Rare Books Catalogue 72 – Selections for the New York Antiquarian Book Fair

Priscilla Juvelis – Rare Books Catalogue 72 – Selections for the New York Antiquarian Book Fair

Pop-Up Carousel Book morocco with raised and inset onlays of painted mylar and gold-painted and sanded 10mil aluminum front panel, and gold painted and sanded 10 mil 1. Bishop, Bonnie. Always / Never. Cornville, ME: 2017. aluminum onlays on the back panel; front panel design inspired by piano $3,750 keyboard and the number five in orange on yellow ground, the circle surrounding the number 5 bordered in red lizard, the design reflective of the Unique artist’s book, pop-up in carousel format, with circle poem, executed title, blue suede turn-ins and flyleaves, black and white sewn headbands, in the four colors of the Medicine Wheel’s Circle of Life, on Nepalese Lama original wrappers bound in, signed by the binder in blind stamping on rear Li Lokta papers for turn-in joint, Donald Glaister with his usual gold dot. background structure The edition is on machine and hand-made papers from La Papeterie and box, various Saint-Armand from Quebec and “Epistrophy” from India and Hosho from Asian papers for col- Japan, each signed and numbered by the printer / publisher / designer, Mark lages and index stock McMurray. Page size: 10-½ x 7 inches; 11pp; + titlepage and colophon. for pop-ups, signed Mark McMurray made the original paper wrappers of Celtic Grey hand- and dated by the art- made paper cover with “5 spot cut out” and midnight green cloth spine with ist, Bonnie Bishop, on small gold “5” label. Monotype composition by Michael & Winifred Bixler the bottom back of in 12 point Univers type which was designed by Adrian Frutiger in 1954. the yellow section. Additional display sizes of Optima and wood types used. Images include a Page size: 12 (at top centerpiece stencil collage by Guy Berard after a photograph of the point of carousel curv- Thelonious Monk Quartet playing in 1958 at The Five Spot Cafe. Hand- ing down to 10, alter- stenciled by various hands including Gregory McMurray. Halftone screen nating convex and from Cathy and the raster-farians at Boxcar Press. There is a volvelle map on the opening page showing the location of the Five Spot Cafe in the East Village of NYC, the map highlighted in yellow and red. The text, “A Night at the Five converse curves) x 9 inches; 16-inch diameter Spot” first appeared circle when open; 16pp. Bound by the artist, in “Down Beat” Bonnie Bishop, folios hand-sewn with black magazine on February thread to paper loops in yellow, black, white, 13, 1964 and has been red, through which a dowel slides forming the anthologized (with “spine” of the book, top of dowel is red knob, various textual ques- housed in black paper over boards lidded box, tions unresolved) sev- hole in center of box lid through which dowel slips to open carousel. The text eral times since. The runs along the bottom of each page and is stamped in black. The horses text for this printing gallop across each page spread in black, some of their forms highlighted with has been corrected. The article shows its age in geographic description, yellow and red, all on either a yellow, white, red or black ground. The bottom citing “collectors’ book shops...” replacing secondhand clothing stores. of the page spread is in one of the four contrasting colors, with the text of Now, those “collectors’ book shops” have been replaced by more upscale the poem stamped in black running across the bottom of the page. To shopping venues. Martin Williams’ review / apotheosis of this performance assemble the carousel, each page spread is unfurled and the center pinto is not dated; rather it brings the evening’s music to life as if it were real time. pony pops out. The horse at the foredge unfolds at the head / front leg over Perfectly complemented by Donald Glaister’s elegant binding, we see the next page holding them together. The artist has used the colors a riff on a set piece and suspect the great jazz musician would appreciate represented in the Native American Medicine Wheel: Yellow=East, the visual image. (11249) Red=South, Black=West, White=North. She notes, “The horse is a refer- ence to my connection through dreams with the Nez Perce.” The sense of motion is conveyed not only by the horses as they cross 3. Carrigan, Valerie Ann. In Between. North Adams, MA: each page; it is in Bishop’s verse. “Always moving / Never looking back / Messenger Press, 2013. $2,750 Never bearing a rider / Always the same horse” and the reverse, “Never Unique artist’s book, a series of 10 original monoprints, on BFK Rives paper, looking back / Never bearing a rider / Always the same horse” signed on the colophon by the artist, Valerie Carrigan. Page size: 13 x 8 This is a movable book with a structure that conveys the meaning of inches opening to 13 x 54 inches; 12pp. Bound by the artist: accordion fold the images and verse and is, all at once, quite beautiful. The verse is read hinged with Japanese paper, laid into custom-made tan cloth over boards at the gallop following the ponies across the colorful landscape. A wonderful book! (11270)

