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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.
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Roadkills. A Collection of Prose and Poetry. Illustrated by Alan James Robinson. Texts by John McPhee, Gillian Connelly, Gary Snyder, Madeline DeFrees, William Stafford and Richard Eberhart

Cheloniidae Press. McPhee, John First Edition, one of 50 Deluxe copies, from a total issue of 300: 50 Deluxe copies bound in quarter leather, with text printed on Sakomoto and the prints on Cha-u-ke plus an extra suite of the prints, signed by the artist and all of the authors; 250 regular copies with text on Mulberry paper, bound in paper, signed by the artist. Page size: 12 x 8 3/4 inches. Bound by Gray Parrot: quarter grey morocco with tire tracks blind tooled across spine and title in blind, matching black chemise with blind tooled tire tracks, all housed in grey morocco and black cloth clamshell box. Illustrated with 11 woodengravings (10 roadkills and one tire track/broken muffler as colophon) and one etching, the text was printed in red and black by Harold Patrick McGrath at Hampshire Typothetae in Bruce Rogers' Centaur and Frederick Warde's Arrighi which was hand set in 18 point by P. Chase Twichell. The artist explains in "On the Conception of Roadkills" that he had originally planned a portfolio without text of some of those animals he had encountered during his many drives to and from college. He adds, "Meanwhile, friends began to call my attention to writers who had also been inspired by the casualties of the highways: John McPhee, in "Travels in Georgia," and poets Madeline DeFrees, Gillian Connelly, Gary Snyder, William Stafford, and Richard Eberhart. Thus I began to conceive of ROADKILLS as a book, with images and text interwoven." And what a book it is -- the text in red and black on tan Japanese paper, the black woodengravings on a darker tan paper, red Japanese paper as preliminaries -- all making a powerful statement about "The Dead by the Side of the Road." This is the rare second book of the press; the deluxe edition with its extra suite and signatures of all the authors has long been out of print, in fine condition.
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Deep in the Yellow Woods

Morrison, Lois Artist's book, Artist's Learning Proof, of of 5 copies from an edition of 20 copies, plus 5 artist's proofs] all on French's Lemon Drop, Banana Split, and Shocking Yellow paper, plus a light yellow paper from Staples: white paper, Arches text wove, is sponge painted, all signed and numbered by the artist, Lois Morrison. Page size: 5-3/4 x 8-1/4 inches; 10pp. Bound by the artist: hand-sewn carrousel format, with brown polka-dot paper from Kate's Paperie over boards as endpapers, boards embedded with rare earth magnets and thin stainless squares which were cut by Julie Chen, title in black on yellow paper recessed on front panel, collage of pan pipes below title, multi-color cotton ribbon ties. A wonderful cut-out book, each doublepage spread with Ms. Morrison's fantasy animals dancing in the woods. The text reads, "Deep in the yellow woods the dance goes on / witch elephants lumbering in last. / Eve's snake still limbed / from before the fall joined them. / Even the great rabbit in the sky / came down to dance. / It made the yellow striped dog/ ecstatically happy. / Of course, the yellow goat / heard the pipes first." The text was printed with a Gocco printer in Viking-normal. The animals were Gocco-printed on left-over scraps and then gone into with acrylics, colored pencils and a pigma micro pen. The goat wears a tunic which bears the legend, "I yam a yellow goat." The cat and snake both have red tongues. The rabbit and the elephant are comely. Lois Morrison's fantasy poem and creatures are endearing and will surely bring a smile, if not an outright chuckle, to the reader / viewer.
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Fizzles / Foirades

Johns, Jasper. Beckett, Samuel Artist's book, first English edition, signed, limited edition, one of 250 copies, each with 33 original etchings by Jasper Johns (26 lift-ground aquatints, most with etching, soft-ground etching, drypoint, screenprint, and/or photogravure), 5 etchings (some with soft-ground etching and/or drypoint) 1 soft-ground etching, and 1 aquatint, 31 in black, 2 (endpapers) in color, and 1 lithograph (box lining) in color. Signed by Jasper Johns and Samuel Beckett on the colophon, all on hand-made paper by Richard de Bas, watermarked with the initials of Samuel Beckett and the signature of Jasper Johns. Page size: 12-15/16 x 9-13/16 inches; 62 unnumbered folios (including endpapers and excluding binding support leaves). Bound by Rudolf Rieser in Cologne, as issued, in paper wrappers accordion fold around support leaves, with colored etchings as endpapers, housed in tan cloth clamshell box with Johns' colored etchings in green, purple and orange laid down in the inside trays with distinctive purple silk pull visible when box closed. Set in 16pt. Caslon Old Face and hand printed by Fequet and Baudier in Paris, there are five texts by Samuel Beckett. They were first published in 1972 in French. In 1974 Beckett translated them into English for this edition and gave them to Johns. Johns arranged the stories' sequence and made the decision to include them in the original French and their English translation. Johns created the etchings and proofed and printed them by hand at Atelier Crommelynck in 1975 and 1976. The result is this stunning book which is a cornerstone of any modern livre de peintre collection. Beckett's texts, in English and French, provided Johns with "double" sets of names of objects (used in one of his paintings). They are shown as mirror images that have been translated. According to Riva Castleman in A CENTURY OF ARTIST'S BOOKS, page 214-215, they "combine the artist's interest in ready-made letters with the ambiguity of how they are used." This is a perfect copy with absolutely none of the offsetting that usually occurs in this book. Castleman, Riva. A CENTURY OF ARTIST'S BOOKS (1994), Hogben and Watson, FROM MANET TO HOCKNEY (1985), Stein, Donna. CONTEMPORARY ILLUSTRATED BOOKS: WORD AND IMAGE, 1967-1988,
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Quatre Fois Son Portrait dans les Etats-Unis d’Amerique. Four Portraits of Him in the United States. Bi-lingual edition with English translation by Joshua Watsky. Poem by James Sacre. Original Painting by Julius Baltazar

