last 24 hours
last 7 days
last 30 days
older than 30 days

Priscilla Juvelis Inc.

Vanishing Ice

Vanishing Ice

Segaloff, Jean Artist's book, one in a series of three, all on various papers including BFK Rives etching paper for hand-watercolored drypoints and computer Graphix Matte vellum for text, drypoints mounted to black paper by KOLO with black ribbon at interior edge, signed by the artist, Jean Segaloff, and hand-numbered on the artist's statement page which is bound in the front, serving as titlepage and introduction as well. Page size: 12 x 10.5 inches; 32pp; 16 of which are printed on or etched. Bound by the artist, Jean Segaloff: blue cloth over boards fastened with steel screws at the left edge as in old-time photo albums; hand-watercolored drypoint mounted on yellow cloth collaged to middle of front panel, blue and white dot Chiyogami Japanese endpapers, housed in black cloth over boards clamshell box with label printed in black on blue paper collaged to spine, box by Allie Rosenthal The artist's inspiration comes from the disappearance of icebergs in Western Antarctica. She notes that "differences in shape, color, structure and texture create an alternative form of sculpture. Seen from below, the icebergs, secured by their own weight, look almost muscular.The arts are an alternative way to document the existence of vanishing ice." The artist has created nine hand-watercolored drypoint etchings of icebergs from a variety of perspectives and in entrancing blues and greens. Some are viewed from below and appear gem-like. Others are depicted from above the waterline while others are abstract renderings of free-floating chunks of a broken iceberg. The artist notes in the text for one etchinh that glaciers from East Antarctica's Amery Shelf collect a fine powder of iron ore as they flow over bedrock towards the ocean. The sediment mixes with the reflected blue ice causing the icebergs to appear green. The jewel-like etched images provoke a mixed response: pleasure at the beauty depicted and despair for our vanishing world. This is a lovely depiction of one of nature's wonders while serving as a warning to mankind.
Interval

Interval

Jackman, Sandra Artist's book, unique, mixed media including pen and ink drawing, hand-lettered text, collaged hand-paintings as well as a few images from comic books collaged, all on blue paper, signed by the author / artist, Sandra Jackman, and dated on the titlepage. Page size: 3 x 3.5 inches; 57pp. Bound: by Fine Bindings in black and blue cloth over boards the spine solid and the boards covered with a painted blue fabric, both panels and spine covered with collaged hand-painted paper panels with text in red, white and blue strips, small head of an animal at the bottom of the front panel cut from leather between the red and white painted and lettered paper strips; blue and white headbands, housed in cloth drawstring bag decorated with a grove of trees with title lettered in white ink for carrying. For display, a glass and brass hexagon gazebo 12 inches in diameter and 7.5 inches tall, in which the book stands, is an elegant house for the book. The gazebo has a chain at the top with a small un-removable paper scroll, along with a tiny silver fly, also dangling from the chain, the scroll written in gold ink, containing a quote by George Santayana, which is inaccessible - adding to the mysterious ambience of this book / book object. The artist's statement tells us that INTERVAL is " the gap between the scene and seen and is created for a visual / silent reading, the text and the setting may or may not agree. There is no light to light the way. The conversations, observations and setting are represented on a commercially produced blue paper.symbolic perhaps of what can occur out of the blue." The artist's suggested summary, Other readers may have other ideas.unrelated, Dissonance is the theme and division is the game; absurdity is the result. A graphic novel for our times.
Autumn: Still the Garden Glows. Excerpts from AN ISLAND GARDEN

