JOSHUA HELLER Rare Books, Inc.P O Box 39114 Washington D C 20016-9114 U S A

Telephone: 202/966-9411 Fax: 202/363-5658E-Mail: HellerBkDC@aol.com

www.joshuahellerrarebooks.com

Catalogue Thirty-Six - Summer 2008

“The greatest danger for most of usis not that our aim is too high and we miss it,

but that it is too low and we reach it.” - Michaelangelo (1475-1564)

Conditions of sale:

All items listed in this catalogue are offered subject to prior sale.Each item has been carefully described as to condition. Any purchase may be returned within ten days after its receipt;

if unsatisfactory for any reason - safe return shipment is client's responsibility.Payment terms for new clients are "remittance with order" or from our pro forma invoice.A finance charge of 1.5% per month will be added to all bills not paid within thirty days of the date of invoice.Libraries and institutions will be accommodated by special billing on request.Prices are net, in U.S. dollars. Postage and handling are extra on all orders.Overseas orders will be shipped airmail unless otherwise arranged.D.C. residents will be charged 5.75% Sales Tax.Possession of title remains with Joshua Heller Rare Books, Inc. until books are paid for in full.We purchase single volumes, collections, or libraries in our field of interest.We are pleased to welcome visitors by appointment and are centrally located near convenient bus and Metro stops.

We accept Visa and Mastercard © Joshua Heller Rare Books, Inc. 2007.

Our special thanks to Neil Greentree.

119.

A major new work from Susan Allix -Her most ambitious book to date - a tour-de-force!(Susan Allix) Colours of Persia. Perceptions Accounts Comments Remarks & Descriptions From the travel writings ofArrian, Ibn Battuta, Sir John Chardin, Sir Robert Ker Porter and others. Artist’s book by Susan Allix. London. 2007.13.5” x 11”. Approximately 137 p. some fold-outs, some small-sized and some with cut-out shapes. A variety of col-ored sheets act as interleaving or free colored collages. The text is arranged around the headings of five cities – Tehran,Mashad, Yazd, Shiraz and Isfahan. The names of these are printed in English in 48pt. Garamond Italic and also in 48pt.Farsi which was cast by an engaging ‘hot metal man’ in Tehran. Different typefaces have been used for the differentvoices of the authors. Thus Ker Porter speaks in Bembo, and Curzon in Baskerville, while Hafez is set in varying sizesof Garamond. All the letterpress is hand set and printed on handmade Barcham Green 185 gsm. paper.The paper for the prints is handmade Richard de Bas. 26 prints, of which 17 are etchings with drypoint, carborundumand other methods, 7 are linocuts and 2 a combination. Except for 4 in black and white, the etchings are in colour,including hand coloring by watercolor, crayon and airbrush, and gold and silver foil. The binding is in cobalt blue, yel-low and natural goatskin, or variations of turquoise, blue, yellow and natural. The inlaid leather is also inlaid withwaxed paper printed in a style similar to tilework, its semi-transparent quality allowing the title to show through in ashadowy way. The design, based on architectural shapes, has onlays of black, freely-cut leather reminiscent of callig-raphy. The fore-edge flap, a feature of eastern binding, is seen in the extra construction of the box in which the book isenclosed. All the bindings are slightly different and may vary again as the edition is bound. One in an edition of 25copies, signed by Susan Allix. New. Only 2 copies left for sale. $7000.00

1

1.

1.

“I shall not attempt to give any bibliography of Teheran, for the reason that very nearly every foreign visitor to Persia has stayed inthe capital and has described his stay.” So wrote George Curzon in 1892 in his own extensive records of his experiences in this coun-try. Throughout the centuries visitors, unable to resist writing about their travels, have left behind them countless diverse and vari-ous accounts that bear witness to the endless fascinations of Persia. “This book omits many wonderful things, but to prevent an entirely haphazard combination of pages a viewpoint must be taken. Iranis a country of great visual and colourful beauty, from the intense blues, turquoises and yellows of the tilework that decorates the dis-tinctive shapes of its architecture, to the delicate washes of colour in the majestic landscapes and the vibrant tones of everyday lifeseen in fruit markets and wayside textiles. “Colours of Persia focuses on extracts from authors with a susceptibility towards colour. The earliest of these writers is Arrian, a Romangeneral who described the tomb of Cyrus when Alexander the Great visited it. Later comes Ibn Battuta writing about red and greenwater melons, John Chardin on black eyebrows and Robert Ker Porter on most things from royalty to bridges. A description by oneobserver may be found again in new words by another, written some hundreds of years later, thus illustrating the changing fortunesof cities and lifestyles. Some of the words are my own when a more up to date variation may be of interest. Amongst the descriptionsare poems by Hafez, the most famous Persian poet. The English versions of these are by Gertrude Bell, made in the late 19th centu-ry and still regarded as some of the best and most perceptive of translations.” - Susan Allix.“Those familiar with the work of Susan Allix know that her books launch you on a visual journey. Each book is a voyage propelledby color, texture, image, impression, and material. ...“Allix comes to the book by way of printmaking and papermaking. She first emerged as a printmaker, having studied at the RoyalCollege of Art in the 1960s. Winning the Prix de Rome gave her the opportunity to live for a time in Italy. ... After more than threedecades and thirty-seven books, Allix continues to be true to her vision. Because she insists on creating the entire book - from letter-press to illustration to binding - her work has a certain recognizable aesthetic; a malleable signature that responds to the particularcharacter of a piece, but is still unquestionably hers.“Allix conceives each book visually. ‘I am concerned with visual things so I see books as full of colour and form in a pictorial senseas well as through the images created in my mind by the words, and through the sculptural qualities a book possesses.’ The real nar-rative of her books is the flow of color and image as they move throughout the piece.” - Extract of a Review by Mark Dimunation,Chief of the Rare Book Division at the Library of Congress, Washington DC., in Parenthesis No. 13, August 2007.In the collections of The British Library, Yale University, National Gallery of Art Washington DC, The Claremont Colleges inCalifornia, the Rochester Institute of Technology, the University of Alberta, as well as other fine public and private collections.Note: See our website - www.joshuahellerrarebooks.com - for more images of this book.

2

1.

1.

A great illustrated travel book reaching back in time from Plutarch and Catullus up to the present day

(Susan Allix) Egyptian Green. Artist’s book by Susan Allix. Text by various authors. [London. 2003.] 28 etchings madefrom original drawings and printed in color, some with added watercolor and pencil, of various sizes. 129p.13" x 11".Four etchings are on fine Japanese paper enclosed in folded sheets of natural Kozo. Various papers of Velin Arches,blanc and crème; Egyptian papyrus; occasional colored Nepalese Lotka and Daphne sheets and Leauw Algae; alsoJapanese Tosa Shoji and Kozo Natural.The typeface is 18pt. Verona Italic together with various sizes of Bodoni. Handset and printed by letterpress. Emerald green goatskin covers spine, fore-edge and remaining edges. Panels of small,abstract cut-out shapes, through which is visible the textured, cotton-mesh orange paper which also frames a centralportrait of a shadow-print etching of the goddess Hathor. Small green and orange dots sprinkle over the cover. Theendpapers, doublures and fly-leaves are of Nepalese paper. Book in a green, felt-lined cloth box with printed labelsand a separate, decorative opening page. An edition of 24 signed copies. Fine. Last copy for sale. $5500.00Allix writes: "The idea of this book is to link past with present and to make a picture; a limited one when looking at the richness ofEgypt, but a view that is seen and stitched together with a thread of green.Green links together the progression of time; the fields beside the Nile are always brilliant emerald and the palms of a desert oasisgreenish-grey. Green indicates the protection of Osiris, God of the Underworld, and as a holy Muslim colour appears as a mosquecarpet. Likewise the luminous green sea and the smudges of paint remaining in tombs all take their place.“At which exact moment, and why, I began to note greenness I cannot say. It is a colour not immediately associated with Egypt, butwith observation it is seen to be interwoven into many aspects of Egyptian life. The continuity of past to present became obviouswhen I observed that the profile of a man on a bus was exactly the same as those in an ancient tomb at which I had just been staring.Naguib Mahfouz, the Egyptian novelist, seems to echo this when he says of one of his present day characters in Adrift on the Nile –

"What is the point whether you remain on this earth or depart? Sincehistorical time is nothing compared to the time of the cosmos she isreally a contemporary of Eve."The texts in Egyptian Green are mainly drawn from travellers visit-ing or writing about Egypt. The earliest is a spell written inside anancient coffin; later writers include Plutarch and Catullus, alsoLeonhart Rauwolff, who noted in 1672 that the water of the Nile was"perfectly green", and Amelia Edwards on the precise colour of palmtrees. There are two calligraphic pieces of Kufic script printed fromthe original blocks found in Cairo."

3

2.

2.

2.

