is one goatskin, wood veneer and mylar lamination onlays, all edges rough gilt, of the first, if not the first, to entice the reader / viewer with texts and images wood veneer doublures and flyleaves, hand sewn headbands in gold and that they must manipulate to fully see something now a relatively common orange silk thread, each page mounted on tabs to allow for completely occurrence in book arts. (9361) opened page spreads, signed with blind-stamped signature and date on rear turn-in with gold gilt dot, Donald . Glaister 2013; housed in custom-made 5. Boltanski, Christian. Reconstitution. London: Whitechapel grey cloth over boards clamshell box lined in black felt, grey paper label printed in black on spine with author, title, artists, publisher, and date. Art Gallery, 1990. $125 Donald Glaister’s stunning binding takes as a starting reference the First edition, cardboard box containing 15 x 24 “Games” section of the FitzGerald EPIPHANIES with its black on black inch photograph poster, 8 brochures, 3 post- aquatints with collaged red and black aquatint checkerboards in triangular cards, facsimile letter, and 4 pieces of ephemera, shapes each opening to brighter red and black aquatint checkerboards and 16 items, box 10-¼ x 12-¼ inches, fine. Christian Boltanski (1944-), French artist, sculptor, pho- tographer, painter, and film maker, has created a number of mixed me- dia installations, including his 2010 “No Man’s Land” at the Park Av- enue Armory in New York. His installations often trace the lives of the lost and forgotten, incorporating light as an aide-memoire. (10629)

6. Cheloniidae Press. Robinson, Alan James. A Fowl Alphabet. Lettering by Suzanne Moore. Easthampton: The Cheloniidae Press, 1986. $3,750 Signed, Limited Edition, one of 26 deluxe copies, all on Rives lightweight paper, from a total issue of 226 copies, each signed and numbered by the artist: this the full vellum edition with an original watercolor by Alan James Robinson and two extra

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] suites, one of the fessor Literary History at the University of Massachusetts at Amherst. woodengravings each The text was set at M & H Type Foundry in San Francisco and printed signed by the artist and letterpress by Harold McGrath in black within a caramel-colored rule with the other of the alphabet caramel ink used for Shakespeare’s own words on each page. Published on in blind, the book with the tenth anniversary of the press, this is a worthy monument. (10213) original lettering and Latin names accomplished by 8. Cicale, Annie. Color Progression Adventures in Color Theory. hand by Suzanne Moore. [Fairview, NC]: 2012. $2,000 Page size: 8-½ x 5-½ Unique artist’s book, on 90# CP paper, signed by the artist, Annie Cicale, inches. Bound by Gray and dated in the “colophon” book affixed to inside cover of clamshell box Parrot: full bleached vel- as well as on the inside front pastedown which is the first page of the book. lum with title stamped in Page size: 5 x 6-¼ inches; 16pp; including pastedowns. Bound by the artist gold on spine, folder to / author, Annie Cicale: Coptic style binding, shades of blue pastepaper over house extra suites in tan cloth with vellum spine; housed in custom-made boards, housed in custom-made tan cloth and vellum spine stamped with title and press and date on spine, tyvek over boards clamshell box, fine. Illustrated with 26 woodengravings and a newly designed alphabet painted blue and red on covers, by Suzanne Moore. With text from “Animate Creation,” a popular edition lined with shades of blue of “Our Living World,” a Natural History by Rev. J.G. Wood, Vol II Birds, pastepaper, white paper label 1885, 1987. The 26 woodengravings are each accompanied by an initial on spine hand-lettered in red letter and the common and Latin names of the bird. Long out of print, this with title and artist. The artist is a much sought-after book. (10615) tells us in her colophon that COLOR PROGRESSION - Ad- 7. Cheloniidae Press. Shakespeare, William. The Birds and ventures in Color Mixing has the Beasts of Shakespeare. Text by Arthur F. Kinney. Illustrated with text dictated “by the chips them- Woodengravings by Alan James Robinson. Easthampton, MA: selves.” The text appears on Cheloniidae Press, 1990. $4,750 each page below the “swatches” of the colors referred to, with their actual One of 100 copies, in full morocco with an additional suite of the names hand-written in smaller letters at the bottom left of each page. The woodengravings in custom-made