Bound by Donald Glaister

2. Caliban Press. Williams, Martin. Monk at the Five Spot. clamshell box, by Linda Lembke of Green River Bindery, with black and [Jay, NY]: Caliban Press, [2014]. $5,500 white monoprint image on front panel. The monoprint images are haunting. Unique binding by Donald Glaister on Caliban Press limited edition, full black Starting and finishing with ink-black pages, a series of images of birds in flight, soaring, sprint- phon notes, “Paint is just the right medium to embalm the techno-miracle that ing, and diving, at has flown by...” and “Invoking the triple-decker universe of pilgrims, these times encircled and paintings occupy the primeval understory of our command centers, the at other times, freed. earthbound affairs of the desk’s surface...” (11259) The artist has stated that these images 6. FitzGerald & Co., Vincent. Joyce, James. Epiphanies. mark the space be- Interpreted by Susan Weil and Marjorie Van Dyke. New York: tween having de- Vincent FitzGerald & Company, 1987. $10,000 parted and not yet Artist’s book, one of 65 copies only, 50 in the edition for sale and 15 Artist’s arrived, noting the Proofs, all on Moulin du Gue paper and Japanese papers, with 62 etchings, similarities between employing over 150 plates, original watercolors, collage and hand cutting, humankind and these birds. We cross thresholds, big and small, throughout signed by the artists, Susan Weil and Marjorie Van Dyke on the stunning our lifetimes, often not knowing what lies ahead. We hover between here colophon page. Collage by Vincent FitzGerald and Zahra Partovi, etchings and there, now and then, today and tomorrow. Cover and colophon are printed by Marjorie Van Dyke assisted by Maria Luisa Rojo at the letterpress printed by Valerie Carrigan, who pulled the monotypes at The Printmaking Workshop; lithographs editioned by Marjorie Van Dyke with Vermont Studio Center and Zea May Printmaking. (11258) Rhae Burden, calligraphy by Jerry Kelly, letterpress by Dan Keleher and Bruce Chandler at Wild Carrot Letterpress in 40 colors with type set by Dan 4. Carrigan, Valerie Ann. The Walk. North Adams, MA: Carr and Julia Ferrari at the Golgonooza Letter Foundry. Page size: 12 x 14 Messenger Press, 2016. $750 inches; 94 leaves, 3 of which are double folds, one printed page loose as Artist’s book, one of 25 copies, all on Rives BFK, signed and hand- insert (Dreams section), two fold-out images (Death section). Bound: loose numbered on the colophon by the artist / author, Valerie Carrigan. Page size: as issued in original wrappers in hand-made box by David Bourbeau at The 8 x 6-¾ inches, 14pp. Bound by the artist / author: accordion fold laid loose Thistle Bindery in Japanese hand-made silk woven for this box, with incised into brown cloth over boards portfolio with offset lithograph image inset on line of Japanese tea paper showing profile of Joyce, spine of box a bit front panel, housed in brown cloth over boards slipcase with tan paper label sunned; bit of offsetting from the silver Japanese tea papers that line the on spine, author and title printed in brown, lined with litho of arabesque line insides of the box to the front and back wrappers, book fine. and seed pods. The author / artist printed the text on a Vandercook Universal I while Book Artist in Residence at Maine Media Workshops in Rockport, Maine. Ms. Carrigan’s monotypes were printed as offset lithos by Amanda D’Amico at the Borowsky Center for the Arts, University of the Arts, Philadelphia. Carrigan’s own text was set in Garamond Roman and Adobe Garamond Pro for the ex- cerpts from the journal of Henri-Frederic Amiel. Ad- ditional printing completed at Peter Kruty Editions and Horton Tank Graphics. Ms. Carrigan’s simple text centers on a mother walking daily with her young daughter, discovering a field of milkweed, and waiting for the seed pods to open. Childhood wonder at the pods opening and dispersing their cargo via the wind is captured with words and with the Joyce’s EPIPHANIES, the writings in his early notebooks that are the lovely, black and white monoprints. The “walk” is opened and closed by basis for his great works, had not been previously published. The EPIPHA- Amiel’s text, starting, “Let mystery have its place in you...” and closing with, NIES are astonishing fragments of dreams, overheard conversations, and “Sacred work of nature it is...” Three strong visual images of the milkweed, particles of experiences. In making the book, the artists and publisher in particular close-ups of the ephemeral seed pod, are compelling, as is text, divided THE EPIPHANIES into four sections: “Dreams,” “Games,” the maternal advice to the young child counseling patience. (11257) “Planes,” and “Death.” Each Epiphany is printed on a separate page with the page number printed in a different color. The four printed Introductions 5. Casey, Rosamond. Tablet & Cloud. Pilgrims in Cyberspace. to the image sections each have printed on them, in the same color as the Charlottesville, VA: 2016. $550 actual page number, all the page numbers that relate to that image section. Artist’s book, one of 20 copies, all on Epson Marjorie Van Dyke developed the images for the dreams and the games matte photo paper, with 12 ink prints from 2016 sections; Susan Weil developed the planes and death sections. These painting installation by the artist, Rosamond Casey, paragraphs and accompanying images take the reader / viewer through a at the McGuffey Art Center in Charlottesville, series of Joyce’s experiences as a boy, seeing and overhearing the world VA. The prints are housed in a grey clamshell around him. Selected by the Independent Curators for the Franklin Furnace box with the Apple exhibition “Contemporary Illustrated Books” as one of the 50 best illustrated logo on front cover - books from 1966-1988, it was also featured in the Boston Athenaeum box is the size of a exhibition, “Artists of the Book, 1988: A Facet of Modernism.” This Mac laptop - box by important book was sold out within six months of publication and is now the artist, Rosamond Casey. The interior has infrequently available on the secondary market. It is hard to overstate the the title on image with title affixed to front and importance of this book in contemporary book arts. It is one of the first, if the bottom tray case has the colophon, signed not the first, to entice the reader / viewer with texts and images that they by the artist, and 12 prints. Images of tangles of must manipulate to fully see - something now a relatively common occur- wires and cords and outlets abound. The colo- rence in book arts. (11247)