Autumn: Still the Garden Glows. Excerpts from AN ISLAND GARDEN

Leavitt, Nancy Ruth. Thaxter, Celia Artist's book, unique, from a series with excerpts from Celia Thaxter's AN ISALND GARDEN, (reflecting the noted poet's garden in Spring and Summer) on Arches text wove, signed and dated by the artist, Nancy Ruth Leavitt, with the notation that this is her 121st manuscript book. Page size: 12 x 9 inches; 30pp. 24 of which are painted in watercolor and gouache. The previous two titles in the series were slightly larger as befits the longer seasons they represent. Bound by the artist: handsewn in Katie MacGregor handmade paper wrappers on which the artist has painted three large green blooms; housed in custom-made light green cloth over boards clamshell box with label and painted by the artist in greens and oranges - each letter a variant color. The text is, as with the two previous volumes, taken from Celia Thaxter's last book (she died the year the book was published) and according to the important American bibliographer, Jacob Blanck, it was "one of the most elaborate pieces of bookmaking of the period" featuring cover and page design by Sarah Wyman Whitman and chromolithographs after paintings by Thaxter's friend and guest on Appledore Island, Childe Hassam. Nancy Ruth Leavitt has chosen to interpret Thaxter's text through the flowers the poet describes so lovingly - with smaller amounts of text - scattered below, above, and beside the major "event" of each page: the flowers. This is the exact opposite of the first edition of Thaxter's important book where the text is first and foremost, highlighted by single stalks and single page chromolithographs of Hassam's renderings of the landscape of Appledore Island, the gardener and some of her garden. Ms. Leavitt's dizzying, exuberant images of flowers are a perfect reflection of the prose: "the clumps of wild roses glow with the red haws in the full light" and "goldenrod and wild asters bloom and a touch of fire begins to light up the huckleberry bushes." The last quote included by Ms. Leavitt signals the closing down of the summer garden until the following spring: "Autumn laying here and there a fiery finger on the leaves." This is lettered in oranges and greens on a vertical above the bold image of greens tipped with orange and red slanting down to the bottom of the last page. Although we are saddened to see the end of the growing season, we know it will return, and until then we have the inspiring images created here.
Au Moulin Rouge

Au Moulin Rouge

McCallion, Barry Artist's book, unique, on cream wove Richard de Bas paper, signed on the colophon by the artist. Page size: 13 x 10 inches; 18pp. Bound by Joelle Webber: Leporello style, in blue boards over cloth with red and black frieze by the artist inset into the front cover, the subject the familiar Toulouse-Lautrec dancers, housed in custom-made red cloth over boards clamshell box with the blue white and red of the French flag painted in acrylics on the front panel by the artist. Barry McCallion notes in his colophon that he has "lifted images from several Toulouse-Lautrec posters.reduced his figures to outlines, and filled the now abstracted forms with acrylic colors." He adds, "In order to convey the excitement of the cancan and the heady energy of performance, I rotated figures and overlapped lines and forms. I also scattered a 'confetti' of small cutout pieces over the pages, hoping to render the cancan's assertive sound." While the title of this book mimics the letter forms used in the Toulouse-Lautrec posters as well as the images, this is a completely new "cabaret" with an audience in black silhouette peering down from the top or peering up from the edge of each page. This is a deconstructed theater stage with the performers moving through space and time - running into each other but not stopping the flow. McCallion has created a two-dimensional object that seems to move, capturing dance, and moving us through time. A beautiful book.
Travelling/Gabberjabb No. 7 Travelling or NeoPostModrinPreMortemism or Dieser Rasen ist kein Hundeklo (II) or Interminable Gabberjabb Number Seven

Travelling/Gabberjabb No. 7 Travelling or NeoPostModrinPreMortemism or Dieser Rasen ist kein Hundeklo (II) or Interminable Gabberjabb Number Seven

Perishable Press. Hamady, Walter One of 125 copies on various papers (hand, mould and machine-made) signed by the artist / author, several times including initialled on pink Shadwell below ear tattoo - so labeled in white pencil; Permission page signed by Mary Lydon and notarized by Anna Hamady, to quote from Lydon's essay, "The Book as the Trojan Horse of Art." Three page essay "The War of the Footnotists and Endnotists" is signed in pen by the author, Kenneth Bernard, at its conclusion; three hand-written pages of artist friends' names and addresses, Page size: 10-1/4 x 7-1/4 inches, 154 pages. Bound by the printer / publisher / author / artist: old paper maps over boards (no two alike), this map of the Little Platte and Platte river near Paris, Iowa, green cloth spine, marbled endpapers. Pages are printed, collaged, rubber stamped, drilled, notched, pigment patterned, (ticket) punched, grommeted, scribed, ear tattooed, drawn, camouflaged or time clocked. The printer/publisher/author/artist tells us that this No. 7 GAEBBERJABB also involves, ".iconoclasm/craft, art/daily life and sophistication grounded in physiology and earthiness.a reflective vehicle in its ability to break and intersect narrative lines, play with syntax, integrate found materials, convey enigma, paradox and information all at once." An astonishing book, a masterpiece of printing and design.
The Floorshow at the Lapin Agile