colors speak for themselves: “ I’m yellow. It’s not so simple. I can be portfolio, each engraving in the cheerful and sunny or dark or moody. Add purple and I’m even more additional suite is signed and num- muted.” The color swatches on these two pages are “new gamboge & lunar bered by the artist, Alan James black” and “cadmium lemon & moonglow.” The following page reads, Robinson, who has hand-num- “What? If I add orange to blue what will I be? Or green to red? We are peace bered the colophon as well. In loving, neutral. We agree among ourselves. We are earthy but not mud.” addition, this copy has one origi- The color swatches on these two pages are, “manganese blue & cadmium nal watercolor by the artist, this of red” and “cadmium red & phthalo green.” A lovely exploration of color in the weasel (on green grassy mound text and in watercolor and gouache images. (10647) against yellow sky) and a fully executed drawing of the crocodile. 9. Cicale, Annie. Grow. [Fairview, NC]: 2010. $3,000 The total issue of this book was Unique artist’s book, on 90# and 140# CP paper, signed and dated by the 155, all on printed on Cheloniidae artist, Annie Cicale, on the penultimate page turn-in. Page size: largest 8- rag handmade paper, the first to ¾ x 6 inches, smallest 3 x 1-½ carry the press’s own watermark. inches, various sizes in-between; Page size: 10-3/8 inches x 15-7/8 44pp. including endpapers. inches - the size of the first folio Bound by the artist, hand-sewn edition, 92pp. Bound by Claudia into green leather over boards, Cohen and Sara Creighton: full title “GROW” in blind vertically caramel morocco with title in gilt on front panel, five raised bands on spine, against a sheaf of grass also marbled endsheets by Faith Harrison. Separate cloth chemise for extra suite stamped in blind, back panel with and drawing all housed with book in morocco and cloth clamshell box with leaf in arabesque outlined in re- title in gilt on spine. Illustrated with 54 woodengravings depicting the birds lief, with exposed spine deco- and beasts found in Shakespeare’s plays and poems, plus two portraits rated with multi-color beads, housed in custom-made green and grey cloth of the Bard: one etching and one woodengraving and one etching by Alan over boards clamshell box lined with hand-painted papers featuring a James Robinson. variety of leaves in many shades of green, white paper label on spine with This book uses title and author lettered in grey. The book is painted and lettered in Shakespeare’s watercolor and gouache in shades of green and lavender, pink and blue with original texts ad- texts by Walt Whitman, “I believe a blade of grass is no less than the journey dressing the natu- work of the stars”, e.e. cummings, ral history, “i thank you God, for this amazing folklore, and my- day, for the leaping greenly spirits thology of the birds of trees, and for the blue dream of and beasts in his sky or for everything which is plays. The com- natural and which is infinite and mentary was writ- which is YES” and Rainer Maria ten by Arthur F. Rilke, “Everything is blooming Kinney, Thomas most recklessly; if it were voices W. Copeland Pro- instead of colors, their would be an

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] unbelievable shrieking into the heart of the night” among others. Each page, edge of front panel, else fine. almost all irregularly shaped, contains colors and text with images of Illustrated with 8 tipped-in type flowers and leaves (in the abstract). An homage to nature and gardens and specimens from some of the gardeners, this book is the embodiment of the optimism of spring that presses featured (including from inspires us all. Selected for inclusion in the 2013 edition Lark Edition’s 500 the Laguna Verde Imprenta which HANDMADE BOOKS. (10648) is inscribed by the Laguna printer, Ward Ritchie) in this exhibition 10. Crystal Press. Salle Werner-Vaughan. The Illusion of Two. catalogue from the 1978-1979 ex- Houston, TX: Crystal Press, 1981. $350 hibition at The Grolier Club. The Artist’s book, #20 of 40 copies only, all on book was designed and printed in hand-made moulin du verger china paper, Spectrum and Weiss types by David Holman at the Wind River Press. each signed by the author/artist., Salle Werner- (10625) Vaughan. Page size: 3-½ x 11 inches; 46pp. Bound: accordion fold laid into publisher’s 12. Janus Press. Capetanakis, Demetrios. The Poetry of Demetrios wrappers and slipcase. Hand-set in 14pt. Capetanakis. [Madison, WI]: 1966. $250 Garamond and printed