A vibrant mechanical structure creates a new dynamic

3. (Karen Bleitz) The Mechanical Word (Vol. 1 - 5). Designed and produced by KarenBleitz with texts by Richard Price. Engineered by Sean Matthews & Andy Armstrongat Redline CNC. Printed at Pikan File Systems. Circle Press. London. U.K. 2005. 4p.each volume. 9.5” x 9.5” x 1.5”. Aluminium and silkscreened polypropylene withsilkscreened polypropylene slipcase. Painted metal covers with central panel withmoveable parts. Each volume encased in firm semi-transparent plastic with a velcroclosure. An edition of 15 signed sets. Fine $4000.00

Vol. 1: I AGAINST I (subject)

Vol. 2: WRECKING BALL (to be)

Vol. 3: HARD DONE FROM (to do)

Vol. 4: HOLD UP (to have)

4

“Aluminium means that the body of thebook and the machine parts are madefrom extruded aluminum. I gave plandrawings of all the parts to an engineer-ing firm who produced them using CNCmachinery (like a magic manufacturingbox that popped out perfectly turnedpieces of metal). The aluminium has beensprayed (painted).“Silkscreened polypropylene refers to thepages themselves. The pages actuallyform the binding as they are scored andcreased to create built-in hinges to holdthe metal covers and metal page hiddenin the middle together.” - Bleitz.Karen Bleitz:For the past ten years Karen Bleitz hasbeen creating interactive book works thatexplore the changing nature of languageand communication. In her latest project,The Mechanical Word, she has collaboratedwith poet Richard Price (whose book,Lucky Day, was short listed for the 2005Whitbread Poetry Award) to produce afive volume series of mechanical poetrybooks. The idea of constructing a form of'mechanical' language began as an explo-ration of the idea that "language pervadesthought - with different languages caus-ing their speakers to construe reality ind i ff e rent ways." (Stephen Pinker, T h eLanguage Instinct, 1994)

3.

Vol. 5: LONG GONE (to go)

Richard Price was born in 1966 and grew up in Scotland. He trained as a journalist at Napier College, Edinburgh,before studying English at the University of Strathclyde, Glasgow. The youngest of the Informationist group of poets,he was a founder of the magazines associated with them, Gairfish and Southfields. He also co-founded Vennel Press, theimprint which brought many of the earlier Informationist collections to a wider audience. Richard Price is currentlyHead of Modern British Collections at the British Library, London.

Karen Bleitz) The Appeal of Pornography. Pop-up book by Karen Bleitz. London. 2007. 10 double-page pop-ups orpushouts. 5.5” x 5.5”. Xerox collages in color on card. Originally produced at Mills College, Oakland. 1996. Designedby Karen Bleit, hand-cut and bound byt Amelia Drinkwater. Red binder’s cloth boards with color insert on front. Greenendpapers, both back and front with yellow rectangle onlay with details and photograph of a person. Signed by KarenBleitz. One in an edition of 100 copies. Fine. $225.00

(Artis Bernard/Cecil Day) In Tandem. [By] Artis Bernard and Cecil Day. Nova Scotia, Canada. 2007. n.p. 9” x 6.5”.Twenty poems by Artis Bernard concerning our relationship to animals and 13 two-plate color etchings by Cecil Day.Text and titles set in Bembo on BFK Rives by Michael Bixler and printed at walking bird press. Designed, printed andbound by Tara Bryan. Bound in three signatures with black Arches wrappers and white stitched spine; gray title onfront and gray illustrations of feathers on front and back. In an edition of 30 copies, only 20 are for sale. Signed andnumbered in pencil by Artis Bernard and Cecil Day on the title page. Fine. $350.00The poems and etchings in this book concern man’s relationship to animals common to the artists’ lives and environment in NovaScotia. Well-written and thoughtful poems complemented by delightful color etchings well printed and bound.

5

Discs, drivers, levers and gears are used in the books to create mechan-ical metaphors and to give readers a new, physical tool with which tobreak down and examine the underlying meaning of words. The firsthalf of each volume contains a poem illustrating how the machine actsas a part of speech. In the second half, the 'machine' is put to use in thecontext of a more complex 'mechanical sentence'. By turning the crank,the reader activates the second poem by Richard Price and is forced toaddress the changes created on the page."I wanted to use machines to look at the dynamic relationships - peopleand power relationships - that grammatical rules quietly and sometimesnoisily suggest." - Bleitz.

4.

5.

4.

5.

A superb work by one of the U.K.’s premier fine binders

Stuart Brockman was born in Cambridge in 1972. He graduated in 1995 with an Honours Degree in MechanicalEngineering from Imperial College, London. He then trained full-time with his father, James. He has led workshopsand has lectured in the UK, Canada, Finland and the USA. He won the National Library of Scotland bookbinding com-petition in 2004 and was a judge at the fourth DeGolyer bookbinding Competition, Bridwell Library, Texas, in 2006.He has modern bindings in many private collections worldwide, the British Library and the National Library ofScotland. He was elected a Fellow of Designer Bookbinders in 2004.

(Stuart Brockman - Bookbinder) The Abstract Garden. Poems by Philip Gross. Engravings by Peter Reddick. The OldStile Press. Monmouthshire. 2006. n.p. 10.75” x 7.75”. Black and white wood engravings throughout printed from theoriginal blocks. Designed and printed by Nicolas McDowall on Zerkall Halbmatter in Spectrum. Unique binding byStuart Brockman in 2007. Bound in full brown Levant with double sewn endbands. A rose design tooled in two shadesof gold (lemon and red) on both boards. Gold lettered title on spine. Endpapers of brown patterned pastepaper.Binder’s label at top of first free endpapers. Black buckram dropback box lined with beige felt. Black title label onspine. Binder’s label at inside base of box. No. 165 in an edition of 200 copies, numbered and signed in pencil by thepoet and engraver. Fine. $5750.00

The unusual & creative conceptual work of Deborah Phillips ChodoffWe quote from an interview in ‘The Lewisboro Ledger’ by Rose Fisk:Born in post-war Japan, Deborah Phillips Chodoff finds echoes of Oriental art in her work, ... Construction in the bookform is the center of her expression. ... “Construction is what I love to do best as an artist.,” she said. ...Chodoff spent her early years in Tokyo surrounded by Japanese art. “I think a lot of it sank in. My work is very muchinfluenced by Japanese art.” After living in Japan, where her father worked as an economist rebuilding the countryafter World War II, the family moved to Washington D.C., [where] her mother became [a] curator [at] the CorcoranGallery of Art.“I could take classes for free at the Corcoran,” she said. “I had a lot of art training before college.” ... Afterwards shewent to Paris to study printmaking at Atelier 17, the same studio that trained Picasso and Dali in the skill. ... uponreturning to New York in the early ‘70s she worked at The Printmaking Workshop. ... She began to paint. During herpainting heyday she lived near the north coast of Peru while her husband did graduate work in archaeology. ...“The landscape was extraordinary,” Chodoff said. “It really affected me, ... it was a lonely and stimulating experience.”The desert she found was completely barren - it is one of the driest in the world. “It became a metaphor for that isola-tion you feel as an artist.” ...“It was a big adjustment to come back to the city,” Chodoff said. She found the city to be very complex. ...She did a series of collages which she wanted to bring together as a unit. So she made a book.“Only after I made my first one, I learned there was a community of artists who made books. I do it steadily now asmy major medium.”Her works contain social commentary. ...”What I’m doing is a reaction to the conditions of the times.” Her work is

6

6.

6.

political to the extent that society affects her, she says. When something touches her deeply, like the war, it is only nat-ural for her to expressit in art.Other works look at her experiences as a working mother “not just a personal frustration but a societal frustration withthe role of women. ... She finds she enjoys teaching children and providing them with an opportunity to express them-selves. “They come up with extraordinary things. It gives me a lot of energy.”

(Deborah Phillips Chodoff) A Dishwasher is not Magic. Artist’s book by Deborah Philips Chodoff. [New York.] 1993.6” x 4.675”. Accordion fold book between boards. Cut-outs, collages, pieces of plastic sponge, porcelain, plastic, andcolor Xerox images of kitchen equipment. Pages joined with pieces of checked dish cloth. Checked cloth covers withtitle on front board made up of individual stamped letters on glued onto pieces of kitchen sponge; back board withdesign made of green, red and yellow kitchen sponges. White card box container opening to the front, with image ofdishwasher on front; signed and dated. No. V in an edition of 5 signed copies. Fine. $500.00

(Deborah Phillips Chodoff) Procrastination. Unique Variant No. 4. Artist’s book by Deborah Phillips Chodoff. n.p. 2001.Accordion fold. 3.75" x 8.5" x 4.75". Double-sided book object, each side with the word PROCRASTINATION spelt outon each opening. Pages constructed of bookboard, painted bronze & buffed, with backing painted with black vinylpaint. One side has a letter glued to brown card; the other side with white paper containing a large letter, some textand decoration. A plastic timer filled with white grains holds the openings in place with gold-colored wire filaments.At each end of the book are metal clock pieces with a clock face externally, as well as internally, on the one side whereblack, white and gold wire emerges from the outer side to finish in various shapes, some on brown card, some with-out. Three metal cogs on the decorative wired side. All laid in a black painted dropback box with a strip of the vari-ous letters comprising the title collaged round the base of the box, as well as on top. Titled, signed and dated on theinner lid, together with a collaged image of a broken clock and timers. A unique signed variant in an edition ofapproximately 6 copies. Fine. $1750.00We waited for the completion of this clever conceptual book for some years! It was a tremendous amount of work to find all the com-ponents and construct the ‘book’. However, the wait was well worth it!

7

7.

8.

7.

8.