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] 7. Flying Fish Press. Chen, Julie. Bitter Chocolate. completed by his son, Washington Roebling, the bridge still inspires, perhaps Berkeley, CA: Flying Fish Press, 2016. $1,225 more so as the country’s vision of one of their national monuments changed Artist’s book, one of 50 copies, on a variety of papers, including Old Masters on September 11, 2001. Donald Glaister, one of the world’s pre-eminent from Papeterie Saint- designer bookbinders has, for the first time, created an edition book and it Armand, Zanders El- is a beauty. In materials that are not what one would expect for a book - but ephant Hide, and completely in keeping with the subject of the book - it is contemporary book Hahnemuhle Ingres, art of the very highest quality. hand-numbered and Long out of print, this has not appeared on the secondary market in signed by the artist / some years. (11250) author, Julie Chen on the colophon. Page 9. Hiebert, Helen. LandEscape. Edwards, CO: Helen size: 3-½ x 14-¾ x 1-7/8 inches closed; opening to full width of 25-¾ inches, Hiebert Studio, 2016. $1,200 52pp. in UNSWEETENED; 52pp. in UNTEMPERED. Bound by Julie Artist’s book, one of 40 copies, all on handmade paper by Helen Hiebert, Chen: Jacob’s Ladder structure, brown cloth over boards with title in gold signed by authors / artists, Helen Hiebert and Karen Kunc, on the colophon gilt on each end followed by UNSWEETENED and UNTEMPERED and and hand-numbered. Page size folded: 6-½ x 5 inches; unfolded: 36-1/8 an image in gold gilt stamping of the cocoa bean, housed in portfolio case inches; 16pp. Bound: laid into with magnetic close. Portfolio is same brown cloth over boards, lined with folded salmon-colored paper celadon green paper on which the colophon, operating instructions for over-boards fold-over case with Jacob’s Ladder structure, and Foreword are printed letterpress in brown tray of light wood, colophon on ink, title in gold gilt on celadon green paper bordered by gilt rules on front inside back cover; front cover panel of portfolio. Julie Chen has written texts with 2 themes: the first is her has collage of Helen Hiebert’s hand- own narrative about the fictional goddess of chocolate and the second is a made white paper which includes a factual account of some of the history as well as contemporary events landscape image that is a water- surrounding chocolate. The text is letterpress printed from photopolymer mark. The colophon explains that plates by Julie Chen. Keri Miki-Lani Schroeder has contributed handsome the project began with the drawings in paper created by Helen. Karen Kunc woodcuts of the cocoa tree and beans printed in brown, green, and orange, responded with a woodcut image, printed in color, that interacts with the some against a background of green on blue map with longitude lines in watermarks, fitting to spaces, overlapping, making edges, and saturating brown. From the sides the book resembles a deluxe box of chocolates. The them with color. The brightly colored landscape unfolds to a lovely text, as the author notes in the Forward, is “at once lyrical and unsettling.” panorama. On the verso the poem is printed in light grey, in varying types The book is wonderful. The unusual structure not only shows this book and spacing, the randomness echoing the in-paper landscape that is visible artist’s skill in design, but it is not just to display technical bravura; it is wholly above the text. There is another poem on the colophon, both poems by both integrated into the thoughtful and relevant text. (11174) artists: LandEscape / On and within this sheet - / A rainbow, a sky, landmarks. / All quietly present - / Radiant with light” as is this beautiful 8. Glaister, Donald. Brooklyn Bridge: A Love Song. treasure. (11265) Cleveland, OH: Foolsgold Studio, 2002. $8,500 One of 60 copies, each signed and numbered by the artist / author, Donald 10. Jackman, Sandra. The Buzz and Sting of Words (The Glaister; 10 of which HC, all on 10 mil aluminum. Page size: 14 x 12 inches; Texture of Noise in a Jabberwonky Nation). New York, NY: 28pp. Bound: quarter leather grey Nigerian goatskin with aluminum onlays 2016. $1,500 on front and back. The aluminum pages are set on paper hinges for ease of Unique artist’s book on assorted acid free papers combining hand-drawn opening. Endpapers of coarse black textured paper. The book is housed in images and digitalized text, collage text fragments, balloons cut from various a felt-lined aluminum box. There are portraits of the Brooklyn Bridge which comic books, etc. all by Sandra Jackman, signed in ink by her on the rear are painted with acrylics on sanded aluminum as well as collages suggesting pastedown in lower right corner and dated. Additionally, several pages are the construction of the bridge which are also on sanded aluminum and signed. Page size: 12-¼ x 9-½ inches; 50pp. 21 of which are hand-painted, painted, with wire aluminum tape, laminated polyester film and sand all collaged, or lettered. Eleven attached to the pages. The type is Avant Garde and is silkscreen printed. of the pages display pen and Selected for inclusion in Wellesley College exhibition and catalogue RESO- ink drawings of insects sub- NANCE AND RESPONSE (2005). stituting for words. Bound: The Brooklyn Bridge has, since its opening in 1883, inspired many grey cloth over boards with writers and artists: Hart Crane and Walker Evans perhaps the most famous hand-painted and lettered of these. The bridge was, on completion, the first Steel Cable Suspension onlays in red, black on white Bridge, the longest suspension bridge in the world, and the first major bridge and blue grounds, forming to use multiple pneumatic caissons. Designed by John Roebling and rectangle, black border around white, set askew as if a television with insects the only images and the title in bold, black letters. Surround- ing the black border is another broken frame of raised blue boards with the word “fear” lettered multiple times in white, black and red. Ar- chival inks and pencils were used; jade adhesive was used for the collaged work. The artist / author notes that her book, “is meant as a reflection of current times and incorporates impurities and flux and tics. The pages don’t conform to rules, they defy uniformity and in places words are set loose as sound bites.” Her poem,

