Priscilla Juvelis Inc.

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Here's a Letter from Our Dear.A Remembrance of the American Civil War. 1861-1865. 4 Volumes

Here’s a Letter from Our Dear.A Remembrance of the American Civil War. 1861-1865. 4 Volumes

Maurer, Paul. Emily Dickinson and Walt Whitman Artist's books, each unique, from a series of 3, this consisting of 4 individual books, 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. The disparate sizes, disparate bindings, various papers, all combine to reflect the rich variety of the American experience where almost every American suffered loss during this cataclysmic period in our history. Page sizes (smallest to largest): 6.5 x 5-3/4 inches; 14pp; 10-5/8 x 6 inches; 10pp; 11 x 7-1/4 inches; 8pp; 12 x 8 inches; 12pp. Bound by the artist: paper hinged folios; the next 2 leporello style with front cover in gold Fabriano "Cocktail Paper" and hinges of Thailand Kozo decorated with ink splatters; brown corrugated paper, and housed in protective envelope of black printed and collaged Strathmore 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." Some of 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. This artist's book (s) uses the words of Whitman and Dickinson causing a profound sadness in the reader / viewer. Yet, the art and words allow us to overcome the profound sadness and we are reconciled to the loss.
Under Ben Bulben

Under Ben Bulben

McCallion, Barry. William Butler Yeats Artist's book, unique, on Richard de Bas paper, signed by the artist, Barry McCallion, and dated 2019 on the colophon. Page size: 13 x 10 inches; 32pp; + titlepage and half title, tailpiece and colophon. Bound by Joelle Webber: the eight folios sewn into green boards with original painted label of the mountain Ben Bulben framed against a blue sky, blue label with title in white ink on spine; housed in custom-made tan cloth over boards clamshell box with blue label, title and author lettered in white ink on spine. W. B. Yeats knew that UNDER BEN BULBEN was to be his last poem. It is an assessing look at the art, politics, spiritual philosophy, history, love, and folklore that informed his creative life. He conjures up the ghosts of past artists, civilizations, religions in a whirlpool of verbal images, not the least of which is the last verse, inscribed on his tombstone, at the foot of Ben Bulben. The text is hand-lettered by the artist, Barry McCallion, in white ink, on blue Richard de Bas paper, which was then cut out and collaged to each page of the book, loosely fitted onto the center rectangle on each page which holds images of the mountain, Ben Bulben. Loosely brushed India ink colors fill the borders around the "text" block- not unlike the borders of early illuminated manuscripts. However, rather than the highly detailed, realistic images of flowers and animals that decorate early illuminated manuscripts, these are abstract creations in yellow and red on a gold gilt ground, often with a circular (if not vortex or gyre) theme. The reader / viewer is taken into the controlled confusion, to make sense of it or not. Looking away does not appear to be an option. Not an easy poem, Yeats has created multiple references to previous artists, mystics, and philosophers - seemingly to inspire the current generation as well as place himself squarely in a hallowed pantheon. He succeeds.
Typewriter Book III

Typewriter Book III, Black with Ribbons

Satin, Claire Jeanine Unique artist's book, from a series of at least 7, this book on black PolyShrink / shrink plastic (about the thickness of card stock), signed and dated by the artist, Claire Jeanine Satin, in black on the colophon which is a clear acetate card, 1.5 x 1 inch, affixed to book with black monofilament and black gromets and jet beads. Page size: 8.5 x 5-7/8 inches; 20pp; ten of which with polychrome unused typewriter ribbons (either red and black, white and black, blue and black, pink and black) four to a page, cut to specific lengths and the ink sealed to prevent any staining, the ribbons extending beyond the pages by 2 inches each, forming a fringes at the foredge. Bound by the artist: sewn black monofilaments laced through gutter with tiny gromet stops interior and exterior. Exterior filaments left long with 8 used typewriter keys attached to ends and each in varying lengths, one reproduction typewriter key (copy of antique manual key). Black mesh slipcase to hold closed book, black archival lidded box. The covers and interior pages have four lines of hand-written text in gold or silver ink, lines alternating with random typed letters on transparent acetate. The imagery on the pages is extracted from a 1939 workbook, ART TYPING which Claire Satin's father used in his typewriter classes when designs might be created by moving the carriage in various ways. The texts are all excerpted from the book "M" by John Cage, based on the number 13 and it's multiples, i.e. the first line of the 13th page and the 13th page of the book "M" "facilitating processes so that anything can" and "advance with whatever will happen". Claire Jeanine Satin, greatly influenced by the work of John Cage, has used the concept of "chance," "indeterminacy" and "multiplicity of answers" in her art. The typewriter, with keys that might also be struck at random as well as in order to compose text, is a natural subject for her inquiries into "chance."
Can't Not Look: Democracy in America