letterpress with hand First edition, one of 100 copies only, each hand-numbered on the colophon painting all accomplished at the mill of Jacques page. Page size: 8 x 11 inches; 24pp. Bound: hand-sewn and laid into grey Brejoux in Puymoyen France. Ms. Vaughan wrappers printed in black with title on front panel, fine. Printed by Claire is an American artist and teacher whose work Van Vliet, this is an early publication from the Janus Press. Demetrios is in the Museum of Fine Arts, Boston, The Capetanakis (1912-1944) was a Greek essayist, poet, and critic who wrote San Francisco Museum of Modern Art, the in English as well as his native Greek. He lived in Britain the last five years Pierpont Morgan Library, The Humanities of his life and was associated with the Bloomsbury set. His verse is noted Research Center, among other institutions. for homoerotic themes. (10623) Her beautifully designed shaped poem is beautifully presented. (2979) 13. Janus Press. Lockwood, Margo. Bare Elegy with a Xerox by Ray K. Metzker. Vermont: The Janus Press, 1980. $85 11. Crystal Press. Vaughan, Salle Werner. Seeds of Snow. First edition thus, one of 150 copies, all on Barcham Green handmade Houston, TX: Crystal Press, 1981. $600 paper, each copy hand numbered and signed by the author, Margo Artist’s book, #38 of 50 copies from a total edition of 100, the first 50 hand- Lockwood, and artist, Ray Metzker, on the colophon page. Page size: 6- colored (mostly in shades of grey) by the artist and the next 50 with the ½ x 11-½ inches; 24pp; including colophon and Xerox. Bound: black cloth engravings uncolored, each engraving hand-numbered and initialed by the over boards with endpapers in Martian Red from Barcham Green, printed artist / author, Salle Werner-Vaughan, all on old hand-made paper called label on spine also on Martian Red, fine. The text was set in 12pt. Trump Roger Powell. Page size:6-¼ x 10 inches, 16pp, including colophon and title Mediaeval by Barbara Luck. The Xerox is on Toned Repairing paper and page plus six original made by the artist at the Xerox Reproduction Center. (10622) engravings laid in paper portfolio fol- 14. McCallion, Barry. An Allee of Trees. [East Hampton, NY]: lowing text. Bound: 2012. $2,750 sewn into tan double- Artist’s book, unique, hand-painted and cut out forming see-through book, fold paper boards a forest of pine trees, on Richard de Bas paper, signed and dated by the printed in silver gilt artist, Barry McCallion, on the last page. Page size: 10 x 6.5 inches; 22pp. with title and name Bound: sewn into green Richard de Bas of press, closed with wrappers, laid into darker green Rich- black silk ribbon tie, ard de Bas paper wrapper. Titlepage in fine. The text was brown stenciled letters, text hand let- printed by George Gergerac. The engravings were pulled by the artist at tered on white “snow” laden branches Atelier La Couriere et Frelaut in Paris. The text was engraved by George of the pine trees, “Come take a stroll up Bergerac and printed in silver grey at the workshop of Cartier in New York. and down an allee of trees by night by The author/artist dedicates this book to Kurt Seligmann, Dadi Witz and day.” Each page features an evergreen Enrique Zanartu, as well as Stanley William Hayter of Atelier 17, with tree cut out to reveal the branches of the whom she studied. The plates show Seligmann’s influence and Hayter’s tree on the page and all the trees on perfection of execution. A study in silver and light telling a story of faith subsequent pages, accomplished by and snowflakes and the miracle that is each. Ms. Werner-Vaughan is a moving the tree trunk just slightly to the Texas-based artist and teacher. (2980) right. The last tree is leaning decidedly to the right. The tops of the trees extend 11. Fine, Ruth E. and William Matheson. Printers Choice: A up to the sky, on each page the horizon Selection of American Press Books, 1968-1978. Catalogue of an line a bit lowered. The rectangle housing Exhibition Held at the Grolier Club, New York December 19 1978- the tree is 6-5/8 x 4-½ inches; the sky February 3, 1979. Selection of Books and Press Histories by Ruth above the cutouts is a rectangle ¾ x 4- E. Fine and William Matheson. Bibliographical Descriptions and ½ inches, each brightly painted in bright Notes by W. Thomas Taylor. Austin, Texas: W. Thomas Taylor, blue, green, red, yellow and black inks. The trees are, of course, green, with 1983. $250 orange outlines. The imaginary pine grove beckons welcomingly as the First edition, one of 325 copies, all on Rives Heavyweight paper, hand reader / viewer takes this stroll through the trees - and returns as the book numbered on colophon page. Page size: 10 x 14-¼ inches; 96pp. + works in the reverse as well. An ingenious construction and a beautiful colophon. Bound: hand-sewn in tan cloth over boards, tan label printed in book. (10646) brown with title on spine, brown endpapers, small bump at lower spine