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] “The Texture of Noice in a Jabberwonky Nation” is indebted to a line from bound boards, as if a photograph album, the Grace Slick song “White Rabbit.” The author / artist notes “I had my way covered in moss green silk with collaged with Carroll’s ‘nonsense poem’ titled ‘Jabberwocky.’” image (young girl in skeletal outline collaged Certainly a book for our time, provoking the reader / viewer to an over text fragment, mounted under dis- examination of words, their use, and their effect. (11251) tressed glass, with copper square on laid to distressed glass, within a lead- wrapped 11. Kingston, Peter. Angel at the Gate. Introduction by Barry wood frame. The text is digitally printed on Pearce. Sydney, Australia: Hill End Press, 2017. $3,900 Graphix Matte Film, with an image of one Artist’s book, one of six copies only, signed by the artist / author, Peter of the copper portraits. The colophon page Kingston, and hand numbered on the colophon, signed as well on the has an original copper plate, 3 inches’ square of grasses, mounted above the linoprints and hand-colored etchings, all copies on Rising Stonehenge paper artist’s signature. The 14 original copper etchings are somber in feel adding for the folios and texts and Iwaki Mulberry for gravitas to this tragedy. The text reads, in part: “It is estimated that at least the linoprints and wrapper and Kozo for the lid 8 million children worldwide go missing each year, including 800,000 in the and base linings, etchings printed by Bill Mosley U.S... A multilingual database that features photographs and information and Genevive Carroll at the Hill End Press on about missing children from around the world was established in 1998 by the vintage Magnani Velata White Wove. Page International Centre for Missing and Exploited Children (ICMEC)...” The size: 13-7/8 square; 64 folios which including 10 text is a catalogue of distressing facts calling the reader / viewer’s attention linocuts chine colle to inside rectos, +4 etchings to this world-wide tragedy. (11267) laid in, wrappers with linoprint, “Spanish Steps” printed in red with white lines, housed in cus- 13. Krause, Dorothy. Dickinson, Emily. Vessel. Ft. tom-made wood box with original linoprint after Lauderdale, FL: 2015. $1,250 an image taken from the mural by Piero della Artist’s book, unique, on handmade paper, by Dorothy Krause, text is Emily Dickinson’s poem, “Where ships of purple gently toss,” signed in copper ink by the artist, Dorothy Krause, on the colophon. Page size: 7-½ x 5-½ inches; 30pp. Bound by the artist: hand-sewn into dark purple Katie McGregor handmade paper wrap- Francesca, “Defeat of pers to which an original contact printed Chosroes”. The box is image made using botanic specimens has lined on both sides with been collaged; book housed in silk bag which is housed in custom-made rubber-stamped Kozo clamshell box, bag is brown silk and eco printed in darker brown botanicals, paper consisting of a box has eco print on white paper collaged to front panel, interiors lined with plethora of blue dragonflies in various shapes and sizes in flight. In Peter original eco printed Kingston’s Epilogue, he writes he is “paying homage to the inexplicable silk in purples and miracle by which Piero embraces even the most disturbing narratives of browns, title and art- humanity by rationalizing them within his calm, logical intelligence. Thereby ist name are hand- he forgives, and allows us to do the same...” Set in Bembo and printed by written in copper ink Nicholas Pounder at the sign of the Polar Bear, this is an elegant and by the artist on the carefully crafted book. spine of box. The 30 Barry Pearce, Emeritus Curator of Australian Art, Art Gallery of New pages are all contact South Wales, comments in his excellent Introduction that, “Kingston’s printed pages using botanic specimens. The text is handwritten in copper ink interest in a pictorial vernacular quite different from his own is a fascinating by the artist across the bottom of the botanical specimens. phenomenon...He is something of a dragonfly; capable of being motionless The artist’s use of nature to create the prints covering each page when he so chooses, before suddenly darting unexpectedly here and manages to express the poet’s sense of motion and, then, stillness…Selected there...And his curiosity is always profoundly respectful.” An example of for the 43-work exhibition, “Vessel” sponsored by the Guild of Book Pearce’s observation is Kingston placing an iconic still image from Fellini’s Workers. The details of the exhibition note that the word “Vessel” is “La Dolce Vita” followed by Kingston’s own linocut image of the Trevi inspiration and metaphor for the book “as a container, holder, receiver, fountain, with his all-knowing visage looking out at the viewer from the lower transporter.” (11269) right corner (wonderful self-portrait). This is a mix of personal recollections and iconic images make up this unique “travel” book, revisiting those images that play such a crucial role in western civilization through the witty gaze of 14. Kydd, Sal Taylor. Keepsakes. Rockport, ME: Stagenhoe Peter Kingston. (11272) Press, 2016. $1,500 Artist’s book, one in a series of 15, each unique, all on Arches Text Wove 12. Krause, Dorothy. Missing. Ft. Lauderdale, FL: 2016. paper, and signed and $1,500 numbered by the artist. Page size: 9 x 7 inches; Artist’s book, unique, on tan laid paper, each page with an original etched 26pp., 13 folios. Bound: copper that is1.25 inches square, signed on the colophon and on the text page loose as issued in 13 folios by the artist / author housed in wrap-around Dorothy Krause. Page cover of tan Canson acid- size: 8-¾ x 9-½ inches; free paper, with botanical 15pp. 13 pages with a illustration by the artist 1.25-inch copper por- debossed in brown with trait mounted on each title and author in brown, page. Bound by Dor- housed in brown cloth othy Krause: post