Can’t Not Look: Democracy in America

Lee, Beth Artist's book, unique, on ecru vintage John Green handmade paper, lettered in brown gouache and polychrome inks signed and dated at the penultimate page, "Beth Lee 2019." Page size: 7.5 x 4.75 inches; 52pp; 37 of which are lettered. Bound: by the artist, French link stitch codex with sewn-on covers, blue-grey cloth over boards with tan with blue-gray highlights cloth spine, hand-lettered label on ivory paper on inset on front panel, CAN'T NOT LOOK, marbled endpapers by Madeleine Durham in matching yellow-blue tones. . The author / calligrapher has selected texts from the writings of the presidents of the United States and organized them in three sections: Civility & Comity, Ethics & Equality, Dangers to Democracy and closes with a quote by Theodore Roosevelt, "This country will not be a good place for any of us to live in unless we make it a good place for all of us to live in." Each of the three sections contains two polychrome double-page fold-outs with the different lettering styles - not the elegant, restrained hands of the other selections. While no author is cited for these burlesques, it is Donald J. Trump, i.e. "Sorry Losers and haters but my I.Q. is one of the highest - and you all know it." There is no punctuation; rather the quotations are all run together in various colors, in various sized letters. The result is dizzying. Each of the previous presidents' words is in a different calligraphic size and style; yet the effect is calming and elegant, each page carrying same margins and name of author, number of his presidency and date of quotation running along bottom edge. The "punctuation" is the polychrome double-page fold outs - their chaos in sharp contrast to the restrained elegance of the other Presidents' quotations. The artist / calligrapher has offered no opinions, no commentary, but the reader / viewer is left in no doubt as to the current state of political discourse in this country. The title, CAN'T NOT LOOK, has two meanings: first that we have a duty to look to be informed citizens and second that we are unable to look away, mesmerized by the chaos.
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Water: Spirit and Politics

Cicale, Annie Artist's book, unique, on Rives BFK, signed and dated by the artist, Annie Cicale. Page size: 11 x 10.75 inches; 30pp. Bound by Jon Buller: black morocco and grey cloth over boards, pastepaper endsheets by Madeleine Durham, housed in custom-made grey cloth over boards clamshell box, with title lettered on white label in black on spine. WATER: SPIRIT & POLITICS is Ms. Cicale's statement - visual and written - inspired by the prints of Japanese master Hokusai, with texts selected by Ms. Cicale centering on the importance of clean water on planet Earth. She began with a steamroller print (allowing for large size) she created on masonite. The print was 3.5 x 3.5 feet and then cut down by the artist into these pages. The bold black and white steamroller print pages are powerful, lettered in a Neuland hand in either black or white gouache serving the texts that state facts about water and climate. The text blocks created on the print pages run horizontally as well as vertically, some framing the print as an "L" bracket, and some added to the print itself (in white they suggest the wave crests that appear on the lower half of the print). On the reverse of the steamroller print pages, Ms. Cicale has watercolored in shades of lavender, grey, and blue, abstract images inspired by the water shapes on the print on the recto. Over the watercolor images, she has lettered in pale grey additional selections. There is something suggestive of flowing water on the mauve-grey page spreads. Among her text selections are Loren Eiseley's, "If there is magic on this planet, it is contained in water" and Leonardo's, "Water is the driving force of all Nature." The texts and images drive home the theme of the necessity of water while the juxtaposition of black and white printed pages with softer watercolored pages keep the reader / viewer intrigued and wanting to turn the page.
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The Simple Science Kit