(Deborah Phillips Chodoff) Move3: A movable Book. Artist’s book by Deborah Phillips Chodoff. [Katonah. NY] 2003-2007. Three double-page spreads. 10” x 11” x 1”. Materials used are: book board, hand-printed paper (Arches); inkjetprints on Legion Fine Art Paper; found objects; hardware items. Collages on board. By manipulating the movable partson the cover you can play with the words ‘removable’ and ‘movable’ but not ‘immovable’, which is firmly glued inplace. Laid in a black box with casters and a black string that both holds the lid closed and serves as a pull-string. Anedition of 3 copies. Signed and dated in pencil on the back cover. Fine. $2750.00

“The directive, which came by mail one day, to create a “movable book”, intrigued me. In pondering the question, “What exactly isa “movable book”? I found myself at the hardware store buying hinges, clothespins, pulley wheels, magnets, casters, and otheraccessories of movement rather than studying my how-to pop-up manuals. The word “move” was my starting point; I added newprefixes and settled on “removable” and “immovable” as complementary concepts. “ - Deborah Phillips Chodoff.“Pages 1-2 (Removable): Photographs document the act of removal and objects likely to be removed; inkjet collages show the toolsand substances of removal; parts of the pages are removable, held in place by magnets; hand-printed paper patterns were made byspraying and removing shapes. Pages 3-4 (Movable): Inkjet collages show moving parts, including scans of parts moving; part of a page is a removable disk that fitsonto a bobbin and spins when a string is pulled, much like a Yo-Yo; hand-printed paper has patterns made by stamping and movinginked objects.Pages 5-6 (Immovable?): Aside from the “immovable” bolt used to keep the bobbin in place, what in the universe is truly immov-able? A crab fossil and images of stones in water underscore this question of permanence.” - Chodoff.

8

9.

9.

9.

Ron King and the Circle Press

(Circle Press) Antony and Cleopatra. By William Shakespeare. Designed and produced by Ronald King with Notes andan Introductory Essay ‘The Elusive Absolute’ by Keith Please. London. 1979. 16” x 12” x 1/5”. Over 30 original silkscreen designs by Ron King. Text taken mainly from the Arden version. Made up of 11 eight-page unstitched sectionscontained in specially designed canvas covered portfolio with blue leather spine, title in blue on front. Full text of playhandset in Baskerville and printed letterpress on rag-made paper, the whole production involving over 200 hand-prints. A.P. XVIII in an edition of 300 copies and 40 proof copies, all signed by Ronald King. Fine. $1500.00

(Circle Press) Scenes from the Alphabet. [Alphabet Poem by Roy Fisher.] Guildford. 1984. First published in 1978 in alimited edition of 115 signed copies. 11.5” x 8.25”. One sheet folded in four, the centerfold with a pop-up ‘A, B and C’.Sewn yellow wrappers with title in black on front. This is one of the unsigned second edition limited to 200 copies.Fine. $24.00

(Circle Press) Postcards to the Undercliff. Nine Isle of Wight poems by Keith Please with photographic images by BobChaplin. Surrey. 1986. 27p. 11.25” x 8.5”. Printed litho duotone on Ikonorex special matt. In tan wrappers, a photo-graph and title on the front cover. One in an edition of 250 copies. Fine. $45.00

The precursor to the monumental Anansi Company(Circle Press) The Left-Handed Punch. By Roy Fisher and Ron King. Guildford, Surrey. 1986. 35p. 15.5” x 11..5”. Puppets,created with screenprints by Ronald King, handcut by Mary Adams and Anne Forgan, assembled and collated byJessica King. Set in Castellar and Baskerville with manuscript stage notes, all in red and black, on french-folded sheetsof heavy Somerset rag made paper. Printed silkscreen and letterpress. Loose sheets in a titled wrapper. Housed in ared cloth-covered portfolio, titling in gilt on white on the front cover and spine. In a blue and cream striped cloth slip

9

10.

11.

12.

13.

10.

12.

case, die-cut to expose the portfolio title. One in an edition of 80 copies signed by Ronald King and Roy Fisher.Fine.Scarce. $ 3 7 5 0 . 0 0Ron King has created an amusing and grand production of Punch with puppets assembled from screenprint images ingeniously con-structed on the page. “This book was the fifth collaboration between Roy Fisher and Ronald King, being, in the words of the prospectus, ‘a new version ofthe comical tragedy of Punch and Judy’. The story is based upon the anonymous text first published by George Routledge & Sons in1860 and illustrated by George Cruikshank, which King had found in a small modern paperback version ... Fisher and King’s versionwas presented in the form of a play, consisting of a prologue, six scenes, and an epilogue, illustrated by numerous photo-collagevignettes and seven ... drawn tableaux. ... the chief feature of the book [is] thirteen cut-out articulated figures, the principal dramatispersonae - the production of which alone involved more than 120 printings - ten of which [have] movable parts but remain attachedto the page.” - Cooking the books, p. 82.

(Circle Press) Hadrian’s Dream. By Asa Benveniste. London. 1990. [26p.] 11.75” x 8”.Designed and printed by Ken Campbell. Multicolored relief design and letterpresstext by Ken Campbell. Fold-out on Rivoli paper. Paper wrappers. One of 75 thus inan edition of 120 copies. Fine. $95.00One of 8 poems specially published to mark the move of the Circle Press fromGuildford to London. 1990.

A seminal breakthrough in the annals oflate 20th century Artists’ Book

publishing

15. (Circle Press) Anansi Company. A collec-tion of thirteen hand-made wire and cardrod-puppets animated in color and verse by Ronald King & Roy Fisher. TheCircle Press. [London.] 1992. 15 unbound sections 15.75" x 12". Designed, silk-screened, hand-stenciled and letterpress printed by Ron King onto 500 gsmArches rag-made paper, held in a card wraparound and inserted into a heavilyblocked solander box, 17.75" x 13.5" x 4.5", which is covered in three differentcolors of cloth. Thirteen of the sections are french-folded and pocketed inside tohold the puppets and carry the poems, which are set in Monotype Walbaum.Puppets made from hand-bent brass wire and card, measure 12" overall and areeasily extracted from the box. An edition of 120 numbered copies, signed byRon King and Roy Fisher. Fine. $3600.00This is the seventh collaboration between King and Fisher and undoubtedly themost elaborate and ambitious one to date. The content is mainly derived frommaterial gathered together by Walter Jekyll for his book Jamaican Song and Story,published in 1907 for the English Folklore Society. This version is basically acontemporary rendering of aspects of those familiar tales central to Caribbean

10

14.

13.

14.

15.

culture, concerning Anansi, the spider-man, and his company of animalfriends.The outside of the sections are covered with quotes in Caribbean patois andlines of music set down by Jekyll in his book and accompanied by a color-ful carnival procession of figures and designs invented by the artist. Thebook involved over 500 hand-workings andit is one of the most remarkableand innovative artist's books of the period.

(Circle Press) Les Bijoux. [By] Charles Baudelaire. With a free [verse] varia-tion in English by Kenneth White. Designed, printed and drawn in wire byRonald King. London. 1996. Acccordion fold, with the sheet of paper open-ing up to show the full design in relief with the poem in French. 7” x 11.25”.Printed at the London Print Workshop on charcoal Khadi handmade paper,with the text set in Baskerville and printed red [ English] and blue [French]in letterpress at the Circle Press. Thick black card covers with titling onfront. Mottled charcoal handmade paper wraparound envelope, with graypaper slot closure; title in black. A/P in a first edition of 50 copies, signed byRonald King. $240.00

(Circle Press) Delicious Babies. Poem by Penelope Shuttle. Intagliodesigns by Willow Legge. London. 1996. 11.5” x 7.5”. Seven origi-nal blind intaglio designs by sculptor Willow Legge. Printed letter-press by the artist in red in Baskerville on white Somerset rag. Foursewn sections in a heavy cream wrappered cover; title in blue onfront. One of 85 copies, numbered and signed by the artist, plus 15artist’s proofs. Fine. $195.00

An annotated history of the Circle Press

(Circle Press) Cooking the books: Ron King and Circle Press. Essay by Andrew Lambirth,Description and Commentary by Ron King. A catalogue issued to commemorate the openingof the Daniel King and Circle Press Archives at the Yale Center for British Art. London. 2002.179p. 9” x 6.5”. Lavishly illustrated in color and black and white throughout. A pop-up letteron black paper. Illustrated card wrappers. Fine. $80.00Published by the Yale Center for British Art, New Haven, Connecticut, and Circle Press. Thearchive has been given in honor and memory of Daniel King, the son of Ron King and WillowLegge, who died at the age of 15.

11

16.

17.

18.

15.

16.

17.

18.