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] over boards clamshell box by Richard Reitz Smith, with tan paper wrap- color woodcuts in ground-breaking work 1912 avant-garde book by Rus- around band matching wrappers with botanical illustration by the artist in sian-born expressionist artist, Wassily Kandinsky. For his first book, at once dark brown, title and artist / author. The title poem, KEEPSAKES, is written influenced by folk art and Jugendstil, Kandinsky created poetry and by Ms. Kydd who has also made the 13 original archival pigment print woodcuts in an attempt to create the pure sound of language. Barry photographs as well as a botanical print transfer for each folio. The text is McCallion’s use of black Revere paper collaged to white folios, with color printed letterpress by Ms. Kydd using a Vandercook Universal at Maine onlays, some of which are painted in India inks, reflects Kandinsky’s Media Workshop & College from polymer plates. The sequencing of image influence as well as his own aesthetic. Geometric shapes, reflected not only and text, or absence of text, or image, sets up a pacing of the material that in the cut-outs but the collages as well, form their own rhythm with each turn allows the viewer to experience the book in a series of steps, each step being of the page. The reader / viewer can see through each folio to the next - but unique in itself but also connected to the others. The poem speaks to how it is not chaotic. Rather, it is provocative and exciting. (11254) we hold onto our memories, as keepsakes of our experience and runs throughout the book from folio to folio. (11243) 17. McCallion, Barry. Dickinson, Emily. Some Questions, More Windows. [East Hampton, NY: 2015]. $2,500 15. McCallion, Barry. Bell Buoy. East Hampton, NY: 2015. Artist’s book, unique, all on Richard de Bas cream wove paper, signed by $3,500 the artist on the title page. Artist’s book, unique, on Richard de Bas cream wove paper, with cut- Page size: 10 x 6-½ through pages and treated paper collages, with hand-painted images in inches; [i-vi] 33pp. acrylics and India inks. Page size: 10 x 6-¼ inches; 48pp. Bound: hand-sewn Bound: loose as issued, into green paper wrappers, exposed sewn spine, laid into handmade white housed in buff covered paper made with flower petals and leaves over boards, collage on front paper over boards cover of circle and “waves”, housed in black cloth over boards clamshell box folder, traditional two by Joelle Webber, title over two sash window stenciled in black ink drawn in black and white filled with gold gilt, on ink on front of folder, green paper, image housed in buff cloth over from book color cop- boards clamshell box by ied and mounted on Joelle Webber with front panel. The art- Mylar window on front ist relates in the colo- through which one can see the window. The opening text is the first stanza phon how he started of Emily Dickinson’s “I dwell in possibilities / A fairer House than Prose - this book after com- More numerous of Windows.” The images that follow are accomplished in pleting KLANGE, his India inks: a black ground surrounded by thin red border with a window (or homage to Wassily part of window) drawn in white ink; black paper with white polka dots is Kandinsky. With notions of “sound-in-art” still occupying his mind, he heard collaged in various shapes and sizes on each page. Page 3 has the text, “Was the clang of the bell buoy from Gardiner’s Bay through his windows. she merely”; the next text appears on page 8, “Was she merely being kind?” Accepting that as a given, he represented the buoy’s chime with a motif of Page 11 reads, “merely.” Page 14: “merely being kind?” The words in the small randomly placed, concentric circles. Each cut-out page, revealing all question are repeated throughout the book, the windows becoming more and succeeding pages, is a complex construct - reminiscent of the rigging on more abstract. Triangles, rays of light, and (maybe) doors feature in each sailing ships, the limitless expanse of the sea and sky, as well as the ever- image. Doors and windows - prose and poetry - black holes and (maybe) the present chime of the buoy represented by the small concentric circles night sky open the reader / viewer’s eyes to limitless possibilities. A nod to randomly placed, usually one or two to a page. A most intriguing and Concrete Poetry’s use of word / phrase permutations that is an elegant beautiful book. (11253) book. (11072)

16. McCallion, Barry. Klange (Sounds). East Hampton, NY: 18. McCallion, Barry. Walt Whitman. Crossing Brooklyn 2015. $4,500 Ferry. East Hampton: 2015. $2,750 Artist’s book, unique, on Kozo paper, backed with black Revere paper, Artist’s book, unique but one signed on the colophon with artist’s note that this book is a tribute to Wassily in a series (each different) Kandinsky’s book, KLANGE, published in 1912. Page size: 9-¾ x 6-½ with text of Whitman’s inches; 28pp. Bound: CROSSING BROOKLYN loose in wrappers that FERRY, from LEAVES OF are affixed to tan paper GRASS on Arches paper for over boards case with the art and brown St. Armand black cut-outs on front linen paper for the handwrit- panel, housed in black ten text, signed by the artist on cloth over boards the colophon. Page size: 10-¼ clamshell box by Joelle x 6-3/8 inches; 52pp. Bound: Webber with white pa- tan wrappers with title lettered per label on spine read- in stenciled outline, black ink ing “KLANGE / for filled with silver gilt ink, housed W.K.” with collage on in green paper wrapper, in front wrapper color cop- green silk over boards ied to front of box. clamshell box by Joelle Webber McCallion has made a with hand-painted blue label book without text in- on front panel showing ferry spired by the black and and blue paper label on spine with title and author and artist and image of a steam-powered ferry.