The Floorshow at the Lapin Agile

McCallion, Barry Artist's book, unique, all on cream Richard de Bas wove paper, signed and dated by the artist, Barry McCallion, May 2019. Page size: 13 x 10 x 1-1/4 inches; 12pp. 10 of which are painted and/or collaged. Bound by Joelle Webber: leporello style in red cloth over boards with hand-painted three-dimensional collage by the artist, Barry McCallion, on front panel of woman dressed in blue leotard with multi-color tights and scattered "dots" and "dashes" surrounding her (think sparks of electricity generated by her) on cream paper ground.; housed in blue cloth over boards clamshell box with title lettered in black on cream paper on spine. Barry McCallion has used India ink and acrylics on paper as well as the "architectural" elements cut from board and painted with India ink colors. He adds in the colophon that in the early days of the Lapin Agile there was Frede the owner with his guitar (appearing in Picasso's brilliant 1905 oil painting "Au Lapin Agile.") The floorshow is entirely in the imagination of Barry McCallion - as are Diego and Zapoteca. These imaginary entertainers (dancers? acrobats?) move across the brightly painted pages in equally vibrant costumes, soaring above one another as well as tumbling below. The bold "blue" painted patches seem to serve as curtains for the stage; the moving figures on yellow and orange and maroon ground manage to convey fast-pace and exciting show. Unbroken grey borders at the top and bottom of each page further create the sense of a stage and show. The "architectural" dancing figures are marionette-like in form, again conveying the idea of motion in all directions. When the book is fully displayed, the panorama created by the artist is splendid, catching the gaiety and passion that one associates with Montmartre in the early 1900's. A most exciting book - full of the joie de vivre of Montmartre.
Jazz Legends

Jazz Legends

Maurer, Paul. Armstrong, Louis Artist's book, one in a series of two, all on Strathmore "Printmaking" paper for the text and Stonehenge paper for the black titlepage, signed by the artist, Paul Maurer, and hand-numbered in pencil on the colophon. Page size: 12 x 8 inches; 12pp. Bound by the artist: leporello style with front cover in gold Fabriano "Cocktail Paper" and hinges of Thailand Kozo decorated with ink splatters; housed in protective envelope of black printed and collaged Srathmore cover stock, interior grey and white pastepaper, inside is a brown protective cover with collage of remnants of damaged flags found in 1996, inside panel collaged with damaged flags and the text of emotionally wrenching Civil War dirge by Walt Whitman, "Come Up from the Fields." The Whitman poems included are "This Dust Was Once the Man.", When Lilacs Last in the Dooryard Bloom'd.", "Quicksand Years", Long, too long, America". The Dickinson poems included are "The Battlefield" and "The Forgotten Grave." The images included are pulled from 100-year-old metal plates printed on a Blick tabletop etching press. The artist has embellished some of the etchings using acrylic ink and paint. He has also used metal Dingbat stamping as well as Peerless watercolor sponge painting on the pages. The calligraphy is accomplished in Sharpie markers and Speedball metal pens, mostly blue with red highlights and black headers. The art and text convey the chaos and destruction of the American Civil War. The words of Whitman and Dickinson are highlighted and the reader / viewer somehow overcomes a profound sadness and is reconciled with the loss.
Le Bateau ivre by Arthur Rimbaud

Le Bateau ivre by Arthur Rimbaud, Translated by Samuel Beckett

McCallion, Barry. Rimbaud, Arthur Artist's book, unique, on Richard de Bas cream wove paper, signed and dated by the artist, Barry McCallion, on the colophon. Page size: 13.25 x 10.5 x 2.5 inches; 48pp. Bound by Joelle Webber: gray cloth over boards the 6 signatures hand-sewn into blue wrappers which serve as endpapers and flyleaves, front panel with manipulated photographic images of author, Arthur Rimbaud, and the translator, Samuel Beckett, shown at an age older than 32, his age when translating the 17-year old Rimbaud's magical verse, title printed in black script on cream label on spine, housed in custom-made matching tan cloth over boards clamshell box with title printed in black script on spine. The artist has written out in black ink Rimbaud's verse in the original French, covering four pages, followed by 33 pages of painted, lettered, and collaged text and design, the rectos in the original French and the versos in Beckett's translation. The last four pages contain the hand-lettered Beckett translation; the printed colophon follows. The collaged, painted, and lettered pages are on a deep maroon acrylic ground surrounded by bright orange frame. The text is deconstructed (literally), as are various bits of the boat (the narrator), sea, sky, and images from the poem - "yellow-blue alarum of phosphors" for example. Each page is highlighted with metallic inks in silver, gold, pewter, copper, steel, etc. adding to the drama. The blue and yellow (phosphor) elements are all on 1/8 inch carved, collaged boards, some forming boards and masts, others the sea or storms. The reader / viewer has the impression of following the movements of a very unnerving, unstable vessel - Le Bateau ivre / The Drunken Boat. Rimbaud's vision is well served - as is Beckett's translation. The pages shine and glisten as we follow the words of impending destruction and are caught up in the whirlpool that is the author's vision.
Woods / Pages