19. (Evelyn Eller) The Appearanceof Language. Unique Artist’s Bookby Evelyn Eller. [New York.] 2001.8p. 11” x 9.25”. Salmon coloredhandmade and Moriki paper withmixed media color collages on eachpage. Each collage with letters ofvarious scripts and languages. Twoshades of thick gray handmadepaper wrappers with paper titlelabel. Black sewn binding withwhite bead on braided black cord.Signed and dated by Evelyn Eller.Fine. $600.00

20. (Evelyn Eller) Exchanging Ideas. Unique Artist’s Book by Evelyn Eller.2005. 9.25” x 12.75”. Mixed media collages on acid free paper in a tan hand-made paper box with blue/tan marbled paper lining. Paper title label on topof box as well as inside the lid. Five blue lift-up sheets each with a drawingof a face collaged onto a lettered background of pale blue. Each sheet can belifted up to show xeroxed text in five different languages on pale blue paper.Signed on the back of the last lift-up sheet by the artist. Fine. $900.00

21. (Evelyn Eller) More Words. Unique artist's book by Evelyn Eller. [NewYork. 2005.] 8" x 9.75".Accordion fold vertical. Book glued to inside backcover. Multi-colored mixed media collage. Collage title on front cover. Blackbookcloth binding. Signed by the artist on the inside back cover. $800.00

Susan Stewart’s beautiful poem enhanced by Enid Mark’s beautiful lithographs

22. (ELM Press) The Elements. A Poem by Susan Stewart with lithographs byEnid Mark. Wallingford. Pennsylvania. 2002. n.p. 11.125" x 15.25". The type,

14 point Monotype Dante, was cast by Michael and Winifred Bixler, and printed by Daniel Keleher at Wild CarrotLetterpress on mouldmade English Somerset. Within three of the sections, parts of the poetry are printed on fold outsheets of various Japanese papers. The lithographed images were conceived with a camera but manipulated digitallywith Photoshop software in order to generate the films used to create the duotone and tritone images. These films weretransfered to plates and printed as hand lithographs by Timothy P. Sheesley. Bound in silver-gray Italian book clothover boards; the binding is enriched with blind embossing and spine label. Textured gray paper from TwinrockerHandmade Paper is used to line the covers and for the end pages. Handbound by Sarah Creighton. An edition of 45numbered copies, signed by the poet and the artist. Fine. $2250.00

12

19.

20.

22.

Susan Stewart wrote The Elements, this long poem in four parts, in collaboration with artist Enid Mark, who created the book’s visu-al form. The poet, author of three previous books of poetry and a MacArthur Fellow, called on the long Western history of myths andliterature on air, fire, earth, and water; in the end she created a sequence unified by the themes of love and strife traditionally associ-ated with the elements. ... The poem unfolds in time as a meditation on time and mortality.“Each of the sections of The Elements - Air, Fire, Earth, and Water - is defined by a visual image. This image is introduced as a hori-zontal band that has its own rhythm, fading and increasing in dimension and intensity as the pages turn. On the final page openingwithin each section, three-color lithographs bleed over the four edges of the ... spread of the book. Throughout the work, the concreteforms of the sections of the poem, unique to the volume with its wide format, become an integral part of the visual imagery.” -Prospectus.Susan Stewart received the 2004 National Book Critics Circle Award for poetry, for Columbarium, a trade edition published by theUniversity of Chicago Press. Columbarium features Air, Fire, Earth, and Water from The Elements.

Enid Mark’s very beautiful book of poems on flowers

23. (ELM Press) Ars Botanica. [A Compilation of fourteen poems] with Lithographs by Enid Mark. Wallingford,Pennsylvania. MMIV. [2004.] n.p. 15.5" x 10.75". Fourteen 12" x 8" duotones created by scanning plant material direct-ly onto a flatbed scanner and manipulating the resultant digital images with Photoshop software. These digital fileswere used to prepare film positives that were transferred photographically to lithograph plates. The duotones andhand drawings, realized as hand-lithographs, embody both state of the art digital technology and traditional print-making strategies. Papers are mouldmade English Somerset and Denril drafting vellum. Type cast by Michael andWinifred Bixler and printed by Arthur Larson, Horton Tank Graphics. Lithographs hand-pulled by Timothy P.Sheesley. Calligraphy by Susanne Moore. Hand bound by Barbara B. Blumenthal in green Italian cloth lined with greenJapanese Echizen Saiko - giving the feel of grass. Recessed square of the Japanese Echizen Saiko with gilt decorationon front cover. A/P in an edition of 40 numbered copies, and 10 artist's proofs. Fine. $2750.00Poems by Diane Ackerman, Betty Adcock, Nathalie Anderson, Annie Boutelle, Rachel Blau DuPlessis, Daisy Fried, Celia Gilbert,Maxine Kumin, Heather McHugh, Constance Merritt, Alicia Ostriker, Susan Snively, Susan Stewart, Eleanor Wilner. Inspired by along tradition of herbariums and botanical books, especially those published in Europe from the 7th century onward. In this contem-porary edition the scientific description of flora presented in such early volumes is replaced by poetry. Enid Mark invited the vari-ous poets to participate in the book. Each was asked to write a poem in which a flower or plant served as the central image ormetaphor. The collected poems, with one exception, were written specifically for Ars Botanica. ... The poems reflect the broader con-cerns of each individual writer." ... the images ... describe more than one aspect of the featured plant specimen. Facing each poem is a photo-based duotone litho-graph of the plant, printed in warm gray and black tones. A second lithograph, derived from a hand-drawing of the same plant, print-ed in glowing floral colors that vary from page to page, appears on a translucent sheet tipped into the gutter between the duotoneand the poetry.” The edition is sold out - only one copy remains for sale.

13

23.

A visual and poetic exploration of the Moon (ELM Press) The Inconstant Moon. Poems to the Moon by Mark Jarman, Phillis Levin, James Longenbach, JacquelineOsherow, Susan Stewart, Mark Strand, Elaine Terranova and Eleanor Wilner. With the Homeric hymn “To Selene” inGreek and an English translation by Apostolos N. Athanassakis. Lithographs by Enid Mark. Philadelphia. 2006. 14” x10.5”. Blind embossings of the crescent moon and duotone lithographs of a star field printed in indigo blue and black.Letterpress printed in Monotype Dante and Monotype Gill Greek Caps and Gill Sans Caps by Arthur Larson onSomerset papers. Lithographs hand-pulled by Timothy P. Sheesley. Calligraphy by Jerry Kelly. Hand bound in blackcloth with marbled paper panels overlaying the front and back covers. One in an edition of 45 signed and numberedcopies. Fine. Matching box available on request at cost. $2600.00 “In The Inconstant Moon, the motif of the moon binds the lithographs and poems together; the diverse verbal respons-es create a rich and intriguing text.“The visual and poetic exploration of the moon commences with a presentation of the Homeric hymn ‘To Selene.’ ...the hymn introduces the poetic suits; its translation, .. concludes the collection. “Of the eight contemporary poems, six were written specifically for this edition. Two poems appeared in journals atthe time this book was conceived, but are previously uncollected.“The duotones bleed from edge to edge of the pages, creating a deep space for varying profiles of the luminous moon.

This moon waxes and wanes, shifting shape and color from page to page, its majestic pro-gression interrupted only at the centerfold by a detailed hand drawn image of the lunarlandscape, this printed in two colors on black mould-made English Somerset paper.” -Prospectus.

25. (Walter Feldman) My Story. By Juan Ortiz. Rhode Island. 2007. 6.5” x 6.5”. Accordionfold. Text printed by offset lithography on Mohawk Superfine in Bonodi Text wide. Allimages created by Walter Feldman in woodcut, and then transfered to rubber stamps,printed and individually hand colored. Orange-red cloth boards with recessed image inbrown on front board. Text glued onto back board. Onein an edition of 50 copies. Fine.Walter Feldman (a.k.a. Juan Ortiz) conceived the idea for this book in 2006. $250.00

David Horton and his Flying Pyramid Press

Horton writes: “My work often playfully explores the relation between illusion and fact.For a number of years now, I have been using photo-graphy to make art by fabricating sets for photography and mak-ing constructions with photographs. In preparation for the fabrication, I draw. Recently I began showing the sets andthe objects made for photography as sculpture. The book form is another form that I explore because it seems to benaturally conducive to inventiveness, it allows the viewer playful participation and it creates space in time. Makingart, for me, is metaphorical expression as well as a metaphysical activity ... it is a little like making magic.”David Horton’s work is included in the collections of: The Victoria & Albert Museum, London; Graphik SammlungETH, Zurich; The Metropolitan Museum of Art, New York; New York Public Library; Addison Gallery of AmericanArt; Princeton Art Museum Library; Conde Nast Corporate Collection; Library of Congress; Smithsonian Institution;National Gallery of Art, Washington DC; Toledo Art Museum; Houghton Library, Harvard, as well as many distin-guished private collections.

14

24.

24.

25.