Curry, Coleen (Binder). Wequetequock Cove Editions. Sacre, James Artist's book, in a unique binding by Coleen Curryone of 30 copies with text printed on Velin d'Arche, the original watercolor that is the frontispiece is on Sekishu Japan paper, as are the four copperplate engravings, all copies signed by the artist, the author, and his translator, Joshua Watsky, who is also the publisher. Page size: 12.8 x 9.8 x 1/2 inches; 32pp. Bound by Coleen Curry: full goat cerulean blue leather binding with laced on boards with magenta buffalo leather edge to edge doublures; inlays of hand dyed, embossed, and painted goat and calf leathers with painted incisions; title, author, and artist hand tooled in turquoise metallic foil; top edge painted with acrylic, polychrome silk end bands, Green Mokuba backed with blue Lotka paper fly leaves; original wrappers bound in; signed on rear inside cover with binder's device and stamp; housed in magenta / grey cloth over boards clamshell box with title, author, and artist printed in black on blue paper spine label; small onlays in similar design and colors to those larger ones on binding panels. Baltazar's hand watercolored wrappers are on a sky-blue ground with white negative space, lighter and darker blue and mauve lines extending horizontally across the wrappers, title printed in black letterpress on front panel and on spine. There are eight gatherings of four pages each of this bi-lingual edition. The text is set in 12pt. Helvetica by Francois Huin and printed letterpress. The four copperplate etchings were editioned at Atelier Alain Piroir in Montreal. The etchings are hand water-colored and highlighted with colored pencil by the artist, Julius Baltazar. Julius Baltazar (1949-), a noted French painter and printmaker has worked with major poets and writers to create livres d'artistes of the highest quality. In the early part of his career, he was championed by Dali, and the resulting influence of surrealism can be seen in his work where words and image create images of haunting beauty. This is a series of four poems by James Sacre - the French text appearing on the recto opposite the colored etching and Joshua Watsky's sympathetic English translation on the verso. James Sacre (1939-), noted French poet, was born in the Vendee and, after traveling extensively (US, Italy, Tunisia and Morocco) now lives in Montpellier. He taught at Smith College from 1972 to 2001 and remains the Doris Silbert Professor Emeritus in the Humanities. His verse has a keen sense of place, as evidenced here in these four pieces inspired by a trip through New Mexico and Arizona and Death Valley, CA in 2009. The rural landscapes are compared to the Vendee of his childhood as he conjures up a conversation with his father, reminiscences and subsequent musings on man's relationship to the land. Baltazar's colorful and capacious etchings are suited to the "big sky" of the western US yet intimate enough to perfectly embody these personal reflections of the poet. Joshua Watsky, American teacher, translator and poet, is the publisher as well as translator of this livre d'artiste. He has worked with Baltazar several times collaborating on splendid bi-lingual editions. Coleen Curry has provided this binder's statement: The vivid etchings and watercolors by Baltazar were my immediate inspiration - driving across vast expanses and catching the scenery in a blur of motion filled colors. Sacre's poems reminisce landscapes from his childhood days; and I thought about how many of my memories are a blur of textures and colors. There is a line in the second poem, "Bloomfield, New Mexico July 29, 2009": "Habits of birds, I think back on it / Because a hummingbird was just dancing / In the wind against a backdrop of darkening clouds." This is a lovely book, an important bi-lingual text, confirming the universality of sympathies regarding land and family. Curry's binding is gorgeous - the blue leather capturing the "big sky" of the west, the iridescent lettering in blue (on blue) suggesting desert mirages. The painted leather onlays in magenta, yellow, orange, green, blue and red draw the viewer into the book. Sacre's considerations of that area of the American southwest, with Baltazar's boldly colored and capacious prints are so full of energy and motion, the reader-viewer eagerly joins the author, translator, and artists on their road trip.
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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.
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John’s Apples. Thirteen Paintings by John Wilde. Twelve Poems by Reeve Lindbergh

