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Catalogue 58 – Contemporary Book Arts

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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 experi- ences. 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.
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