26. (Flying Pyramid Press) Celestial Wondering. By David Horton. 1995. 9" x 9" accordion fold, unfolds into four cubiccosmic dioramas extending to 54" in length. Images are archival photographic illustrations, archivally mounted to thefront surfaces, backed by painted paper, set into wood frames, painted with acrylic paint and hinged with airplanelinen. The three pop-up elements, constructed of paper, brass, wood and beads, are suspended with monofilament andlinen thread. Three dimensional planets and star photographs in the final diorama have four holes to allow light toshow through. Housed in a square bottomed purple velvet drawstring bag with a small bag for electrical accessories.An edition of 6 copies for sale, as well as one artist's proof. Fine. $6,500.00An adventure through the galaxy inspired by the inventions and explorations of Johannes Hevelius, a 17th century astronomer whomade thousands of observations of the heavens with instruments of his own invention, and described by Hevelius in his bookMachinae Coelestis Pars Prior (The Celestial Machine) 1673-79. Hevelius' book describes his observatory, built in Danzig, and known asEurope's finest observatory at the time. It was equipped with instruments of his own design. Using his instruments, he made thou-sands of observations of the heavens, including observing sunspots, charting the lunar surface, and discovering four new comets. Hewas a space pioneer.One such invention was his mammoth telescope which he used to chart the lunar surface and discover four comets. Inspired byHevelius' book, Horton has constructed an eight page accordion fold book which opens to display a series of four dioramas that imag-inatively lead the viewer through successively broader views of the cosmos. The first two pages open to a pop-up three dimension-al rendition of the mammoth telescope pointed at the full moon. The second scene is a representation of the solar system as it wasknown in the 17th century. The third two page spread opens to the drama of the constellation Ursa Major, commonly known as thebig dipper. The final diorama opens to a galactic panorama with four twinkling stars made of fiber optics with flashing tips, illumi-nated by LED's and circuitry built into the cover. This book was originally commissioned for the exhibition ‘Science and the Artist'sBook’ at the Smithsonian Institution Libraries, 1995.

15

26.

26.

Sayaka FukadaSayaka Fukada gained a BA in Photography from Nihon University, Japan in 2000. She moved to London to study Book Art (BA) atLondon College of Communication (LCC) in 2001, and at the same time undertook private tuition with Mark Cockram at StudioFive. She exhibits her design bindings regularly in UK, and is currently studying for her MA in Book Conservation at West DeanCollege in the UK.

(Sayaka Fukada - Bookbinder) John Betjeman Selected Poems. Edited by Alan Powers. Drawings by Peter Bailey. TheFolio Society. London. 2004. 222p. 9” x 6.5”. Illustrations in color and black and white throughout; black and white pho-tographic reproductions. Unique binding by Sayaka Fukada in 2005. Bound in full grey goat skin decorated withreverse transfer prints from photograph taken by the binder on Tengujo (Japanese paper); blind tooling and title.Multicolored hand sewn headbands; edges decorated with water colour paint in shades of gray. Endpapers created bylayered images of reverse transfer prints on Tengujo and Zerkall. Grey goat skin doublures with paper inlays contin-uing the images from endpapers. Laid in a brown cloth dropback box with paper title label on spine and lined withgray-green suede. Laid in the box is a card with image of binding, relief printed title and the words ‘Bound by SayakaFukada in 2005”, plus Fukada’s stamp and signature in Japanese. Fine. $2600.00Fukada writes: “This book is [the] collected work of a poet, John Betjeman. I decided to reflect his personality after having read thebrief biography in the beginning of this book ... [in] my design. I chose a sunflower as a key image for it stays strong and always fac-ing up [to] the sun while it is blooming as if it is trying to cheer up everyone when it is hiding its inner sadness or loneliness. “I covered [the] book [in] grey and partly applied colourful onlays, which are translucent, to express the way Betjeman’s heart stayed[strong].”

(Sayaka Fukada - Bookbinder) Chink: A Woolly Coated Little Dog and other stories from Lives of the Hunted and WildAnimals at Home by Ernest Thompson Seton. Hodder & Stoughton. London. n.d. 128p. 7.5” x 5.5”. Unique binding bySayaka Fukada in 2004. Bound in full blue suede, decorated with reverse transfer prints from photographs taken bybinder. The design consists of overlapping images of a dog’s face. A dog collar with a name plate, which carries thetitle of the book and its author’s initials, is fixed on the front board. Pink silk panel doublure, hand printed dog paw-prints in red and green on endpapers. Hand sewn headbands in pink, white and blue cotton threads. All edges deco-rated with reverse transfer prints from the same images as the cover of the book. Laid in blue cloth dropback box withspine area in printed green suede; lined with pink suede. In the box is a card with image of binding; relief printed titleand the words ‘Bound by Sayaka Fukada in 2004”, plus Fukada’s stamp and signature in Japanese. Fine. $2000.00

16

27.

28.

27.

27.

Fukada writes: “When I bound this book, I thought a lot about texture and colours as this is a children’s book and aimed to bind abook, which [could] be heavily handled. All [the] materials I chose [have a] different feel and although it may look [an]unusual com-bination of colours, I think they work well together.“The only object on the cover is a sturdy dog collar and it does not come apart easily even if children play with it as it is fixed underthe panel [doublure]. I also chose not to apply any delicate decoration such as onlays and gold tooling either. I tried to appeal to chil-dren but at the same time, I tried not to make it childish. I think I managed to finish this book [to be] equally pleasant to adults’ eyes.”

Homage to Buckminster Fuller - The special edition of Tetrascroll pupblished at U.L.A.E. for his 80th birthday

“R. Buckminster Fuller (1895-1983) was one of the great American visionaries of the 20th century. Best-known as theinventor of the geodesic dome, Fuller devoted much of his life to resolving the gap between the sciences and thehumanities, which he believed was preventing society from taking a comprehensive view of the world. His theoriesand innovations traversed the worlds of architecture, visual art, literature, mathematics, molecular biology, and envi-ronmental science and have had a deep impact on all of those fields.” - The Whitney Museum of Art.

(R. Buckminster Fuller) Tetrascroll. Goldilocks and the three bears, a Cosmic Fairy Tale. Text and Preface by author/artist.Printed under the direction of Tatyana Grosman at Universal Limited Art Editions. West Islip, New York. 1977. 33” x38” approx. Conceived by Fuller as a tetrahedron with 26 pages, consisting of 36” equilateral triangles bound togeth-er on two sides with gray Dacron sailcloth. The pages open out to approximately 43 feet, comprising the complete

17

29.

28.

29.

work. Dark blue text and drawings printed on Rives BFK matching gray paper laminated to the sailcloth. Triangularpages connected by cloth strips. Title page ‘The only known Picture of Goldy,’ plus 21 lithographic drawings. HandsetHelvetica type. Pages embossed with the publisher’s seal. Bound by Richard Minsky with the 26 pages laminatedtogether as rigid triangles, all connected and hinged together for display. No. 2 of an edition of 34 copies, plus 6 artist’sproofs and 2 printer’s proofs. The Preface is signed and numbered and each drawing initialed by R.B. Fuller. Prefacealso signed by Mrs. Ann Fuller, and by Alexandra, the Fuller’s grand-daughter, ‘For Goldy.’ ‘Epilever’ (Epilogue) byEdwin Schlossberg and signed by him. Fine. SOLDMany years in its formulation and production, this work explains the structure of the universe and man’s place in it,as conceived by Buckminster Fuller, world renowned architect and environmentalist. This ecological fairy tale wasadapted from his personal philosophies for his granddaughter, Allegra. Several mythological stories are strung togeth-er in a didactic series – a cosmic seminar.A forty-three foot long ‘book’, Tetrascroll was prepared at U.L.A.E. in time for Fuller’s 80th birthday.This Special Deluxe U.L.A.E. edition is scarce. Institutions generally own either the facsimile or trade editions, as isin The Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Statliche Museum, Berlin, andthe Victoria & Albert Museum. Copies of the original U.L.A.E. edition are at Harvard University, Oklahoma CityMuseum of Art, and the University of Texas at Austin.Exhibited at the Museum of Modern Art, New York, January, 1977; R. Feldman Gallery, New York, January 1977 andF. S. Wright Art Gallery, U.C.L.A., Los Angeles, March-May 1978. A major showing of Buckminster Fuller’s work willbe on exhibition at the Whitney Museum of Art, New York City, from June 26, 2008-September 21, 2008.

18

John Gerard’s contribution to the artof the Alphabet

(John Gerard) Alpha Beta. Artist's book byJohn Gerard. [Rheinbach, Germany.] 2005.20 leaves.10.75" x 6.75". Handwritten blackink letters of the alphabet and red geomet-ric letterpress pattern on handmade paper.Light salmon endboards with white sewncoptic binding. Illustrated label on front. Ina thin card envelope folder with the titlewritten in ink. A unique variant in an edi-tion of 20 similar copies. Signed, numberedand dated by Gerard. Fine. $450.00 A hom-age to the alphabet and the golden section.

An illustrated edition of a Poe classic(John Gerard) The Pit and the Pendulum. By Edgar Allan Poe.Illustrated by Thomas Rug. Rheinbach. 2005. 28p. 7.25" x 9".Printed on paper handmade by John Gerard in 12pt Garamond-Antiqua. at the Copernicus Graphische Werkstatt, Alfter. PaperFrench folded. Open sewn binding with black linen spine andblack thread, natural paper boards with black title on front. In ablack linen dropback box with title in blind on front and spine.An edition of 25 copies, plus 5 artist's proofs, signed by ThomasRug and John Gerard. Fine. $900.00First published in 1842, this is one of Poe's best known works,illustrated here with new etchings by Professor Thomas Rug.

(John Gerard) Die Häuser meiner Straße/les cases del meu carrer.(The Houses on my Street.) [A poem in German and Catalan] byEnric Casasses. With images by Victoria Rabal. John Gerard.Rheinbach. 2006. First edition. n.p. 14" x 7.75". 6 French-fold full page pulp paper paintings. Typeset in 24pt GalliardRoman, handprinted in black and blue. Bound in Japanese style with open stitching in blue. Blue linen spine, originalpulp paper painting over boards. Title on front. Blue linen dropback box. An edition of 30 unique variant copiessigned by the poet, artist and Gerard. Fine. $600.00Enric Casasses is a Catalonian poet. Victoria Rabal is a Catalonian artist and also director of the Paper Museum in Capellades, Spain.English translation of the poem laid in at the bottom of the box.A translation of two of the verses:“the corner under the bridge

the origin of the discovered spring the entrance hall of the train station the yellow straw in the stable

the shadow of a peach treethe dust of the caravans and the light on the horizon and the farthest star”

19

30.