Perishable Press. Lindbergh, Reeve First edition this, inscribed by the author, Reeve Lindbergh, in the year of publication, one of 125 numbered copies, on 10 different papers. Page size: 9-7/8 x 6-3/4 inches, 102pp; 78 of which printed. Bound by the printer: drab paper over boards with rondel cut-out on upper panel showing color image of two Golden Delicious apples (one with bite mark), publisher's red pencil notation on illustration, linen spine, new. Printed on a Heidelberg CPC and an old Vandercook, the 14pt. Stempel Syntax was set by hand. Perishable Press's announcement of this book tells us that this is "Ostensibly, a children's book concerning apples via the paintings and poems. More apparently there is a[n].agenda concerning 'admission of structure' which is an attempt to show how books grow from idea to artifact. Right off, the unfinished-looking front cover is Not glued down and two of the seven signatures are left uncut and untrimmed, replete with colorbars, etc.!" "An absolute pedagogical necessity for the children of all well-to-do graphic designers." The poems are charming, the images beautiful, but the book's structure is the real star, with pages reproduced in parts and/or in reverse in the back on various papers, some pages French fold, etc. My favorite page: blank except for the words "Eventually we have to choose." A lovely and intriguing book. PP #121.
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Sisi: Empress of Austria

Krause, Dorothy Artist's book, one of 4 copies in the series, signed by the artist and numbered on the bottom of the last page, "Dorothy Krause." Page size: 7.25 (H) x 5.25(W) inches; 12pp. Bound by the artist: drum leaf binding in black watered silk over boards with title in red lettering on paper label on front cover, housed in black board lidded box with title in red on paper on front cover and another on spine. The text is by the arist who has deftly summed up the tragic life of this beautiful woman. It reads, in part: 'Sisi was born in Munich in 1837. At the age of 15 was married to her cousin the Hapsburg Emperor Franz Joseph. Although the Emperor was very much in love with Sisi, she was stifled by the protocol of the court and wrote in her diary, 'I have awakened in a dungeon, with chains on my hands.' Sisi was an especially beautiful woman, but had health issues that were attributed to tuberculosis but may have been caused by syphilis, presumably contracted from her husband. At age 61, on a street in Geneva, Sisi was stabbed by an anarchist. No one realized the extent of the injury and she subsequently died.' The artist has selected familiar images of this beautiful woman and placed them on a red painted and copied ground with text lettered in black veering off to white surrounding and overlapping the full-page images. The result is a poignant memorial to legendary woman, the most recent in a series of films, opera, ballet, play and musical.
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Gilgamesh and Enkidu

McCallion, Barry Artist's book, unique but the second in a series centering on the Mesopotamian hero, Gilgamesh, on white BFK Rives paper, with original painting, lettering, and bas-reliefs of Gilgamesh and Enkidu as well as other elements in this epic, signed by the artist, Barry McCallion and dated April 2017 on the colophon. Page size: 10-1/2(W) x 15-1/4(L) inches; 27pp. plus colophon and titlepage. Bound: hand-sewn by Joelle Webber at Mermaid Bindery, black boards with tan book cloth spine, inset painted collage of Gilgamesh and Enkidu on black and gold printed paper with gingko leaf pattern, gingko paper used as flyleaves; housed in custom-made tan book cloth clamshell box with same gingko leaf paper as inset on front panel, label on spine with title and author hand-painted and lettered in black on white and yellow ground. Each of the book's twenty-seven paintings began as a sheet of white Rives collaged with text pages of the epic from the N.K. Sandars' translation. Gesso was applied and rough borders with marking pen added. The images were worked with a variety of materials including pen, pencil, stains, acrylic, pearlescent inks and paints, print and print collage. The "action" depicted on each page is noted by a section of Sandars' text from this epic poem. Bright colors alternate with greys and beiges and gold. The painted and collaged "bas relief" figures reflect the ancient texts while retaining their curious modernity. Accepted as the first great surviving work of literature, it is an epic poem pre-dating Homer by 1,500 years and known to the world from Tablet V dating from 2003-1595 BCE. Gilgamesh was a semi-mythic King of Uruk (there are references to his existence found in ancient inscriptions), but it is as a hero questing for the meaning of life that captivates and keeps his name alive in the 21st century. His transformation from belligerent tyrant to thoughtful, purposeful human being is brought into sharp focus by the juxtaposition with his enemy turned friend, Enkidu. Man's duality and the human condition (death) are themes in Gilgamesh that are brought to dazzling life in this artist's book. The reader / viewer enters an ancient world, still relevant today, with Gilgamesh, his loves, losses, and search for eternal life.
The Moon-Hare and the Lynx