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] 15. McCallion, Barry. Oars Messages - Seamail. [Easthampton, off evil spirits walking the earth NY: 2013]. $6,500 before their descent to the under- Unique artist’s book, hand-written and hand-painted by the artist / author, world on Samhain have become Barry McCallion on cream Rives BFK and black St. Armand paper, signed our jack o’lanterns. The text is and dated the printed colophon, “Barry McCallion / January 2013.” Page hand-lettered on collaged pieces size: 11-15/16 x 9-3/8 inches; 28pp. Bound: loose as issued housed in custom- of tan paper on each of the made black cloth over boards double-page spreads of collaged clamshell box with large red images relating to this pagan fes- “X” - cancellation stamp - on tival, now incorporated into front of box with collaged American popular culture. “stamp” 1-1/8 x 2 inches, hand- (10634) drawing in black ink showing oarsman rowing in boat within 17. McCarthy, Mary. Dickinson, Emily. Ancient Wisdom. “I Died a roundel, titled OARS MES- for Beauty...” [Boston: 2012]. $1,500 SAGES with square, cross, Artist’s book, vintage pencil case covered (by the artist) in gold / grey circle, and double circle in each pastepaper and painted gold at edges, title ANCIENT WISDOM printed of the four corners, title in in brown on gold label on top of box, signed in pencil by the artist on the black on white paper label on bottom of the box and dated, “M. McCarthy 2012.” Size: 9 x 1-½ x 1-½ spine, fine. The text is written inches, housed in brown in white ink on black St. cloth clamshell box lined Armand paper and the “can- with same marbled pa- celled stamps” are drawn in per as covering box. The black india ink and colored with top lid slides out (thumb Winsor & Newton inks, in- indent provided) to re- cluding silver metallic. veal three long narrow The artist / author notes trays with quotations that this book contains notes referencing truth, love, in the Oarsman’s hand (not legible)and cancelled stamps unique to the and beauty printed on three boards covered in gold gilt paper and printed messages of 1973. “The Oarsman resolved on his journey in 1970. As he in brown. spent the next two years organizing his departure and provisioning his The top of the box slides easily to the side to reveal a niche below the boat, these are his earliest - as well as his most elaborate attempts to tray case holding a small cache of pebbles, fixed to the base and serving as communicate. The Oarsman’s journey is not without precedents; Joshua a frame for a tiny (7/8 x 3-¼ inch) book hand-sewn in green silk thread with Slocum or Odysseus explore and engage the world from the ‘boat of self.’ covers of green hand-made paper, 5 leaves, printed on rectos, with the text Any journey - long or short, actual or fictional - becomes a pattern for life. of Emily Dickinson’s well-known verse, “I died for beauty - but was scarce These drawings afford us a / Adjusted in the Tomb / When One who died for Truth, was lain / In an glimpse of the Oarsman. The adjoining Room / He questioned softly ‘Why I failed’? / ‘For Beauty’, I stamps are cancelled. If we are replied / ‘And I - for Truth - Themselves are one / We brethren are’, He inclined to be generous, we can said / And so as Kinsmen met at Night / We talked between the Rooms / infer that they (and he) arrived at Until the Moss had reached our lips / And covered up our names.” their destination.” Barry Small inkwell now McCallion continues his explo- fixed and decorated with ration of the narrative of his cre- tiny gold stars and red ated world (or is it his observations glass jewel at top of what of this world?) through chance was opening at top of word and particular image. His tray that holds the three creation of the Oarsman - a sailor strips of gold printed / traveler who rows (backward of with “Ancient Wisdom.” course) towards his mythical A lovely book object, destination - is intriguing. His with words about beauty, exemplifying beauty. (10633) voyages may be autobiographi- cal or completely haphazard. He 18. McKee, Elizabeth. If, as Herod... [Pasadena, MD: 2011]. hoists