Maurer, Paul Artist's book, unique, on various papers including Arches, Canson, Strathmore, signed and dated on the colophon by the artist / author, Paul Maurer. Consisting of seven individual booklets, all assembled into one handmade file folder, resulting from the artist / author's creating similar booklets for some young friends. Page sizes: Biology 5-1/2 x 7 inches, Astronomy 6-3/4 x 7-3/4 inches, Math 7 x 7-1/8 inches, Alphabet 8-1/2 x 7-7/8 inches, Birds 9 x 8 inches, Insects 9 x 10, Fish 6-1/4 x 1013/16 inches. Bound by the artist: individual booklets accordion foldouts in hand-painted paper wrappers, each laid into its own hand-painted and hand lettered sleeve; housed in custom-made paper over boards clamshell box, 13 x 13 x 3 inches, front cover lined with painted and stamped papers collaged to form "quilt" of brightly colored images; bottom tray padded and lined with blue velvet, white and gold gilt ribbon pull, clamshell "quilt" housed in handmade green and orange corrugated cardboard box with painted label "THE SIMPLE SCIENCE KIT" collaged to center right of lid. The printing blocks for the papers were hand printed with water-based inks. The calligraphy was accomplished with metal pens and acrylic inks with metal dingbat stamping here and there. The booklet covers and pockets are decorated with gouache, acrylic and enamels. The box is a collage of various parts of the booklets: tripled coated with gloss acrylic varnish. The text in the booklets is basic: i.e. the alphabet in black and white wood type followed by the words "& now make words." Inspired by American Folk Art as well as American primers, this is a thoroughly contemporary interpretation. It will make you smile and maybe even chuckle. It is a charmer.
The Art of Red in Nature

The Art of Red in Nature

Bagby, Lisa G. Artist's book, one in a series of 10, with slight variations in each of the 10, all on Shin Toronoko White paper, signed and dated on the titlepage by the author / artist, Lisa Bagby. Page size: 8 x 6 inches; 20pp. Bound: by the artist / author, Lisa Bagby: accordion style (5 of the reverse sheets have images or text), grey cloth over boards as either end, front panel with tan printed label featuring drawing printed in red by Ms. Bagby and the title printed in black, THE ART OF RED IN NATURE, red and white string as tie with red carved plastic button at end, handmade pastepapers of light green and darker, brighter green and red "balls" at front and gold (showing a hint of green) and lavender blue with red "balls" at back. The artist / author has created all the artwork except for one computerized drawing and the postage stamps. Her drawings were reproduced then hand water-colored. The "virility" page was printed with linoleum blocks cut by the artist / author. The images of the cardinals are hand painted and hand collaged. The result is that each of the 10 copies is unique - variations in the brush strokes alert to the viewer to the hand work. The image of the red-eyed tree frog perched precariously on a slanted branch shows him ready to jump off the page. His bulging red eyes are matched by his large, red, webbed feet, and he is a startling sight. The author / artist takes the reader through some of the occurrences of red in nature and details its uses - with humor and sympathy and wonder at nature. The chicken page is charming - as is the page about cochineal. Funghi are not forgotten - the images jump off the page. In all, this is an homage to the beauty and ingenuity of nature. This charming book informs and delights - with a light touch and humor.
Uplift