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] In each of these books, the artist takes inspiration from Whitman’s International Sweet- verse which repeats words and phrases. Here he uses archival photo hearts of Rhythm), fragments in sepia and black and white photographs of ferries and docks and housed in custom- dockyards, assembled on hand-drawn grid as if a contact sheet. These made brown cloth (rectos) are combined with India inks and collages (versos) on black over boards clamshell grounds highlighted with white, green, and orange. The hand-written text in box, with label printed black ink is interleaved between two collage and photo folios. The artist’s in black on blue paper repetition mirrors Whitman’s verse. The artist notes that “Whitman probes on spine, with artist the future gathering Life’s passengers, those present and those to come, in and title, black edges a luminous vision of shared humanity.” (11074) all around, lined with blue paper. The great Unique Binding by Coleen Curry jazz singers included are: Bessie Smith, 19. Perishable Press. Lewis, Harry. Pulsars. Illustrated Billie Holiday, Ella Fitzgerald, Peggy Lee, Sarah Vaughan, Dinah Washing- with a Silkscreen Print by Sam Gilliam. Mt. Horeb, WI: The ton, Rosemary Clooney, Shirley Horn, Nancy Wilson, and Etta James. The artist, Jean Segaloff, in writing these biographies has added her own Perishable Press, 1974. $3,750 personal take on these jazz greats by selecting a song closely associated with Unique binding by Coleen Curry, full purple goat suede with onlays and paint, the singer and focusing on what the singer brings to that particular work, on one of 150 copies, all on Nideggen & Frankfurt Cream for the text, leading the reader / viewer to re-consider what is already known and numbered with the ear-tatoo familiar. The portraits of these jazz artists colorful, but not “jazzy” - rather device employed by, printer / they show the sensitivity and seriousness of these women about their art. designer, Walter Hamady. (11266) Page size: 11-¼ x 6-¼ inches; 28pp; 16 of which 21. Smith, Richard. The Life of a Leaf. Rockland, Maine: are printed. Bound by Coleen Curry: full purple goat suede 2017. $2,250 with paper collage, acrylic Artist’s book, one of 10 copies, all Strathmore paint and Italian silk sewing, Pastelle Natural White paper for the text, Mead blind tooling on cover with Bond paper for the monoprints, hand-numbered binder’s custom tool; cover and signed by the artist / author on the colophon, attached to book with sec- Richard Reitz Smith. Page size: 13 x 19 inches; ondary sewing consisting of 16pp; including 12 prints, colophon, list of prints, ten-18K gold wire staples text page, and titlepage. Bound: Hiromi Konoha secured by handmade wood Lace paper wrappers loose as issued in green and parchment tackets. cloth over boards clamshell box, lined with Original book pamphlet darker green cloth, title on front panel. The text, stitched with red and blue Moriki paper and with embossed green goat suede a single sheet of 12 haiku by the author / artist, flyleaves. Book is affixed on red wood stub to allow for completely flat printed letterpress from polymer plates by him opening of silkscreen print by Sam Gilliam. Original paper wrappers in in Cheltenham Book and Bold on a Vandercook brown bound in along with the prospectus; housed in a custom-made Universal 1 in green ink at Maine Media Work- clamshell box. shop. The 12 accompanying prints were cre- This handsome publication from Walter Hamady’s Perishable Press is ated monoprint style with loose registration using set in Palatino and printed in red, black, navy blue & yellow; the titlepage natural leaf and tree stencils on glycerin and gelatin display is Open Kapitalen and Augustea filetta. Sam Gilliam’s vibrant plate, with the exception of the fish which was a silkscreen centerfold captures the energy moulded impression. The nature / monoprints were of a pulsar - as does Ms. Curry’s lovely accomplished in Speedball Water-Based Printing binding. She writes that her goal was to Ink. The haiku - as well as the monoprints - explore compliment the silkscreen as well as re- the life of a leaf from birth to death and back again. flect some of Lewis’ references to astro- Changing seasons, long of interest to the author / physics. The Perishable Press prospectus artist, are exemplified by trees and the leaf as a calls this book a “tactile event” and it symbol of that change. With THE LIFE OF A LEAF, appears to be even more so with this the reader / viewer follows nature’s cycle in word manipulated and distressed suede binding. PP#65.(10704) and image with the guiding aesthetic of Richard Reitz Smith. (11273) 22. Verdigris Press. Judith Rothchild. Monica. Gravures de 20. Segaloff, Jean. Women Sing Jazz. Cambridge, MA: 2017. Judith Rothchild. Fragments de Degas Danse Dessin par Paul $1,500 Valery. [Octon, Artist’s book, one of 4 copies, all on BFK etching paper for hand-colored France]: Verdigris drypoints and computer Graphix Plastic Matte Film for text, signed by the Press, [2016].$1,700 artist / author, Jean Segaloff, on the Introduction page and hand-numbered. One of 5 copies from a Page size: 6-7/8 x 10 inches; 26pp. including original colored etching as total edition of 12, all on frontispiece portrait, titlepage, Introduction (artist’s statement / colophon), BFK Rives tan paper. Page Table of Contents, Text with brief biography of each singer followed by size: 9-7/8 x 6-¼ inches; colored etch portrait of 10 jazz artists. Bound by Erin Fletcher of Herring- 16pp. Bound by Mark bone Bindery: brass grommets fastening pages between black cloth cov- Lintott accordion style, ered boards - as in a photo album - with original drypoint on front panel (The boards and Rothchild’s