his sails or locks his oars $3,500 and is off - and we follow, ob- Unique artist’s book, hand-painted and hand-lettered by Elizabeth McKee serving from the sidelines, to on a set of seven Russian nesting dolls, these purchased by the artist in places we otherwise would not blank form. The text is anonymous and is associated with the Christmas go. (10643) story and has been used on Christmas cards. Russian nesting dolls, first created in the very late 1890’s, draw on 16. McCarthy, Mary. Samhain (Halloween). [Boston: 2011]. the Russian woodworking tradition, especially of nesting toys, but may $1,500 have been imported from Japan as a toy. Matryoshka, the first nesting doll Artist’s book, on German etching paper with Polaroid lifts and paper was called The Rooster Girl and featured a number of “dolls” concealed collage, signed by the artist / author on the titlepage, “M. McCarthy 2011”. one inside another. Traditionally, matryoshka dolls are carved from one Page size: 4-7/8 x 4 inches; 24pp. Bound: by the artist in ochre cloth over block of wood, cut in half, and then a piece taken out of the top and bottom. boards with floral ochre and tan brocade on spine, housed in matching This continues until there is a very little wood left. This tiny piece is then clamshell box. The text and images explain how the Celtic festival of carved into an oval shaped figure. The matching pieces of dolls are put Samhain (their largest holiday) became the Christian holiday of All Saints’ together housing the tiny carved doll. Day. The author tells us that demon-faced gourds carved by Celts to ward Ms. McKee has lettered the text on each of the seven nesting dolls:

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] the largest text on the outside doll, Herod, wishes to decorate her dais. The base of the tray on which the book rests who is surrounded by gift-wrapped boxes is a thriving green tree with a number of squirrels peeping out from behind and is holding a large box wrapped in bright the leaves and trunk. The base of the box, holding the tray for the book, yellow with blue and red dots with a green the book, and the bird and the box top, has a purple silk ribbon affixed to bow, the lettering on a brass-colored ground it to tie in a bow on top of the box cover. on the front of the box. Herod has a red head The text of the Rossetti poem is cut out of the brightly painted, scarf and gold crown; his beard is copper- irregular-shaped text pages. The pages are pasted back to back so that the colored; his robes purple and the packages backs are no longer visible. The cut-out text reads easily with the orange are multi-colored. The next doll shows the ground of the backs of the pages showing through the purple, blue, and three wise men on camels crossing the desert green painted text side. This is an ingeniously accomplished book as the following the Star of David; the text is let- text cut-outs on one side have to be strategically placed to not interfere with tered across the painted brown desert. The the text on the verso. The text pages are designed with wheat paste, acrylic paint and Derwent Inktense pencils. The result is a charming, arching text perfectly suited to the Christina Rossetti verse. Christina Rossetti (1830-1894), important English poet, was a member of a remarkable family of poets, artists and critics. Her verse was often informed by her religious sentiments, as seen in the first verse of her well-known poem, A BIRTHDAY. The poem was written when the next doll shows the author was 27 and expresses the joy and excitement felt on seeing or meeting shepherds watching the person you truly love. The “birthday” described is “the birthday of their flocks at night and my life” noting when her life really begins. The second verse is full of exotic night sky with the Star images exemplifying the immense joy felt by love. of David looming over- Elizabeth McKee has taken the text literally and placed a “singing head. The next doll is a bird” as well as the text as a birthday gift to be unwrapped and enjoyed very traditionally-Rus- and treasured. There is an apple tree with squirrels peeping out - and one sian dressed Mary. The not as happy on the reverse as his fur is the “vair” referred to in the verse. next two dolls complete The purple silk is the ribbon to tie up the gift and the box is lavishly the poem’s text show- decorated. The text reads: My heart is like a singing bird /Whose nest is in ing the Star of David and desertscapes. They open to reveal the tiny oval a