Uplift

Wascher-James, Sande Unique artist's book, fan structure using Turkish Map Fold units of various hand-made and commercially made papers, signed by the artist on the front panel in white, Sande Wascher-James, with the title and date. Book size: 24 inches long x 5 inches wide x 10 inches high when unfolded. Housed in half blue cloth and half red cloth with ribbon band of red, white and blue paper dividing box, all over boards box with lid, box is square, and UPLIFT sits in it occupying two sides parallel to each other. inserted into five of the folded pockets is a cardstock cutout of a woman - with arms held low for the first two, arms at shoulder height for the next two and the middle insert is a woman with arms reaching overhead (as if in victory). The artist was inspired by the struggle for women's equality. Positioning the figure with arms overhead as the central figure, standing taller than the 2 figures with their arms at shoulder level clearly indicates that we have stood on the shoulders of those that came before. The interior of the box is half red and half blue cloth and it lined with he lovely floral-patterned red, white, and blue paper that is used to mark the join on the outside of the box of the red and blue cloth. The colors of the "fan" go from blue to red. Also contained in the box is a black cloth over boards stand on which to mount the fan. While there are no words in this piece, the intent is clear. Discrimination based on sex has been pervasive throughout history, but it cannot stop women from achieving their goals. The central figure, rising above the structure with arms raised in a gesture of success, is symbolic and powerful.
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O Excesso Mais Perfetto / L’exces le plus parfait. Poem by Ana Luisa Amaral. Translated to French by Isabel Meyrelles. Mezzotints by Judith Rothchild

Verdigris Press. Ana Luisa Amaral Artist's book, one of 20 copies (1 deluxe, 19 regular) all on grey and cream BFK Rives and Hahnemuhle for the mezzotint, each copy signed and numbered by the artist, Judith Rothchild and the author, Ana Luisa Amaral. Page size: 11.5 inches x 16.5 inches;10pp including colophon and a double-page mezzotint, signed and numbered on the verso in red by the artist, Judith Rothchild. Bound: loose as issued in custom-made clamshell box by Mark Lintott with tan cloth spine with crimson and grey silkscreen print of a rose brocade on spine and front and back panels, interiors trays of box fitted with same brocade screen print but with alternative colors (much bolder scarlet and crimson). Mark Lintott has printed the text of Amaral's wonderful poem in 24pt. Vendome romain on a Vandercook press. Titlepage with titles set in deep red and the author and artist's names in black. The printer also set the type and created the Portuguese accents so prevalent in the author's own text. Ana Luisa Amaral's poem starts (in English translation) "I wanted a tensely breathing, / immodest poem / with all the curvaceous elegance of baroque women.A poem Rubens would have envied." The poet goes on to cite what she did NOT want: "Something that went beyond the Greek ideals of equilibrium." The artist has responded with all the luxury that can be derived from a mezzotint still life: Rembrandt's perfect shell, an Allium, pottery, feather, and the rose brocade table covering used to such advantage in the screen prints on the clamshell box. This print is repeated on the verso of each text page - but each with color variations. Ana Luisa Amaral (1956-) is a Professor of Comparative Poetics, Feminist Studies, and Poetry at the University of Porto. Her first volume of poetry was published in 1999 and has been translated into English, French, Spanish, among other languages. She has been awarded Portugal's most important prize for poetry as well as the Italian Giuseppe Acerbi Prize. She is the author of over 12 children's books as well as a play. "The Most Perfect Excess" is a poem perfectly suited to the rich art of Judith Rothchild's mezzotints and screen prints.
Iceblink. Inspired by the Scrapbooks of Marie Peary Stafford