Woods / Pages

Curry, Colleen (binder) MillAr, Jay Unique designer binding by Coleen Curry on letterpress edition of WOODS / PAGES, poem by Jay MillAr, designed and printed by Jason Dewinetz on Rising Bristol Vellum paper, in an edition of 126 (100 numbered and 26 lettered copies), each signed and numbered by the printer / designer, Jason Dewinetz. Page size: 5-3/4 x 8-3/4 inches; 18pp. Bound: by Coleen Curry in double flyleaf binding with initial sewing on wooden stubs allowing the book to open flat; parchment slats on outer flyleaf; cover created with sanded and polished Stone (Slate) Leaf (laser cut thin) titled in gold with gold design of branch on front and back panels, with gold staples, wooden clasps, parchment and Japanese papers; signed in inside rear turn-in with binder's chiffre stamped in gold gilt; original tan printed wrappers bound in decorated with tree branch extending across front cover and onto turn-in, branch designed repeated on colophon; housed in matching portfolio in design; custom-made tan cloth over boards clamshell box with title and binder printed in black on green label on front, black gros-grain ribbon pull, green suede lining. The poem is set in Scala with Celestia Antiqua for the titling. The original wrappers (bound in) are Canson Mi-Teintes, with a handmade Tibetan flyleaf in drab gold. All is in harmony with the verse: ".that crackle trees half empty of leaves crackle" and "To listen to the wind is to see / a love." Jay MillAr is a Toronto poet, editor, publisher, teacher, and virtual bookseller. A long-time fixture of the Toronto writing and publishing scene, he is one of Canada`s voices of authority and risk on innovative, experimental, contemporary poetry. Coleen Curry's sensitive, organic binding was selected for inclusion in the Guild of Bookworkers exhibit, "Vessel."
Homeostasis. Body Mind Image Word. Texts by Charles Dickens

Homeostasis. Body Mind Image Word. Texts by Charles Dickens, Holy Bible, Dies irae from Requiem Mass, Milton, Henry Vaughan, Gerard Manley Hopkins, Kumagai Naoyoshi, Tao te Ching, Mitchell trans. Ryokan, Tagliabue, Lao Tsu, George Herbert, Petrarch, Rilke, Walt Whitman, Robert Frost, Proust, Wordsworth, Siegfried Sassoon, Emily Dickinson, Yeats, Auden, William Stafford, Neruda, John Muir, Northrop Frye, Lowry Burgess, Ferlinghetti and William Blake

Owen, Jan Unique artist's book, on Vinzani handmade paper, signed by the artist, Jan Owen, and dated on the colophon. Page size: 12-1/4 x 9-3/8 inches; 40pp. Bound by the artist: Coptic sewn binding; boards with burl and birch veneers, laminated onto Masonite; tan linen thread, front panel with label lettered "Homeo" in gold on black paper label followed by "Stasis" in black on white paper label; housed in black cloth over boards clamshell box, black and white label design repeated on spine and front panel; with printed text in hand-sewn cream wrappers laid in, signed by the artist, Jan Owen, on the colophon. Lettered in sumi ink and acrylic, it is painted, has Tyvek weavings, painted black pages alternating with the cream of Vinzani, and all pages (not French fold) are double, hand-sewn together with small stitches or crosses along the edges; geometric diagrams (the golden mean and Leonardo's Vitruvian Man for example which is later revisited as a digital creation) alternate with dense lettering which sometimes reads vertically and sometimes horizontally. In all cases the text is shaped into pleasing as well as challenging page designs. The textured Tyvek weavings are serious design elements in the pages of lettered texts, whether it is black Tyvek, white, or gold. The artist includes a definition of homeostasis as a tendency of stable equilibrium between independent elements - letters as they convey meaning through words as well words grouped into pleasing shapes. Included is Lawrence Ferlinghetti's prescient poem, "I Am Waiting" (1958) which could just as easily apply to the USA of today as that of 1958. Ms. Owen's artist statement explains that this book began with several sheets of old, burl veneer, the burls showing how the tree responded to stress or a fungus. She explains she started thinking about how our minds respond to stress, how we maintain equilibrium. She adds that she is "waiting for a rebirth of wonder." Who will synthesize AI and HOMEOSTASIS? She closes her texts with Emily Dickinson's "The brain is wider than the sky." and adds she is waiting to see the brain and AI at work "and waiting for the poetry to be written." With Emily Dickinson written in binary code as well as lettered, and Ferlinghetti lettered in white on black paper as well as black on white paper with geometric shapes floating over and under and around the text, the reader / viewer is caught up in the wonder of their words. This is a beautiful book and a provocative one, an artist's attempt to come to some sense of peace with the conflicting wills of the world.
Chemins de Traverse. Textes de Luc Bureau. Conception et illustrations Ghislaine Bureau