The Moon-Hare and the Lynx

Bishop, Bonnie Unique artist's book, pop-up in carousel format, with circle poem, executed in hand-painted and collaged papers on black Stonehenge papers for background structure and box, various mould-made papers for collages and watercolor papers for pop-ups, lettered in white and purple inks, signed and dated in silver by the artist, Bonnie Bishop, on the bottom of first page. Page size: 8 (W) x 10(L) inches; 16-inch diameter circle when open; 16pp. Bound by the artist, Bonnie Bishop, folios through which a dowel slides forming the "spine" of the book, top of dowel is black knob, housed in black stiff paper lidded box, The text runs along the bottom of each page. The lynx chases the hare over white / blue tundra under the purple northern lights. The collaged Moon-Hare and Lynx figures leap off each page, wrapping around to the following. A sense of motion is perfectly conveyed. When the white hare jumps and lands on the moon, the lynx is astonished, and the reader is beguiled. On each page the constellation for the Lynx is on verso and the constellation for Hare (Lepus) in on the recto. To assemble the carousel, each page spread is unfurled and the dowel slides through the spine paper loops. The bottom of each page folds up so that the standing carousel has the text as the platform on which the lynx and hare play out their story of survival in the Arctic. This is a movable book with a structure that conveys the meaning of the images and verse reflecting the circle of life (except for jumping into the moon, of course). It is, all at once, quite beautiful and simply wonderful.
Under Fire. The Story of a Squad. (Le Feu: journal d'une escouade). Translated by Robin Buss

Under Fire. The Story of a Squad. (Le Feu: journal d’une escouade). Translated by Robin Buss

McCallion, Barry. Henri Barbusse Unique artist's book, on three different St. Armand papers in tan / brown, signed and dated by the artist, Barry McCallion, on the colophon page. Page size: 9.5 x 12 inches; 63pp. plus colophon and titlepage. Bound: hand sewn by Joelle Webber at Mermaid Bindery into tan St. Armand paper wrappers, laid into grey felt portfolio by Barry McCallion with title stenciled in red outlined in silver gilt with two pieces of barbed wire separating under and fire and underlining "fire" with black mesh screening in three pieces on spine, housed in tan cloth over boards clamshell box with title lettered in black on tan paper insets on spine and front panel. The book is a selection of texts from the novel by Henri Barbusse. The artist has selected sentences and paragraphs from the text, copied them, enlarged some, printed on various papers and collaged to the pages of this book. They are surrounded by photographs from various conflicts, with painting, handwritten words in India ink, printing ink, metal foil and acrylic paint. The whole reflects on the brutality that is war - each and every war. Barry McCallion notes in his colophon, "The hundred years between then (publication of UNDER FIRE) and now have seen a recurring and uncanny sameness of bloodied fields and trenches, mountains and beaches, mud and wire, snow and sand.A book in protest, his and this." He has used images from the First and Second World Wars, Korea, Viet Nam, Iraq and Afghanistan. He adds in the colophon, "I have attempted to heave up a century's weight of agony and loss in one book, grouping images from different times to create a single, immediate and simultaneous present." Henri Barbusse wrote UNDER FIRE in 1916 after serving in the French army for fifteen months in the trenches in World War I when wounds lifted him from the French front line. Considered the first of the modern anti-war novels and was awarded the Prix Goncourt. The author's harrowing details of trench warfare have lost none of their power to appall. Mr. McCallion's book succeeds in calling to mind the terrible tragedies and loss when people go to war.
Bitter Chocolate

Bitter Chocolate

Flying Fish Press. Chen, Julie Artist's book, one of 50 copies, on a variety of papers, including Old Masters from Papeterie Saint-Armand, Zanders Elephant Hide, and Hahnemuhle Ingres, hand-numbered and signed by the artist / author, Julie Chen on the colophon. Page size: 3.5 x 14-3/4 x 1-7/8 inches closed; opening to full width of 25-3/4 inches, 52pp. in UNSWEETENED; 52pp. in UNTEMPERED. Bound by Julie Chen: Jacob's Ladder structure, brown cloth over boards with title in gold gilt on each end followed by UNSWEETENED and UNTEMPERED and an image in gold gilt stamping of the cocoa bean, housed in portfolio case with magnetic close. Portfolio is same brown cloth over boards, lined with celadon green paper on which the colophon, operating instructions for Jacob's Ladder structure, and Foreword are printed letterpress in brown ink, title in gold gilt on celadon green paper bordered by gilt rules on front panel of portfolio. Julie Chen has written texts with 2 themes: the first is her own narrative about the fictional goddess of chocolate and the second is a factual account of some of the history as well as contemporary events surrounding chocolate. The text is letterpress printed from photopolymer plates by Julie Chen. Keri Miki-Lani Schroeder has contributed handsome woodcuts of the cocoa tree and beans printed in brown, green, and orange, some against a background of green on blue map with longitude lines in brown. From the sides the book resembles a deluxe box of chocolates. The text, as the author notes in the Forward, is "at once lyrical and unsettling." The book is wonderful. The unusual structure not only shows this book artist's skill in design, but it is not just to display technical bravura; it is wholly integrated into the thoughtful and relevant text.
Making a Sacher Torte. Illustrated by Ellen Lanyon