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] hand-made pastepaper, rose dots scattered on tan ground with occasional the apple’s stem. Both the author, Marie Rouanet, and the artist have signed indigo dots; housed in custom-made paper over boards clamshell box, paper the colophon page. on box has more blue than that on panels of book; title, artist, author, Ms. Rothchild’s mezzotints of these fruits are mysterious - dark and publisher on spine, title repeated on front cover of box, Hand set and printed velvety - and beautifully intriguing. This subtle book is exceptionally well- in Vendome type on an 1867 Albion press by Mark Lintott. Ms. Rothchild’s thought out and works admirably as a whole. (11260) elegant drypoint etchings were inspired (the colophon reveals) by her sketches of her model, Monica. While a study of the female nude figure is 25. Verdigris Press. Rouanet, Marie. Les Fruits Defendus a departure from her usual books, Judith Rothchild succeeds admirably. The (Forbidden Fruit). Ten poems and Ten Mezzotints by Judith intimate views depicted here are a match for those of her more frequently- Rothchild. [Octon, France]: Verdigris Press, 2016. $2,200 encountered still-life compositions. (11256) One of 10 regular copies, from a total edition of 20 copies, all 20 on Hahnemuhle paper for 23. Verdigris Press. Judith Rothchild. Monica. Gravures de the mezzotints and Judith Rothchild. Fragments de Degas Danse Dessin par Paul Rives BFK for the text. Valery. [Octon, France]: Verdigris Press, [2016]. $2,200 Page size: 15 x 13-¾ One of 7 deluxe copies with an original copperplate from a total edition of inches; plate size: 7-¾ 12, all on BFK Rives tan paper. Page size: 9-7/8 x 6-¼ inches; 16pp. Bound inches square; 20pp. + by Mark Lintott ac- colophon and titlepage, cordion style, boards dedication by the au- and Rothchild’s hand- thor and frontispiece. made pastepaper, Bound: loose as issued housed in custom-made green paper over boards rose dots scattered on slipcase by Mark Lintott; paper label on spine with title and author and tan ground with oc- artist’s names. The front panel has paper that is an original silkscreen of casional indigo dots; apples in a darker green than the light green base. This design is repeated housed in custom- on the frontis with the apples in light green on the light grey of the Rives made paper over BFK. See above for further details. (11261) boards clamshell box with original copper 26. Verdigris Press. Whitman, Walt. Poems for Democracy. laid into the inside Three Poems by Walt Whitman. [Octon, France]: Verdigris front cover of box, paper on box has more blue than that on panels of book; Press, 2017. $800 title, artist, author, publisher on spine, title repeated on front cover of box. Limited edition, one of 30 copies, with two original mezzotints by Judith See above entry for additional details. (11255) Rothchild, all on Hahnemuhle paper, each signed by the artist, Judith Rothchild and the printer, Mark Lintott. The text is hand-set letterpress in 24. Verdigris Press. Rouanet, Marie. Les Fruits Defendus Vendome romain and printed on a Vandercook No. 4 by Mark Lintott. Page (Forbidden Fruit). Ten Essays by Marie Rouanet and Ten size: 7-½ x 10 inches. Bound: leporello style with boards at either end Mezzotints by Judith Rothchild. [Octon, France]: Verdigris covered in paper silkscreen printed by the artist, matching slipcase, binding Press, 2016. $2,700 and case by Mark Lintott. One of 10 deluxe copies, each copy with an original copperplate of one of Three poems by Walt Whitman, selected by the artist and printer to the 10 “forbidden fruits,” from a total edition of 20 copies, all 20 on mark the inauguration of the 45th president of the United States: “To the Hahnemuhle paper for the mezzotints and Rives BFK for the text. Page size: States,” “Long, Too 15 x 13-¾ inches; plate size: 7-¾ inches square; 20pp. + colophon and Long, America,” and titlepage, dedication by the author and frontispiece. Bound: loose as issued “For You O Democ- housed in custom-made green paper over boards clamshell box by Mark racy,” are included Lintott; paper label on spine with title and author and artist’s names. The herein along with two front panel has paper that is an original silkscreen of apples in a darker green mezzotints of a than the light green base. This design is repeated on the frontis with the sleepier America. apples in light green on the The first and second light grey of the Rives BFK. poems offer a dark Fruits included are: pear vision; the third of- cactus, zucchini blossom, fers a Utopian vision pomegranate, almond, wa- of the perfection of a democratic nation. With these three short selections, termelon, star fruit, the reader quickly understands why Walt Whitman (1819-1892), celebrated pattypan squash, Japanese American poet, is relevant today. (11262) persimmon, durian, and bitter cucumber. Marie 27. Vollmann, William T. The Book of Candles. Sacramento, Rouanet’s graceful essays CA: Co-Tangent Press, 2006. $30,000 on the unusual fruits de- Artist’s book / First Edition, one of 10 copies, each signed by the author / picted herein are intellec- artist, William T. Vollmann on a page of the text as well as in the box housing tually playful, as befitting the book. Page size: 19 inches x 16 inches; 75pp; (2pp. per folio sheet, 32 the double entendre title. sheets in all + 2 unnumbered double-page spreads). The text is a suite of Mark Lintott has printed eight religious and blasphemous love-poems to prostitutes and was com- the text in Vendome romain posed in the Philippines in 1995 and relief-printed on Rives de Lin paper by on a 1934 Vandercook the author over a period of years (1997-2003). The text is previously press in light grey, with the unpublished and there are no immediate plans to publish the poems in any page numbers debossed in blind on the bottom of the text pages. The other edition. The text blocks were photo-etched magnesium plates as were colophon is shaped - an apple with the title, LES FRUITS DEFENDUS, as some of the illustrations. Other illustrations were woodcuts done in Thailand

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] and Cambodia on Chinese ulo Pop-Up Fan Structure wood. These were colored a la poupee and further hand col- 28. Wascher-James, Sande. Equal Pay Day. Whidbey Island, ored with watercolors and acryl- WA: 2016. $2,500 ics. Housed in a sailcloth-cov- Unique artist’s book, fan structure using Turkish Map Fold units of various ered basswood clamshell box hand-made and commercially-made papers, all printed in various shades of which the artist / author has green, some floral, some geometric, all beautiful, signed by the artist on the painted, collaged with hand- front panel in painted woodblock prints, and gold, Sande suitably adorned with gewgaws. Wascher- The outside dimensions of the James, with the box are 31 inches high x 24 title and date. inches wide x 2.5 inches deep. Book size: 24 The woodcut image on the un- inches long x 5 derside of each box is different. inches wide x 10 Four Japanese “doughnut hole” inches high coins have been screwed in to the underside of the box to comprise when unfolded. protective feet. Inside each box, a narrow channel, collaged with painted Housed in green paper, runs around three edges, leaving the spine side open. Within this are cloth over set two wooden corner blocks mounted with selenium-splotched flower- boards box with engraved brass plates, a strip of painted walnut engraved with a print of a lid, box is square. female nude, two engraved beeswax candles on engraved brass supports Lid collaged wrapped round with brass wire. Even the brass screws of these assemblies with paper-doll are engraved and rubbed with oil-based ink. On the inside of the spine are figures of women in white holding up signs reading, “Every Day Should Be one engraved and inked aluminum plate and one engraved and inked brass Equal Pay Day” and “Equal Pay Now.” These same paper dolls with their arms reaching upward with their messages are inserted in the map-folds of the book. The signs held up by the paper dolls are double-sided and fastened to their hands by green thread. A stunning structure - beautifully executed - making the point with skillful enthusiasm. (11264)