31.

32.

30.

31.

32.

(John Gerard) Pulse. [By] Paul Auster. Produced by John Gerard. Rheinbach, Germany. 2007. Accordion fold of 19pages. 12.25” x 12.25”. Interpretation of pulp paper images by Bodo Korsig. All handmade papers by John Gerard. Textset in 36pt Arial, printed in the Copernicus Graphische Werkstatt, Alfter, Germany. Bound in dark gray cloth with redtitle on spine and front; two matt black designs reflecting the images in the book. Black dropback box with titles anddesigns to match the book cover. One in an edition of 30 copies, signed by Korsig and Auster. Fine. $3000.00Poem from the book ‘Collected Poems’ by Paul Auster. Reproduced by permission of The Overlook Press.Some verses from ‘Pulse’:“Autumn: a single leafeaten by light: and the greengaze of green upon us.

(John Gerard) Die Kunst der Gesellschaft. [German text.] [By] Durs Gruenbein. Paper paintings by John Gerard.Rheinbach, Germany. 2007. 16 leaves. 14.5” x 11.5”. Handmade paper and paper paintings by John Gerard.Typography by Juergen Foster, printed in the Copernicus Graphische Werkstatt, Alfter. Bound in green cloth spinewith black title label; pulp paper paintings over board sides. Black title on front board. Green cloth dropback box withtitle in black on spine and front. An edition of 25 unique variants, signed by Durs Gruenbein and John Gerard. Fine.

$ 1 8 0 0 . 0 0The motifs follow the original plan of the Friedrichshain Park in Berlin of 1875.This book was awarded the honorary prize in the juried exhibition ‘Art on Campus 2007’ in Rheinbach, Germany.

(Joan Iversen Goswell) Goldwing Moth. Artist’s book by Joan Iversen Goswell. Poem by e.e.cummings. n.d. 8” x 40”open. Irregularly shaped accordion book. Hand lettering on Rives BFK. The illustrations are open bite etchings print-ed by the artist and decorated with hot colored foil tooling. Each etching in each book was hand pulled by the artist.The lettering in each book was hand lettered. In a purple paper wrapper onto which another etching has been pasted.No. 4 in an edition of 7 copies, signed in pencil by the artist and with her stamp. Fine. $425.00

TEXT:the sky a silver dissonanceby correct fingers of april resolvedinto a clutter of trite jewels

now like a moth with stumbling wings flutters and flops along the grass collides with trees and houses and finallybutts into the river

36. (Joan Iversen Goswell) In the Name of Peace. Artist’s book by Joan IversenGoswell. n.d. 5.25” x 4.25”. An accordion fold book. Illustrated with a digitally manip-ulated print taken from an original monoprint by the artist. The lettering was origi-nally hand-stamped, then reduced and digitally printed for the edition. Boards indark blue bookcloth with red ribbon closures and a paper title label. No. 3 in an edi-tion of 5 copies. Initialed and numbered by the artist. Fine. $50.00

20

Where earth does not stop,we, too, will become thislight, dieseven as the light in the shape of a leaf.”

33.

34.

35.

34.

35.

TEXT:In the name of peacethey waged the wars.

Ain’t they got no shame.By Nikki Giovanni.

(Gloria Helfgott) Cosmic Recurrences. UniqueArtist's book object by Gloria Helfgott.[California.] 2006. 6.5" x 6.5" x 2.75". Browncloth covered fold-out box opens to show oneword of text on pink paper on each of the foursides. Within is an attached turning box thatdepicts legendary figurative constellations.Oil based ink on acrylic on binders board which shows pochoir images with handlettered names and are painteddusky pink, tan and white and highlighted with glass andacrylic marks. Title on front of box and artist's name on theback. Fine. $1450.00

Nine great books from the remarkable John Ross -including a new work

(High Tide Press) On Liberty and Justice. Quotations from 16philosophers. Illustrated with woodcut portraits by JohnRoss. [New York. 1992.] 10” x 8”. Design and black and whitewoodcuts printed from the original blocks on a Vandercookproofing press by John Ross. Letterpress printed in SimonciniItalian Garamond set in Linotype and printed by John Ross onSaunders Waterford. Headlines in color are various wood andmetal fonts from the High Tide collection. Multi-coloredBasingwerk endpapers patterned with woodtype letters. Topedges uncut. Red cloth boards and matching slipcase with paper title label. One of 40 copies, signed and dated by Ross.Fine. $ 8 0 0 . 0 0

A classic book with statements on Liberty and Justice bySocrates, Plato, Aristotle, René Descartes, Blaise Pascal,Baruch Spinoza, John Locke, David Hume, Jean JacquesRousseau, Immanuel Kant, John Stuart Mill, HenryDavid Thoreau, W.E.B. DuBois, Bertrand Russell,Hannah Arendt, and John Rawls.

Eleven structures metamorphosing into animals

39. (High Tide Press) An Architectural Bestiary. Prints byJohn Ross. Text translated by Lloyd Jonnes. [New York.1993.] Black and white collagraph images on a 30” x 15”spread. (Closed - 15” x 15”.) Greek text in red, Englishtext in back. Designed and printed by John Ross, withthe assistance of Tim Ross and Ann Marie Farinacci onStonehenge white. English text set in Primer and Greektext set by Cosmos Printing. Both texts are printed on a

Vandercook proofing press. Headline and display type are from the High Tide Collection and printed by John Ross.Orange and black faux fur-type fabric covered dropback box, with title label. Most of the images were made in Venice,Italy, in the summer of 1992. In a total edition of 25 copies, this is one of 20 in black and white. Signed by Ross on eachplate as well as on the Colophon page. Fine. [Illustrated top of page 22.] $2600.00From the Introduction by Jonnes: “Certain of the animals perceived in the various structures here portrayed by theartist found themselves with their foibles discussed by classical authors. Some ten excerpts in Greek and in Englishtranslation from texts of two authors appear here. The first of these authors, if he existed, Physiologos (3rd -4th cen-tury A.D.), used animals (and plant and minerals) in very simple parables for teaching the lessons of Christianity. Thesecond, Claudius Aelianus (2nd century A.D.), may have been seeking both to understand the animal kingdom and toentertain. ... The final excerpt comes not from a classical work, but as a giraffe was needed, from Denis Diderot, theFrench encyclopediest.”

21

37.

38.

36.

37.

38. 38.

Ross states: "My interest in metamorphosis shows itself in these books where ani-mals or people turn into buildings or structures (or vice versa). I have been draw-ings such ideas for twenty years and have been able to convert some [of] the sketch-es into books. The Bestiary was inspired by the sight of structures which evokedother beings."

40. (High Tide Press) From Rome to Venice for a Cure. From the poem by GiovanniDella Casa. Translated from the Latin by John Van Sickle. Prints by John Ross. [NewYork. 1997.] n.p. 10.25”x 7.75”. With 2 pull-out pages to 9” x 21”. Set in Janson andprinted by John Ross on a Vandercook proof press at the High Tide workshop on

Fabriano Artistico, french folded for the larger prints. The collograph plates were made in Venice, Italy, in the summerof 1996. Sewn binding, multi-colored silkscreened green cloth wrappers over thin card. One of 60 copies signed by Rossand Van Sickle. Fine. $500.00Van Sickle has provided a commentary on Della Casa’s poem, giving a background to his life in the 16th century.

Selected as one of the “Fifty Books/Fifty Covers of 1998” by the American Institute of Graphic Arts

(High Tide Press) Birds of Manhattan. Prints by John Ross. Text [and Introduction] by Lloyd Jonnes. [New York. 1998.]n.p. 14” x 7.25”. Design, letterpress printing and color collographs by John Ross. 14 birds on double spreads each 13.75”x 13.75”. Text set in Palatino with headlines from wood type in the High Tide collection. Printing done on a VandercookProofing press. Papers used include Arches cover cream and black, Rives BFK cream and grey, Lenox 100 white,Stonehenge white, Lana cover, Coventry and Speckleton tan and mustard. Gray slubbed silk binding with resin cast-ing of red bird in deep black cloth recess on front cover. Matching gray silk slipcase with recessed black title label. One

of 40 copies signed by John Ross. Fine. Last copy. $1750.00

All the birds are illustrated against various skylines and facetsof New York. Not only are the birds named and their habits andbackgrounds intelligently described, but the buildings, wherepossible, and their designers, are named; the sculptor of theStatue of Liberty on Bedloe’s Island is also not forgotten!Ross comments: "I join my passion for architecture with the joyof looking at birds, in a city setting that seems incongruous as ahome to wild life. I studied printmaking with Antonio Frasconiand own a copy of Birds of my Homeland by Antonio. Thisundoubtedly influenced my choice of subject matter. I checkedwith the Audubon Society in New York for the most commonspecies of birds found here and chose 14 of the 40 that they sug-gested. The author, Lloyd Jonnes, a dedicated bird watcher, clas-sicist, linguist and economist, has written two of my High TidePress books and is also a member of my family (my son’s father-in-law).”