Making a Sacher Torte. Illustrated by Ellen Lanyon

Perishable Press. Wakoski, Diane One of 225 copies all on eight different colors of Shadwell paper made to compliment the text. The bibliography adds, "(For instance 'Ode to a Lebanese Crock of Olives' & 'Pamela's Green Tomato Pie' obviously needed to be green.") This copy with a copy of the original announcement of the book on purple Shadwell. Page size: 11-1/4 x 7-1/2 inches; 40 page surfaces, 33 of which are printed. Bound by Bill Anthony in his own paste paper over boards with hidden oasis tips to match the blind-stamped spine. Walter Hamady's Perishable Press has been selected for awards and juried exhibitions since its beginning. Among the recognitions is that of the American Institute of Graphic Arts in their yearly selection of the 50 best designed books. This title was awarded this prestigious honor in 1981 as one of the 50 best designed books of the year. The Perishable Press has been awarded this designation 13 times, starting in 1967 and most recently in 2006. Compared to Kurt Schwitters, Duchamp and Joseph Cornell, Hamady has been a major influence on at least one generation of book artists. He is the recipient of numerous grants and awards and one-man and group exhibitions. He has been the subject of many articles, and his works are in most of this country's important rare book libraries, i.e. the Houghton, Yale, Getty Center, Newberry, Walk Art Center, Cleveland Institute of Art, as well as outside the U.S.: Bodleian Library, British Library, Klingspor Museum, Lenin Library, Royal Library Stockholm, Victoria & Albert, etc. See bibliography TWO DECADES OF HAMADY & THE PERISHABLE PRESS LIMITED, #101.
Henrietta Reminisces

Henrietta Reminisces

Wascher-James, Sande Artist's book, book object, consisting of five individual books fixed together as a sculpture, signed by the artist / author on the bottom cover of the base book, Sande Wascher-James, and dated 2017. The front cover of the top volume uses a vintage photograph of an anonymous woman named "Henrietta" by the artist. The edges of each volume have hand-written texts that is a story the artist has her character, Henrietta, tell. Each volume is the title of another person in Henrietta's life, with their story written on the book's three edges. Overall size of piece: 11.5(W) x 14(L) inches; page size per volume in inches: Henrietta 6.25(W) x 9.25(L), Etta 5.75(W) x 8.50(L), Jennie 5.5(W) x 8.5(L), Walter 5.5(W) x 8.5(L), Mother 6.25(W) x 9.25(L). Books consist of blank book blocks, which the artist has cased into Davey board and covered with multiple layers of mediums to achieve depth and antiqued feeling, including gesso and acrylic gel medium and lace fabric. The five books are held together as a large sculpture of stacked books firmly closed by several layers of PVA. The text starts, "I was reminiscing today, something I seem to do more often lately and sometimes not a good thing to do as it can make you melancholy." Each of the texts are recollections of her mother, husband, daughter, and best friend, with her own exposition at the top. The artist / author has given a plausible life to the photograph of this woman, taking her out of the realm of "Anonymous Was a Woman" and into the realm of a reality.
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Prayer Palimpsest. Texts by Robert Louis Stevenson, Meister Eckhart, Stuart Kestenbaum, Gerard Manley Hopkins, Rainer Maria Rilke, Pablo Neruda, Iris Murdoch, George Herbert, Walt Whitman, William Blake, Pierre Pradervand, Psalms, Thomas Merton

Owen, Jan of seeing a multitude of spiritual aspirations at the same time. Artist's book, unique, on Hollytex, some pages painted in acrylics, all lettered in black sumi, signed and dated by the artist, Jan Owen, on the front wrapper. Page size: 6-3/8(W) x 11-5/8(L) inches; 44pp. each page completed covered in hand-lettered text, except the center page spread which has boldly lettered: "If thank you was the only prayer you ever said, it would suffice" hand-lettered on a smaller sheet 4-3/8(W) x 9-1/2(L) inches. Bound: hand-sewn by the artist, Jan Owen, in yellow and coral painted Hollytex with title, PRAYER PALIMPSEST, lettered in black on white Hollytex visible through the translucent yellow and coral painted wrapper, the book housed in white card stock folder with the title and artist and date lettered in black on front cover, the white folder laid inside a painted yellow slipcase with the title and artist hand lettered on label collaged to front of slipcase and again on spine; also collaged to front cover, running perpendicular to title is a portion of Hopkins' great poem, "Pied Beauty." Ms. Owen's dense lettering in a variety of calligraphic styles and sizes, including Latin "Gloria" in large antiphonal-style letters, is perfectly suited to this homage to the various forms of spiritual thought shared by mankind. The texts (some repeats) run vertically as well as horizontally across successive pages or not. As the pages are translucent, the reader has the impression of seeing a multitude of spiritual aspirations at the same time. The book opens with "If thank you is the only prayer you say, it would suffice" (Eckhart). Robert Louis Stevenson's well-known verse, "Give us grace and strength to persevere." follows. Stuart Kestenbaum, Maine's Poet Laureate, is quoted with, "Prayer. Our problem - may I include you? - is that we don't know how to start, how to just close our eyes and let something dance between our hearts and lips." This is the first of many quotes from poet Stuart Kestenbaum. Other poets - Rilke, Herbert, Tagliabue, Whitman, and the aforementioned Gerard Manley Hopkins, are included with familiar verse. The reader / viewer is left with the impression that prayers - no matter who wrote them - have a commonality, and that is mankind giving thanks. This work containing inspirational words is also aesthetically pleasing, a pleasure to read (no matter how incomplete the texts appear) and view. The OED definition of palimpsest states that it is a manuscript or piece of writing material on which later writing has been superimposed on effaced earlier writing and that is what we find here. The translucent pages work with the calligraphy to create a sense of multi-layered beauty. The book opens with "If thank you is the only prayer you say, it would suffice" (Eckhart). Robert Louis Stevenson's well-known verse, "Give us grace and strength to persevere." follows. Stuart Kestenbaum, Maine's Poet Laureate, is quoted with, "Prayer. Our problem - may I include you? - is that we don't know how to start, how to just close our eyes and let something dance between our hearts and lips." This is the first of many quotes from poet Stuart Kestenbaum. Other poets - Rilke, Herbert, Tagliabue, Whitman, and the aforementioned Gerard Manley Hopkins, are included with familiar verse. The reader / viewer is left with the impression that prayers - no matter who wrote them - have a commonality, and that is mankind giving thanks. This work containing inspirational words is also aesthetically pleasing, a pleasure to read (no matter how incomplete the texts appear) and view.
Slime Molds Have Eleven Sexes. Poem by Margaret Price