Chemins de Traverse. Textes de Luc Bureau. Conception et illustrations Ghislaine Bureau

Curry, Coleen (Binder). Bureau, Luc Unique binding on artist's book printed in an edition of 45 hand-numbered copies, signed by the artist, Ghislaine Bureau, and the poet, Luc Bureau, on Muguet du Moulin de Larroque paper. Page size: 6-1/2 x 9-3/4 inches; 48pp. Bound by Coleen Curry: full grey suede given a micaceous wash (giving suede its iridescence), split in half and then top pared by the binder, backed in sanded, straight-grain black goat skin which has been shaped into an articulated binding, pierced to allow red Japanese paper (which is an additional backing) to show through; black articulated leather turn-ins again allowing red paper to show through, black suede gardes, with 10 gold staples on spine; red wood dowels as yaps; red linen headbands, all edges silver-gilt palladium; Dutch (Zaan mill) - De Schoolmeester - handmade papers as endsheets, original wrappers bound in; housed in custom-made portfolio of stiff grey paper with red leather and suede spine at top and bottom, grey suede pull and edging. The text is shaped poetry (in French) by Luc Bureau. The design, featuring different typefaces and sizes, with intentional differences in leading, is a delight. This is shaped poetry taken to a new level - intriguing and provocative. Poems are about Canada, country and people. The five illustrations are printed letterpress in black and white with red and/or silver gilt embellishments. The title, CHEMINS DE TRAVERSE, may be translated as "Short Cuts" but it is clear that nobody associated with the creation of this book took one! The grey and white subtlety of this book requires close reading and is worth the effort.
Epiphanies. Interpreted by Susan Weil and Marjorie Van Dyke

Epiphanies. Interpreted by Susan Weil and Marjorie Van Dyke

FitzGerald & Co., Vincent. Joyce, James Artist's book, one of 65 copies only, 50 in the edition for sale and 15 Artist's Proofs, all on Moulin du Gue paper and Japanese papers, with 62 etchings, employing over 150 plates, original watercolors, collage and hand cutting, signed by the artists, Susan Weil and Marjorie Van Dyke on the stunning colophon page. Collage by Vincent FitzGerald and Zahra Partovi, etchings printed by Marjorie Van Dyke assisted by Maria Luisa Rojo at the Printmaking Workshop; lithographs editioned by Marjorie Van Dyke with 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 Carr and Julia Ferrari at the Golgonooza Letter Foundry. Page size: 12 x 14 inches; 94 leaves, 3 of which are double folds, one printed page loose as insert (Dreams section), two fold-out images (Death section). Bound: loose as issued in original wrappers in hand-made box by David Bourbeau at The Thistle Bindery in Japanese hand-made silk woven for this box, with incised line of Japanese tea paper showing profile of Joyce, this is in fine condition with absolutely no sunning of box spine, no offsetting from silver lining of box to titlepage, and no weakening of sewn threads in "Death" sequence, problem which often occur, Joyce's EPIPHANIES, the writings in his early notebooks that are the basis for his great works, had not been previously published. The EPIPHANIES are astonishing fragments of dreams, overheard conversations, and particles of experiences. In making the book, the artists and publisher divided THE EPIPHANIES into four sections: "Dreams," "Games," "Planes," and "Death." Each Epiphany is printed on a separate page with the page number printed in a different color. The four printed Introductions to the image sections each have printed on them, in the same color as the actual page number, all the page numbers that relate to that image section. Marjorie Van Dyke developed the images for the dreams and the games sections; Susan Weil developed the planes and death sections. These paragraphs and accompanying images take the reader / viewer through a series of Joyce's experiences as a boy, seeing and overhearing the world around him. Selected by the Independent Curators for the Franklin Furnace exhibition "Contemporary Illustrated Books" as one of the 50 best illustrated books from 1966-1988, it was also featured in the Boston Athenaeum exhibition, "Artists of the Book, 1988: A Facet of Modernism." This important book was sold out within six months of publication and is now infrequently available on the secondary market. It is hard to overstate the importance of this book in contemporary book arts. It is one of the first, if not the first, to entice the reader / viewer with texts and images that they must manipulate to fully see - something now a relatively common occurrence in book arts.