22

41.

39.

40.

41.

(High Tide Press) Typopolis: A Journey to the City of Type. Designed and printed by John Ross. Tipoteca Italiana fon-dazione and the High Tide Press. [Italy. East Hampton, New York. 2002.] Accordion fold. 13.5" x 9.5". Printed in manycolors mostly on Fabriano A5 Disegno, with some paper by J. Barcham Green. A Vandercook type 4c, a Kobold FAGControl 525 Automatic and a Vandercook 219 were used to print this book. Wood type is used to form various designs- a castle, a factory, a city, skyscrapers, a gorge, a bridge, and a tower. Text in English, Italian and Greek from varioussources. Black cloth boards, with a recess on the front board containing a “mock” plastic printer’s type block with thetitle printed backwards in various colors. Black cloth slipcase with woodtype letterpress printed, brilliantly colored,full page title label. One in an edition of 25 copies, signed by John Ross. Fine. $2000.00Almost all the type is from the collection of the Tipoteca Italiana, with a few fonts from the High Tide Press in New York.In his Introduction, John Ross writes: "Five years ago ... [I heard of] a newly forming type museum in a town about one hour northof Venice."... Clare Romano, my artist wife, and [I went] to the town of Cornuda, in the province of Treviso, to visit the just organized TipotecaItaliana, a foundation created for the purpose of collecting and preserving the type and presses used in the letterpress printing indus-try. ..."The driving force behind this new museum of type and presses is Silvio Antiga, the president of the Foundation and a director ofthe printing firm of Antiga Grafiche, a thriving, high quality press for posters, fine books, and other commercial and industrial print-ed material. The unmatched energy and enthusiasm of Silvio Antiga is the prime reason why this new collection of type and presseshas developed so rapidly and efficiently into one of the most complete collections in Italy."Antiga wrote to over sixty of the most prominent printing firms in Italy to ask if they would send their rarely used type and otherequipment to form the core of the growing collection. The response was overwhelming and the new museum was flooded with thou-sands of fonts of type, scores of presses, type setting machines and other devices that had been outmoded by newer systems.“Of course, this mass of material needed to be housed, so the Tipoteca bought and reconstructed a deconsecrated church nearby,erected new structures and designed new and efficient spaces to show some of the collected equipment. Several warehouses are stor-ing more presses and type. Each press is repaired to working condition before it is displayed, a job which challenges their dedicatedmechanics and technicians."I suggested to Antiga that a working printshop could be used to produceartists books, posters or prints to keep the letterpress tradition alive byartists and designers using the equipment collected in the Tipoteca. Heagreed and this book is one of the first efforts to produce new work usingold technology."A tour de force by Ross using old type to form not only text, but brilliant-ly colored illustrations.

(High Tide Press) Patterns of Morocco. Prints by John Ross. Text byVarious Authors. New York. 2002. 12 leaves. 12.25” x 12.25”.Printed on Lenox 100 white, with the majority of the collographplates relief printed on a Vandercook 219 proving press. The printfrom a brass tray was printed intaglio on an etching press. Twopieces of Moroccan textile work are laid-on pages; one tip-on, anda fold-out. Various images of people, places, and animals are doneby a xerox process. Red leather spine with gilt title and side deco-rative line; black cloth boards with inset of an example of colorfulweaving. Red cloth slipcase. One in an edition of 14 signed copies.Fine. $2500.00

23

42.

43.

42.

43.

The textile on the cover was woven from wool in a plain weave with weft substitution by a Berber woman in the Middle Atlas moun-tains on a simple upright loom.John Ross was one of 13 printmakers invited to work in the printshop of the Assilah Forum Foundation in the summer of 2001. Hestates: “The work in this book represents some of the impressions that I received as a result of the visit to Morocco. The completereliance on an abstract, geometric concept of art has led to a flourishing of decorative and embellished surfaces that are varied andcomplex”. A multi-layered and colorful book, which brings to life the sights and textures of Morocco.

(High Tide Press) The Art of Fruit Desserts. Prints by John Ross * Recipes by Sam Joffe. East Hampton. New York. [2003.]n.p. 11.75” x 9”. Fruit wrappers used on the title pages are from Florence, Italy, and collected in 1958 and 1959.Collographs, printed from collage plates made from mat board, fabrics and other materials glued together with acrylicpolymer gesso. Printed on 2 ply Rising museum board. Quotations and recipes are printed on Lenox 100 paper.Quotations are printed in Garamond Italic and recipes are set in Helvetica Lite. Both fonts are from the linotypemachine. All images and text are printed on a Vandercook 219 proof press in the East Hampton print workshop of theHigh Tide Press. Sam Joffe printed some of the recipes, while most were printed by John Ross. Binding by JamesDeMarcantonio of wooden boards imitating fruit crates and two metal ring binding holders at the top. The back is dou-ble green cloth board joined with cloth which allows the book to stand upright to see the recipes (while cooking!).Themetal rings allow the pages to turn easily. In a dark green cloth thick board slipcase with slips for the two metal rings.One in an edition of 36 copies signed by John Ross. Fine. $1250.00Charming quotations relating to a specific fruit by many poets through the ages precede the sections on the variousfruits. Contents include sections on the apple, banana, blueberry, cherry, lemon, orange, peach, pear, plum, pineapple,and strawberry,“A mutual passion for fruit pastries and cakes led John Ross and Sam Joffe to collaborate in this tribute to fruit desserts.The idea is simple; make a book that combines the art of printmaking and the art of baking.Sam is the baker, the recipes are his. John is the artist-printmaker, the visual images are his. Working together for the

past three or four years has enabled both of them toappreciate the problems as well as the joys of theirseparate endeavors, a humbling yet gratifyingexperience.” - Introduction by Ross & Joffe.

24

44.

(High Tide Press) Portraits of the Twentieth Century: Volume One. Text by Lloyd Jonnes. Prints by John Ross. EastHampton, New York. [2006.] 13 leaves. 12.25” x 8.75”. Images of 8 people who influenced the twentieth century; twowith pop-ups. Images were made by a variety of methods, including woodcut, soft ground etching and collograph.Printed on Lenox 100 in Garamond, set on the Linotype by Kent LeFebvre. All printing of type and images was com-pleted by John Ross at the High Tide printshop in East Hampton, New York. Letterpress printing was done on aVandercook 219 and the etchings and collographs printed on a motorized Brand etching press. Bound by JamesDiMarcantonio of the Hope Bindery in tan cloth with red cloth spine; title in black on spine and incorporated in a largeyellow ‘20’ which stretches across both back and front covers. Tan cloth slipcase. Red endpapers. Alternative bindingin red cloth with tan cloth spine; title in black on spine and incorporated in a large orange ‘20’ which stretches acrossboth back and front covers. Red cloth slipcase. Tan endpapers. One in an edition of 17 copies, signed by Lloyd Jonnesand John Ross. Fine. $1750.00Jonnes writes: “The prints by John Ross that make up this volume memorialize a number of men and women preeminent in theworld of the twentieth century.” Images includes those of Gandhi, the Wright Brothers, Franklin D. Roosevelt, Albert Einstein, LouisArmstrong, Pablo Picasso, Georgia O’Keeffe and Kathë Kollwitz. There is text for each. A planned second volume will be an excel-lent companion for this overview of the past century.

An exuberant new classic using typefaces from Tipoteca Italiana Fondazione

(High Tide Press) Type Faces. Design and prints by John Ross. Quotes from various sources. High Tide Press. EastHampton, New York; Tipoteca Italiana Fondazione. [Italy.] 2007. 12.25” x 11” x 2.25”. Accordion fold. Color prints cre-ated using only typefaces. The majority of the paper used was Fabriano Rosapina in several weights. Some of the quo-tations are on Speckletone tinted paper. Bound by James DiMarcantonio at the Hope Bindery in cloth, with the accor-dion fold book glued to the base of the box. The front of the box is almost covered with a painted wooden ‘mock-up’of a printer’s chase which creates the title in reverse and painted in various colors, with the design forming a face. Redribbon allows for ease of opening the box. Cloth covered board slipcase covered in the same material and inlay on bothsides of a page of drawings for the prints as well as the title page. One in an edition of 20 copies, numbered and signedby John Ross. New. $2300.00

25

45.

46.

45.

Ross writes: “These symbolic faces, all made from existing type, are quoting statements on anadjoining page, ranging from the comic to the critical. The prints and the text together form theessence of the book, which is a reflection on the variety of ways people live together.“I am endebted to the staff of the Tipoteca Italiana for their encouragement, advice and technicalhelp. The coordinator of this group, Sandro Berra was helpful in many ways, as translator, curatorand map maker. ... Of course, the entire Foundation would not exist without its charismatic andmotivated president, Silvio Antiga, whose energy and enthusiasm was always present.”Ross also states in the Colophon: “This collection of faces, made from type, was produced at theHigh Tide Press print shop in East Hampton, N.Y. and at the Tipoteca Italiana foundation inCornuda, a town in the Veneto province of Italy. The enormous quantity of type and presses at theTipoteca made this an ideal place to assemble this project.”Note: Already in the collections of R.I.T., Rochester New York, & The Library of Congress.