Slime Molds Have Eleven Sexes. Poem by Margaret Price

Leavitt, Nancy Ruth Artist's book, one in a series of three all on Katie MacGregor hand-made papers, the suite of plates on paper made by Ms. MacGregor and "Pulp Painted" while in the mold by Ms. Leavitt, signed and numbered by her on the colophon. Page size: 15(W) x 10-1/4(L) inches for volume with text of poem and plates; plate portfolio: 18(W) x 12(L) inches; 10pp; and 11 original prints in separate portfolio. Bound by Joelle Webber: full lime green book cloth over boards for text and plate volume with original pulp paintings in oranges and greens inset into front panel, matching print portfolio in larger size; both laid into an orange cloth over boards custom-made clamshell box, hand-lettered paper label in lime green on white inset into spine, the whole a playful and arresting presentation. The artist's choice of text, the poem "Slime Molds Have Eleven Sexes" by Professor Margaret Price (Ohio State University) is a playful list of nature's more obscure creatures. Her verse was originally published in "Gay and Lesbian Review" in November / December 2003. The slime mold vocabulary (each print is labeled) is: Eukarya, Protista, Zygote, Dictyolsteliomycota, Sporangium, Spores, Amoeboid, Flagella, Mitosis, and Plasmodium. The original prints are paper pulp paintings made by Ms. Leavitt with Katie MacGregor papers. Working with Ms. MacGregor, the artist assembled her pulp colors in plastic squeeze bottles and "squirted" them onto a formed sheet of wet paper. The effect is at once organic (as befits slime molds) and colorful with a depth and texture also befitting the organisms. The artist has hand lettered each print with the name of the mold in a colored gouache complementary to each pulp paper painting. The text is lettered in multi-colored gouache harmonizing with the paintings - mostly orange, shades of green, yellow, pink and blue. The entire presentation is witty and charming - words not usually associated with molds. Such is the talent of the artist, Nancy Leavitt, that she was able to accomplish such beautiful work.
Concordat

Concordat

Krause, Dorothy Artist's book, unique, on paper that has been hand painted, monoprinted as well as collaged, with additional mica overlays. Page size: 5.5(H) x 3.75(W) inches; 26pp. with printed artist's statement laid in. Bound by the artist: hand-sewn drum leaf binding in black leather, the leather from a vintage jacket, housed in custom-made black lidded box made by the author / artist with title lettered in red on black paper label. Images of wood and stone by 16th century Wurzburg sculptor Tilman Riemenschneider are contrasted with photographs from the exhibition, "Fascination and Terror" at the Nuremberg Documentation Center. The title uses the Gothic font Maximilian Zierbuchstaben by Dieter Steffmann. A close-up view of the face of Durer's Christ-like self-portrait of 1500 is the frontispiece. The portrait has been modified with a swastika over the right eye with a mica circle (as if a monocle) on top of it. Images of 16th century sculptures of nuns are collaged on the red mono printed pages with red lines blotting out their eyes. On the opposite page an image of a Nazi sculpture is featured with the legend, "Reichsparteitag / 1930 / Nurnberg / 8014 Septembr" referring to the annual Nazi rallies held each fall. Other images include an image of a sculpture of a Pope with a red line across his eyes set against a map of Germany and central Europe. Images of the Virgin and Baby Jesus are collaged against what might be wire fences. Hitler and the praying Virgin appear to be free falling on the penultimate page. Perhaps the most disturbing page is that featuring the various Nazi concentration camp badges worn by inmates. In all, the disturbing juxtapositions re-enforce the dismay with which the west has viewed this Concordat. The Reichskonkordat was a treaty between Germany and the Holy See normalizing relations between the Catholic Church and the Nazi regime which had recently come to power in Germany. Pope Pius XI had approved the treaty, and it was signed on July 20, 1933 by the Vatican Secretary of State, Cardinal Eugenio Pacelli, (later Pope Pius XII) and Franz von Papen. It was a controversial treaty which seemed to promise that the Church could carry out its spiritual mission. This was not the case. By March of 1937, Pope Pius has issued the Mit Brennender Sorge encyclical, accusing the Nazi Government of violations of the 1933 concordat and sowing "suspicion, discord, hatred, calumny, of secret and open fundamental hostility to Christ and his Church." Some have viewed the Concordat as a manifestation of the Pope's preference for dictatorships over democracies and disregard for German Jews. The Vatican insisted, however, that they approved the agreement simply to protect the church. The Concordat remains in effect to this day. For additional documentation gathered from the Vatican archives, see: Cornwell, John. Hitler's Pope: The Secret History of Pius XII, Viking Press, NYC, 1999.
The Cask of Amontillado by Edgar Allan Poe