Iceblink. Inspired by the Scrapbooks of Marie Peary Stafford

Scanga, Carrie Artist's book, one of six copies, on Rives de Lin paper, each page a double - affixed to preceding page at spine and foredge, signed and numbered by the artist, Carrie Scanga, on the colophon, which is also the rear pastedown. Page size: 11 x 10 inches; 28pp. Bound by Martha Kearsley of Strong Arm Bindery, drum leaf style, white cloth over boards with "ICEBLINK" stamped in gold on front cover, white dust jacket on French paper, printed with title in gold gilt on spine. Printed letterpress by Scott Vile of Ascensius Press in 12pt. Bodoni. There are 13 double-page engravings, many of which have been overprinted with monotype stencils of elements / objects taken from the writings in Marie Peary Stafford's journals. The artist's statement notes that she spent a year immersed in the Journals of Marie Peary Stafford, daughter of Arctic explorer Robert Peary which are housed at the University of New England's Maine Women Writers Collection. Her focus was on Peary Stafford's 1931 journey to Greenland to build a memorial to her father's expeditions. The engravings are evocative of the icescape views of the north and are based on Peary Stafford's photographs. The everyday objects she carried with her (a ukulele and two coats, for example) make the voyage tangible. ICEBLINK refers to the perceptual phenomenon of white light reflected onto the underside of clouds close to the horizon from distant plains of ice. The resulting pages expose the reader / viewer to something of the rigors of Peary Stafford's voyage as well as the beauties encountered by her.
Water Is Life. Texts by Isak Dinesen

Water Is Life. Texts by Isak Dinesen, Sir Isaac Newton, Lao Tzu, et al. Also Annie Cicale

Cicale, Annie Artist's book, unique, on Rives BFK, signed and dated by the artist, Annie Cicale. Page size: 11 x 7.25 inches; 48pp. Bound by Jon Buller: black morocco and grey pastepaper by Madeleine Durham, also used as endsheets, housed in custom-made black cloth over boards clamshell box, with title lettered in black on white spine label. The book originated with a steam roller relief print about 3.5 x 3.5 feet, which the artist cut into pages adding words about water in a kanji script. Hand painted and hand lettered over, around and on the steam roller print, Annie Cicale has used gouache, watercolor and gold leaf to decorate the pages. As the steam roller broke down, the artists substituted a pickup truck to apply pressure - which proved inconsistent resulting in some pages with a grey tone and some of the sumi washes from the verso seeping through the paper giving it a wider value range. The texts are from a variety of sources, including the artist's own haiku in small letters on several pages. She has added kanji characters many pages; each of these is a word relating to water, tooled into squares of white gold. While a steamroller does not immediately come to mind as an agent of randomness, it certainly has functioned in this capacity in WATER IS LIFE. The pages are designed to capture the viewer / reader's imagination and provoke affinity for the message. Conservation of our planet is now the necessity.
Consequence. Poem by Susan Weiner

Consequence. Poem by Susan Weiner, Interpreted by Rosemarie Chiarlone

Chiarlone, Rosemarie Unique artist's book, poem hand embroidered with cotton thread on silk organza "pages" sewn to silk chiffon backing "pages", hand-written colophon laid into the box holding CONSEQUENCES, black ink on archival polyester matte film sheet. Page size: 14 x 14 inches; if displayed "unbound" with each page of verse hung separately, the wall would have to be 72 x 58 inches to accommodate the 28 pieces of silk organza. Bound: each piece looped on a masonry nail with hand-sewn "buttonhole" opening; housed in tan book cloth-over-boards lidded box by Ingrid Schindall, with masonry nail inserted in an indentation on the lid; the masonry nail inside the box on which the silk organza is hung is embedded in the base of the box. Text reads: "Single handed / Fascination / Hand on heart / waving blue / no doubt / just go / On board / piled high / sucking fumes / no more room / living the dream Butterflies flutter / free for / their short life / outside of / their cocoon / never mind / Consequences" Rosemarie Chiarlone has created a book of haunting beauty: ephemeral and elusive but still powerful. The text is hand stitched in red, sometimes one word per sheet, sometimes several words. The words are not arranged on each sheet in the same way; some read horizontal and some vertical and some on the diagonal. The diversity emphasizes the text. The text is a meditation on the plight of refugees around the world while the art emphasizes the ephemeral nature of life. Exhibited in "Spheres of Meaning" artist book exhibit at the Frost Museum at FIU.