water’d shoot; /My heart is like an apple-tree /Whose boughs are bent carving of the baby Jesus, in traditional Russian swaddling robes. with thick-set fruit; /My heart is like a rainbow shell /That paddles in a The text reads: If, as Herod, we fill our lives with things, and again with things; if we consider ourselves so unimportant that we must fill every moment of our lives with action, when will we have the time to make the long, slow journey across the desert as did the Magi? Or sit and watch the stars as did the shepherds? Or brood over the coming of the child as did Mary? For each one of us, there is a desert to travel. A star to discover. And a being within ourselves to bring to life. This is a perfect combination of text and artifact. The opening of the nesting dolls replacing, ever so effectively, the turning of pages. If the definition of a successful artist’s book is one that makes the reader / viewer want to turn the page to see what comes next, Ms. McKee has created a very successful book indeed. (10638)

19. McKee, Elizabeth. Rossetti, Christina. A Birthday. [NP but Maryland: 2012]. $4,500 Unique artist’s book and book object, the book on Arches Text Wove paper. Size: the outer box is 6 x 6-¼ x 4-½ inches The top of the box lifts off to reveal a bird setting in its nest, 3-¾ inches high. The book is 3-½ x 5-¼ x .33 inches; the text appears on 16 pages, including front and back endpapers. The book uses a meander - maze - flutter book structure. The box is made of Fimo (soft polymer clay), silk and cotton string over book board. The bird and nest are made of polymer clay with a bit of wire halcyon sea; /My heart is gladder than all these, /Because my love is come supporting the bird’s neck. After lifting off the cover of the box, and then to me. /Raise me a dais of silk and down; /Hang it with vair and purple dyes; lifting the bird singing sitting in its nest, the tray case for the book is /Carve it in doves and pomegranates, /And peacocks with a hundred eyes; revealed. The book covers are polymer over boards, sewn in green thread /Work it in gold and silver grapes, /In leaves and silver fleurs-de-lys; / with purple silk ribbon on spine. On the reverse of the “tray” holding the Because the birthday of my life /Is come, my love is come to me. (10639) book is a portrait of a squirrel - the source of the “vair” with which Rossetti 20. Milham, Allison Leialoha. Uluhaimalama. Legacies of Lili’uokalani. Music and Mana’o of Hawai’i’s Last Queen. Tallahassee, FL: Great Basin Press, 2012. $450 Artist’s book, (6 pieces + clamshell case) one of 50 copies, all on paper from the French Paper Company, each boxed set is hand-numbered. Box size: 12-½ x 12-¼ inches, grey paper over boards that has wood-engraved image of Uluhaimalama, the garden created by Queen Lili’uokalani, with the title and author letter printed in black, below which appears the opening of the Hawaiian creation story. The box contains text printed on the inside

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] front pastedown explaining the Artist’s book, one of 2 copies (the project, especially the music as only one available for purchase), composed by Queen Lili’uokalani on pale green fabric, banded in pale during her imprisonment and sub- yellow fabric, signed and dated by sequent decline. Ms. Milham has the artist in the back page in stitch- contributed her own composi- ing. Page size: 6-½ x 9-½ inches, tions to complement those of the unfolds to 92 inches; 26pp. 14 Hawaiian monarch. There is a list front and 12 back. Bound: accor- of the songs included on the dion fold, folded along orange run- pastedown as well as on the folio ning stitched line on each page, enclosure which has also the lyr- housed in custom-made green cloth ics and acknowledgements. The recycled paper for the folio is printed over boards clamshell box, housed letterpress from photopolymer plates in Adobe Garamond. This is in green, orange, and beige striped followed by a laser cut stencil portrait of Queen Lili’uokalani on tan board cloth pillowcase. These two accor- with her text from her speech on the evening of her overthrow urging her dion-folded books in one have two people to ‘Onipa’a - to remain steadfast. This is followed by a vinyl connected stories. The front pages recording housed in black sleeve with text reproducing the hand lettering tell Roman version of Latona and of Julia DeHoff. On the inside back cover, laid into custom-cut trays, are her twins sired by Jupiter, Diana three copies of a woodcut postcard, 