The Cask of Amontillado by Edgar Allan Poe

McCallion, Barry Artist's book, one is a series of three, all on beige Arches BFK paper for the text and grey Arches BFK for the prints, signed and dated by the artist, Barry McCallion, on the colophon. Page size: 9.5(W) x 12(L) inches; 34pp; including titlepage and colophon and 9 original linoleum-cut engravings, each of these with caption from text, numbered and signed all in pencil. Bound by Joelle Leavitt Webber: red paper wrappers with exposed sewing (brown kitchen twine) and housed in custom-made red cloth over boards clamshell box with title on painted paper label on front panel and spine of box, the inside front and back trays of box housing two of the original red linoleum blocks. The text of Poe's Gothic horror tale is handwritten in black India ink. The original linoleum cuts are printed in black and then enhanced by the artist in acrylic inks and paints. The rough texture of the prints, as well as their sharp perspective, increases the three-dimensional aspect of each image. The reader / viewer enters the depraved world of the narrator as almost entering an ever-narrowing room. The frontispiece of a spiral cut-out on black paper showing against the white of the succeeding page (or the red of the front flyleaf) gives a hint of the horror to come: there is no escape for the victim nor for the narrator. The linoleum blocks in this copy are of the 2nd and 3rd prints: "I passed down a long and winding staircase" and "I knocked off the neck of a bottle." "In pace requiescat!"
One Woman

One Woman, One Vote. 22 Suffragists Work for Emancipation

Segaloff, Jean Artist's book, one of three copies, all on BFK etching paper for drypoints and computer Graphix Plastic Matte Film for text, signed by the artist / author on the Introduction page, "Jean Segaloff." Page size: 7-7/8 x 12 inches; 44pp. + Introduction and Table of Contents. The 22 hand-colored drypoint etchings of the 22 women's rights advocates are each preceded with a page of text and a quotation by the woman portrayed. Bound by Cynthia Fields-Belanger of Gold Leaf Bindery in blue cloth over boards with silver posts connecting front and back boards as in vintage photo album, yellow label on front penal printed in black on yellow label with title and artist / author, label mounted on marbled paper which matches endpapers, housed in custom-made black cloth over boards clamshell box lined with purple and blue silk, outside edges of box also purple silk, label printed in gold gilt on black morocco label on spine of box. Second copy bound by Erin Fletcher of HerringBone Bindery: blue chromo book cloth over boards with brass posts as if a vintage photo album, label printed in black on white with black and white decorative border, yellow border for all, hand-marbled blue and yellow Hahnemuhle Ingres paper, guards of elephant hide paper, from Zanders Mill, housed in custom-made black cloth over boards clamshell box, white label printed in black on spine, red cloth edges. The artist / author tells the reader that this book had a long gestation. As a young feminist in the 1960, she describes being a part of the Second Wave of American feminism, marching and demonstrating with her fellow advocates. Her respect and admiration for the first wave of American feminists resulted in this book with visual and verbal portraits of 22 American women. Each visual portrait is an original drypoint etchings, hand water colored, each on a gesso and gouache ground. The short biography, which appears printed at the top of a sheet of Matte Film, has a quotation from the feminist pictured at the bottom of this sheet. It is printed in bold, as is the feminist's name. The colored etching of the women is visible through this sheet of Matte Film, as if the reader is looking through a veil. The women are all imbued with a frank countenance gazing out, unflinchingly, at the reader / viewer. There is an element of charm and appeal in all. The brief biographies sum up a lifetime of achievement, against great odds, for each and every woman. The quotations are often witty, with more than a touch of humor, and certainly serve as an excellent precis for the women to whom they are attributed. Susan B. Anthony's well-known quotation, "It was we, the people; not we, the white male citizens: nor yet we, the male citizens; but we, the whole people, who formed the Union.Men, their rights and nothing more; women, their rights and nothing less." is the perfect example. Alva Vanderbilt Belmont's statement is, "Just pray to God. She will help you". Harriot Stanton Blatch is quoted, "Unpaid work never commands respect; it the paid worker who has brought to the public mind the conviction of women's worth." The women included herein are: Lucretia Mott, Margaret Fuller, Elizabeth Cady Stanton, Amelia Jenks Bloomer, Lucy Stone, Julia Ward Howe, Susan B. Anthony, Frances Ellen Watkins Harper, Matilda Joslyn Gage, Victoria Claflin Woodhull, Frances Willard, Tennessee Celeste (Tennie) Claflin, Anna Howard Shaw, Ida Husted Harper, Alva Erskine Smith Vanderbilt Belmont, Harriot Eaton Stanton Blatch, Alice Stone Blackwell, Carrie Chapman Catt, Charlotte Perkins Stetson Gilman, Ida Bell Wells Barnett, Alice Stokes Paul, Inez Milholland Boissevain. This is a beautiful book, thoughtfully and carefully written and produced, worthy of the revolutionary women included herein and as good a picture of the women who have shaped our world as I've encountered.
Recuerdo for Ste. Ostrich