29. Wascher-James, Sande. Still Needed. Whidbey Island: 2016. $950 Artist’s book, one of 10 copies, all on Stonehenge paper for the text (digitally printed) with collaged color photographs of the 8 women and stamps which are on Canson Infinity Rag Photographique, with additional collages of light purple Liberty Lawn fabric; signed and numbered by the plate which is signed and numbered. This is certainly the most labor- author on the colophon. intensive project undertaken so far by William T. Vollmann’s Co-Tangent Bound: accordion style, Press but it is also the most beautiful. William T. Vollmann, awarded the light purple Liberty National Book Award in 2005 for his novel, EUROPE CENTRAL, has Lawn fabric over boards at ends, front panel with cut-out and half-tone created a book unlike anything else we’ve image of vintage photograph of two women marching in women’s rights seen. The box and the woodcuts are hand- parade ca. 1890, housed in blue cloth- painted as well as printed making each over-boards lidded box with same copy of the book unique. The naive aspect image repeated on lid of box and the of the art of this “journal” brings to mind title printed in black on the image, Gauguin’s NOA NOA, which was a book with collaged bit of fabric at upper 1 for the 19th century. This is most definitely right corner. Page size: 8- /8 x 5-¼ a book for the 21st century. Using the inches; 18pp; including front and rear sexual metaphor of male subjugation of turn-ins. The text includes the Equal women for the West’s exploitation of the Rights Amendment from 1943 (called more “primitive” East, Vollmann creates the Alice Paul Amendment) as well imagery that we ignore at our peril. The as the 1922 Lucretia Mott Amend- beauty of the prints, which includes the ment and the note that the ERA was vibrant colors, lead the reader / viewer to introduced into every session of Con- understand that a less sophisticated life has a beauty that cannot be gress between 1923 and 1972, when extinguished.(9851) it was passed and sent to the states for ratification. It has been ratified by

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] 35 states, leaving it 3 states short of the 38 needed for ratification. It has been a page spread along with text associated with their work for women’s rights reintroduced into every Congress since that time. The eight women who are and a postage stamp image - Wonder Woman for Justice Ginsburg and featured on these pages are closely associated with the cause of equal rights Patricial Arquette. STILL NEEDED, the book’s title refers to Alice Paul’s for women. Included are: Abigail Adams, Elizabeth Cady Stanton and Susan statement, “We shall not be safe until the principle of equal rights is written B. Anthony, Shirley Chisholm, Alice Paul, Hillary Rodham Clinton, Ruth into the framework of our government.” STILL NEEDED? Now more than Bader Ginsburg and Patricia Arquette. Each of their images is collaged onto ever! (11263)

Last Minute Additions

Owen, Jan. We Hold. Belfast, ME: 2017. $3,500 Davidson, Laura. Wanderlust. Boston, MA: 2017. $900 Unique artist’s book, all on Cave handmade paper, Fairchild and Lama Artist’s book, one of 18 copies, all on Magnani Pescia paper, signed by the Laid papers, as well as painted Hollytex, with paste paper, signed by the artist. Page size: 2-inch circle; 18pp. Bound: by the artist, tied with ribbon, artist, Jan Owen, and dated. Page size: 14-3/8 x 11 inches; 3 signatures housed in hand-made box covered in paper with print on lid; bottom of box with inserts. Bound: by the artist, Jan Owen, in boards covered with paste is a copy of a farthing, made from covering a penny with paper layers, then paper with Coptic-style sewing, housed in custom-made cloth over painting and burnishing to get effect of coin. The pages are hand-colored boards clamshell box. Lettered in Sumi and walnut ink and acrylic, the text letterpress prints, drawing of constellations with 24c. gold leaf, and a is the Preamble to the United States Constitution and all the Amend- silverpoint portrait of the artist’s father, a view of the Panama Canal, and ments. The center signatures are those amendments which concern a map of Europe, prints of drawings done by the artist’s father while in the voting rights: the 15th, 19th, 23rd, 24th, and 26th. These beautiful words army. On the reverse, the maps are in ink and wash. The text reads, “I are beautifully presented by the artist - with the admonition in both black recall my father immersed in a world atlas, imagining himself walking and white, “VOTE.” (11274) every foot of terrain. As a young soldier he sketched the Panama Canal from his troopship and drew maps of Europe. When traveling he faithfully considers each itinerary in the guidebook. At 86 he is still planning... He calls his obsession wanderlust. The word has meaning beyond geography. It is a passion for life, much of which is terra incognito, without reservation.” A marvelous, tiny treasure, a tribute to the artist’s father and to the curiosity that makes life so rich. (11275)

Priscilla Juvelis, Inc. (207) 967-0909 [email protected] We will be exhibiting at the New York Antiquarian Book Fair 2017. Please visit us in Booth A3.

March 9: 5-9pm ~ March 10: noon-8pm March 11: noon-7pm ~ March 12: noon 5 pm

Park Avenue Armory at 66th Street New York, NY

Item #28

Terms of Sale: All items are subject to prior sale. Payment should accompany order unless credit has been established. Mastercard and Visa accepted. ME residents please add 5% sales tax. Institutions may receive deferred billing. Posting is additional: $10.00 for the first item and $5.00 for each additional item. All items are guaranteed as described and may be returned for any reason, with notice, within seven days of receipt, providing they are in the same condition as when shipped. Please call in advance of a return.

Priscilla Juvelis, Inc. 11 Goose Fair Kennebunkport, Maine 04046 (207) 967-0909 [email protected] ~ www.juvelisbooks.com

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