5-½ x 3-½ inches, postcard in red, and Apollo. Latona fled the ven- black, and white housed in tan folder printed with landscape woodcut and geance of scorned wife, Juno, to the wrap-around band in grey printed in black, “Let the story be told.” Also floating island of Delos. Neptune, brother of Jupiter, anchored the island housed on inside back cover is a 3-½ x 2-¼ black printed envelope, Lei Ku’e, to the sea bottom with pillars of granite. Here Latona gave birth to the twin meaning lei of protest or opposition, containing 49 paper flowers printed deities. The Greek mythological names are Leda, with Zeus assuming the with the signatures from the Ku’e Anti-Annexation Petitions of 1897 form of a swan for his dalliance with Leda. Artemis, moon deity, and which are to be assembled to form a lei. The third item housed on the inside Apollo, sun deity, are their twin offspring. The first - front part of the book back cover is a booklet, 8-7/8 x 5-3/8 inches, 28pp. + decorated end sheets, is made up of many fabrics, plus Gocco printed stems of odd plants and bound in grey woodcut printed wrappers and hand-sewn, title “Uncov- button-holes that have become eyes on top of long satin-stitched stems. ering Hawai’i’s Past - Beyond Textbooks & Travel Guides” by Allison The background of sky, ground and looming hills is drawn from Indian Leialoha Milham. Beneath each of these three items, on the tray cut-out miniatures. The text is embroidered in a running stitch, augmented with is text explaining each. Beneath the booklet is the colophon. All pieces were pigma pen dots between them for clarity. written by, designed, printed and bound by Allison Leialoha Milham. The second story, the back folded pages, features a rubbing done by Allison Leialoha Milham has created a beautiful and touching homage the artist of Juno and the twin fetuses and questions Juno’s use of the to her cultural heritage. The recording, made by her (vocal, uku’lele, guitar, appropriated 100 eyes of her servant, Argus, to search for the offending bass, accordion, xylophone and percussion) with Ian Weir for drums, offspring of her unfaithful husband, Jupiter, and his lover, Latona. The balifone, and singing bowl, and Jon Copps on steel guitar, contains the artist has used button holes again as eyes with satin-stitched takes floating music of the last monarch of Hawaii. The album is dedicated to Allison’s across the pages to make a profoundly haunting image and text. Almost grandmother, Dallas Kealuhooneaina Mossman Vogeler, who was a surreal in execution, the traditional story takes on at once menacing and talented director and musician and a leader in the Hawaiian Sovereignty absurd tones. Juno’s bright blue eyes and her determined expression on the Movement. The music can be heard online at https://soundcloud.com/ front book are more than matched by the disembodied blue eyes on the back #allisonmilham. Ms. Milham is a book artist, musician and founder of book. This is certainly one of the most successful books from Lois Great Basin Productions. She received her BA in Studio Art from San Morrison. (10649) Francisco State University and MFA in Book Arts from the University of Alabama, Tuscaloosa. She teaches bookbinding and printmaking at 22. Poehlmann, JoAnna. Bugs and Blooms - A Discourse. Florida State University and works as a studio technician at the Facility [Milwaukee, WI: 2012. $135 for Arts Research and Small Craft Advisory Press. (10619) Artist’s book, one of 50 copies, signed by the author, numbered and dated on the colophon and last page, 21. Morrison, Lois. Li Due Occhi del Cielo from Dante’s initialed by her in pencil on the cover of the box. Page Purgatorio. [Leonia, NJ: 2012]. $5,000 size: 1-½ x 3-13/16 inches; 20pp. Bound: screen folded by the artist and housed in green rice paper “match- box” with sleeve, illustration of callow lily and two ants on sleeve with title written by artist. Ms. Poehlmann relates that “BUGS & BLOOMS is a casual stroll through a garden of conversing insects.” She created the book in ink and watercolors and then color copied and screen folded these pages to create this charming book. (10616)

23. Poehlmann, JoAnna. Coffee Table Book. Milwaukee WI: 2000. $450 One of 25 copies only, each numbered by the artist / author / publisher, all on one-ply Strathmore paper. 52pp; page size: 4 x 2-3/8 inches. Bound by the artist: coffee-colored Lokta paper from Nepal over boards, aperture at back cover with real coffee beans in case covered with marbled paper and plastic covering viewing cutout; housed in slipcase covered with the