Recuerdo for Ste. Ostrich

Flying Fish Press. Morrison, Lois Artist's book, one of 50 copies, all on a variety of papers including paper made at Papeterie Saint-Armand, each copy hand-numbered. The book is written and illustrated by Lois Morrison, in the form of a Mexican triptych. The three-fold box opens to diorama illustrating the story of Ste. Ostrich visiting Mexico and dispensing her gift of sand. There is a 2 x 1/2 inch lever on the right side of the triptych that, when pulled, moves Ste. Ostrich up and down as she dispenses her gift of sand. The inside panel doors contain texts: on the left how Ste. Ostrich was urged by the Virgin Mary to visit Mexico; on the right the martyrdom of Ste. Ostrich. The center of the triptych is a three-dimensional image of Ste. Ostrich (in colored papers) dispensing her gift of sand in a black and white landscape with Mexican farm workers. The bottom third features a thin cord pull which reveals a drawer on which is printed the colophon, with tray compartments for a small ladle and also a bucket of sand. The polychrome ex-voto painting on the front of triptych is by Elizabeth Collins. The book and artifacts were made assembled at Flying Fish Press. The book design and paper engineering are by Julie Chen. This is not the first collaboration between Lois Morrison and Julie Chen on the subject of Ste. Ostrich. This object with text combines the best of both artists: a sense of wit and imagination (magical?) and impeccable craftsmanship. The reader / viewer understands that Ste. Ostrich was cast into an empty swimming pool by "evil ones" and when she dove for the bottom in an effort to bury her head "as was her habit" she died from a broken neck as there was no sand. Perhaps the moral of this story is to not ignore reality by burying one's head in the sand.
Pentimento / Marking Time

Pentimento / Marking Time

Satin, Claire Jeanine Artist's book, unique, part of an on-going series of unique books called PENTIMENTO, referencing interpenetration, transparency and indeterminacy. This book printed on acetate with silver, gold, and neon cerise ink and metallic overprinting. Page size: 11 x 8.5 inches; 40pp; (10 sheets). Bound by the artist: 32 pieces of clear monofilament with attached glass and metal beads (2 strands through each of 16 holes) and letters in acetate or metal spelling MARKING TIME, monofilament at spine; monofilament untrimmed and about 6 inches long; small (1-3/8 x 1-1/8-inch acetate card lettered by artist with title and signed and dated; attached with monofilament; housed in custom-made black cloth over boards clamshell box made to house book open. Due to the use of transparent pages, all pages are presented simultaneously, resulting in the reader / viewer seeing the entire book at once. The book is meant to be displayed standing up with pages fanned out rounding the book's shape. The text and images are generated and manipulated images from an 1880's experiment in a physics book. Numbers morph into letters which, in turn, form sayings about time (Time Is Money, Time Warp, In Record Time, etc.) as a result of "passing through" scientific equipment. Each page is ringed with sayings which also appear coming out of glass beakers etc. Small clocks with various times surround the pages as well. The fleeting and ephemeral nature of time is made palpable with the artist's images and words. A work of imagination that entices the reader / viewer to reconsider the meaning of time, the passing of time, the direction of time, etc. The word pentimento refers to the concept of reappearances, hence the use of transparency and the resulting visual multiplicity. Influenced by the late avant-garde composer, philosopher and poet, John Cage, Claire Satin's work embodies and furthers his ideas of chance operations as a means of locating a single response among a multiplicity of answers. Satin's beautiful book may be viewed as a piece of sculpture: it is certainly three-dimensional in ways that most books are not. Additionally, the pages are not sequential but can be read at random. The beauty of each page is dependent on versos and rectos viewed as part of a whole - or viewed more than one at a time - a chance viewing. Monofilaments with beads loosely refer to book marks, but then again, they mark no specific passage but refer to the whole. Using industrial materials and processes, she has created this beautiful book encouraging contemplation of the theory of time. The artist has stated, "My work becomes a book the instant one recognizes its potential 'to read.'" Featured in the Guild of Book Workers 2009 exhibition "Marking Time."