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] same marbled paper, cof- 26. Verdigris Press. Ber, Claude. Ecorces. Octon, France: fee-colored gros-grain rib- Verdigris Press, 2012. $2,600 bon pulls. Hand lettered Signed, limited edition, one of 12 deluxe copies, all on Hahnemuhle paper, in ink and rubber stamps in leporello format, each signed and numbered by the artist, Judith and collaged with color Rothchild, and by copies of postage stamps, the author, Claude this is an assemblage of Ber, from a total is- quotes from the great to sue of 50, 12 deluxe merely famous on coffee. “It is a poison certainly - but a slow poison, for and 38 regular cop- I have been drinking it all my life. I am 84 and not dead yet.” Voltaire (who ies. This deluxe drank 50-70 cups a day). “If it weren’t for the caffeine, I’d have no copy contains one personality whatsoever.” David Letterman. “If this is coffee, please bring original copper me some tea; but if this is tea, please bring me some coffee.” Abraham plate and one folio Lincoln. A fitting homage to the coffee bean! (10655) page spread with original watercolor 24. Poehlmann, JoAnna. Parrot Talk. Milwaukee, WI: 2001. / wash of tree trunk $720 by Judith Rothchild One of 25 copies only, each numbered by the artist / author / publisher, and one of the text all on one-ply Strathmore paper. 64pp; page size: 4-5/8 x 7-1/8 inches. Bound paragraphs written by the artist: accordion fold, red gros-grain ribbon at spine, Strathmore over by Claude Ber to accompany the art. (10652) front board color copied after original art by Poehlmann, the “P” and “T” of the title in green and red feathers with a lime green feather below, rest of title in black letters, Terms of Sale: All items are subject to prior sale. Payment should lime green Japanese paper over accompany order unless credit has been established. Mastercard and Visa boards for back cover, endpapers accepted. ME residents please add 5% sales tax. Institutions may receive of color-copied paper with cop- deferred billing. Posting is additional: $10.00 for the first item and $5.00 ies of feathers in many colors, for each additional item. All items are guaranteed as described and may be housed in slipcase of paper over returned for any reason, with notice, within seven days of receipt, providing they are in the same condition as when shipped. Please call in boards color printed with copies advance of a return. of feathers in green, red, blue, lime green, with red gros-grain ribbon Priscilla Juvelis, Inc. pull ending with real green feather. 11 Goose Fair Collaged with color copies of Kennebunkport, Maine 04046 paintings, woodcuts, postage stamps, feathers and other (207) 967-0909 PH ephemera, the selection of quotes (207) 967-4466 Fax and images is inspired. For Jo- e-mail: [email protected] web: www.juvelisbooks.com seph Cornell’s’ “The Caliph of Bagdad” we read Wordsworth’s “Arch, volatile, a sportive bird / By social glee inspired; Ambitious to be seen or heard / And pleased to be admired.” (10656)

25. Verdigris Press. Ber, Claude. Ecorces. Octon, France: Verdigris Press, 2012. $1,600 We will be exhibiting at the Signed, limited edition, one of 50 copies, all on Hahnemuhle paper, in leporello format, each signed and numbered by the artist, Judith Rothchild, and by the author, Claude Ber. Page size: 11-¾ x 7-¾ inches; 24pp. Bound: New York Antiquarian Book Fair loose as issued in green screen-printed wrappers embossed to reflect tree April 11-14 trunks, printed letterpress with title, author, artist, and press in black on Please visit us at Booth E 3 front cover and again on spine, housed in custom-made publisher’s slipcase of green screen-printed paper over boards by Mark Lintott. The titlepage is printed in black on green marbled paper Park Avenue Armory which is also embossed to indicate trees, Park Avenue at 66th Street each page with the mezzotints and / or embossments by Judith Rothchild all of tree New York, NY trunks, usually on the diagonal, surrounding the texts, paragraphs by Claude Ber writing to accompany the prints of Thursday Preview 5 pm – 9 pm Ms. Rothchild. This is a wonderful collaboration, handset and printed letterpress by Mark Lintott in Vendome romain on an 1876 Albion press. Friday Noon – 8 pm Ecorces, loosely translated, is tree bark and the textures and grains are Saturday Noon – 7 pm remarkably conveyed by the lovely mezzotints. (10650) Sunday Noon – 5 pm

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