47. (Inkwell Press) The Italian 'Commedia Dell'Arte'. Written, Illustrated, & Decorated byVincent Torre. New York. 1983. 77p. 10.5” x 7.5”. Black and white full-page reproductionsof drawings by Torre. Printed in Garamond, on Perkins & Squier paper. Red cloth boardswith title in black on front and spine. One in an edition of 200 copies, numbered and

signed by Vincent Torre. Fine. $40.00A fascinating explanation by Torre of the history, subjects, troupes, characters and masks of the commedia dell'arte. Torre alsoexplains the importance of the commedia dell'arte in introducing women on equal terms with men in the productions.

48. (Inkwell Press) Sonnets Written in Youth. By Dante Gabriel Rossetti. New York. 1992.17p. 13.25” x 11”. Printed in black with green title and woodblock decorative floral designat the bottom of each page, bordered with a red design. Printed on cream Stonehengepaper with Garamond types. Red cloth spine with title in black on front and spine, floraldesign paper boards. One in an edition of 45 copies, signed and numbered by VincentTorre. Fine. $ 2 7 5 . 0 0"These sonnets written in youth were not included in his collected works by Dante Gabriel Rossettiin his lifetime. They were published for the first time in 1931 by Duke University Press, Durham,North Carolina, in "Rossetti Manuscripts: Unpublished Verse and Prose" by P.F. Baum. To our knowledge,they are printed here for only the second time." - Colophon.

49. (Inkwell Press) Two Poems written in Youth. By Dante Gabriel Rossetti. New York. 1994.9p. 12.5” x 9.5”. Printed on thick gray Strathmore paper with Garamond types. Red clothspine with title in black on spine and front; floral design paper boards. No. 9 in an editionof 24 copies, numbered and signed by Vincent Torre. Fine. $250.00"These poems ... were published for the first time in 1931 by Duke University Press in Rossetti

Manuscripts: Unpublished Verse and Prose. To our knowledge, they are printed here for only the second time." - Colophon.

50. (Janus Press) Waste Incant. Wo rds andimages by Susan Johanknecht. Newark,Vermont. 2007. 12 leaves, including title page.7.5” x 11.5”. Printed on Barcham Gre e nCambersand and Cairo from Hayle Mill inEngland. Each leaf interspersed with texturedsheets of flexible vinyl and illusion polycarbon-ate. Bound with woven strips of silver coloredpaper and encased in the same vinyl. Loosevinyl protective cover. Clear acrylic slipcase.One in an edition of 150 copies. Fine. $300.00Susan Johanknecht’s Waste Incant is in response to thestorage of nuclear waste in plastic. It is also twentyyears after Hermetic Waste, which she published at herGefn Press after Chernobyl.

(the jenny-press) The Activated Page: Handmade Paper and the Artist’s Book. Edited by Jae Jennifer Rossman. New Haven,Connecticut. 2007. 89p. 8.25” x 5.25”. Blue wrappers. Front cover with black title and cut-out rectangle to show sam-ple of handmade paper. Four more samples of handmade paper inside the flaps of the wrappers. An edition of 300copies, plus 26 hors commerce lettered copies. Book Arts Essay 3. Fine. $20.00

26

51.

47.

48.

49.

Jeanette Koch - Contemporary Fine Binder

Born in 1947, Jeanette Koch graduated from Nottingham University in 1969 with a BA Hons. degree in French and FineArt. After ten years in arts administration, she co-ran a phototypesetting and theater program publishing business inCovent Garden until 1992.Koch took up bookbinding as a second creer in 1992, and received tuition from Sally Lou Smith, Jenni Grey, NestaDavies and Romilly Saumarez Smith. She became a Designer Bookbinder Licentiate in 2001. Currently she is a mem-ber of the editorial board of The New Bookbinder and Secretary of Designer Bookbinders.

(Jeanette Koch - Bookbinder) Cyrano de Bergerac. By Edmond Rostand. Publ. Cercle de Relieure d’art à Ciboure 1998.(Reprint of Librarie Charpentier et Fasquelle, Paris 1898.) 182p. 11.25” x 7.75”. Unique binding by Jeanette Koch in1999. Open joint structure. Top edge gilded and sanded. Boards covered with resist-dyed native goatskin and chickenfeet skin. Resist dyed calf spine and doublures. Five sanded straps fixed by patinated silver studs. Hemp paper end-papers. In a dark gray suede pouch sewn with cream stitching and a suede closure. Fine. $2600.00Koch writes: “Colours and patterns taken from the Frontispiece illustration of Cyrano. Boards resist-dyed with grafitti writing, recall-ing the letters, poems and tears of Cyrano. Gascon soldiers probably ate a lot of chicken – also the foot looks like an armorial glove!”

(Jeanette Koch - Bookbinder) Metamorphoses. By Ovid. Translated and introduced by Mary M. Innes. Illustrations byRichard Shirley Smith. Folio Society. 1995. 350p. 9.75” x 7”. Illustrations in black and white and color. Unique bindingby Jeanette Koch in 2001. Bound in gray goatskin, gray dyed chicken feet skin, eel skin strap lined with pink goatskin

27

52.

53.

52.

53.

with acrylic painted edges and four silver and gold cup-shaped fastenings made by Romilly Saumarez Smith. Alledges gilded and sanded. Grey suede doublures, gray Japanese Mingei paper endpapers. Binder’s stamp at spine edgeof back doublure. Laid in a black cloth dropback box lined with dusky pink handmade paper and built-up gray rec-tangles to support the book. Leather title label on spine. Fine. $2750.00Koch writes: “I wanted a restrained binding as far as colour was concerned because of the rather delicate pale-coloured illustrations.However the mixture of skins indicates the nature of metamorphosis from human to animal.”

(Jeanette Koch - Bookbinder) Journey to the Centre of the Earth. By Jules Verne. Translated by William Butcher.Introduced by Michael Crichton. Illustrated by Grahame Baker. The Folio Society. 2001. 231p. 9” x 6.5”. 9 full--pagecolor illustrations. Unique binding by Jeanette Koch in 2002. Sides covered in multicolored resist-dyed vellum. Spine,covered separately, is made up of resist-dyed calf bands with painted edges between sanded goatskin sewing stations.Multi-colored sprinkled edges. Pale blue suede doublures. Brown and pink handmade Ingres endpapers. Laid in agreen cloth dropback box lined with dusky-pink handmade paper; illustrated paper title label on spine. Binder’sstamp at spine edge of back doublure. Fine. $2750.00Koch writes: “I wanted to create the chaos and bubbling magma of the earth’s core. The blue-brown-pink colours inside lead into thecolouring of the first frontispiece illustration.”

(Sara Langworthy) First Visit. Artist’s book by Sara Langworthy. Coreopsis Press. 2001. 8.75” x 7”. Conceived andassembled in the winter, using transparencies of etchings, with U1CB kozo, Japanese book cloth and 2-ply museum

board. Six ‘leaves’ of board, covered with black cloth withrectangular plate inset and held in place with string. Eachplate illustrated and with minimal text. Smaller plates insetin both back and front boards. Grey cloth boards and blackcloth spine. One in an edition of 40 signed and datedcopies. Fine. $500.00Langworthy writes that for best viewing, place in front of brightlight.“Sara Langworthy was trained in bookbinding, printing, andpapermaking at the University of Iowa Center for the Book. Shehas been a resident artist at the Minnesota Center for Book Artsand Highpoint Center for Printmaking in Minneapolis. She cur-rently divides her time between her studio in Minneapolis, andIowa City, Iowa, where she teaches Bookbinding and LetterpressPrinting. [Her work] can be found in a number of national collec-tions, including the Walker Art Center and Yale University.” -Women’s Studio Workshop Summer Arts Institute 2007.This book was published with a grant from Women’s StudioWorkshop, which is funded in part by the New York State Councilon the Arts. An interesting structure to an innovative book.

28

54.

55.

54.

55.

(Sara Langworthy) Mortho Terrestre. Poems [by] Emily Wilson. Prints [by] Sara Langworthy. 2006. 11.25” x 5”. Four 4-page fold-out color images created on and off the press by Langworthy, who also designed and printed the book. Textin Janson printed on Sakamoto paper from photopolymer plates. Pages are sewn with silk in a Japanese multisectionbinding. Laid in a recess in a brown silk dropback box with cream paper title on the spine and paper color illustrationon the top of the box. One in an edition of 50 copies, signed by Wilson and Langworthy. Fine. $600.00Emily Wilson lives in Portland, Maine, where she is the proprietor of the Spurwink Press, which publishes letterpress editions of poet-ry books. She graduated from the University of Iowa Writers' Workshop in 1999. Six of the poems in this book have previouslyappeared in various publications.

Introducing the innovative and creative work of a new voice to these pages - Su LundSu Lund earned a BFA (Fine Arts/Design) from the Minneapolis College of Art and Design and MFA equivalent in Book Arts throughinternational apprenticeships. Her works have been shown nationally in museums and galleries, and acquired for private and majorcollections including The Sackner Archive of Concrete and Visual Poetry in Miami, Florida; the Avant Writing Collection, Rare Books& Manuscripts Library, Ohio State University. The Jaffe Collection, Florida Atlantic University, Boca Raton; Athenaeum Arts Library,La Jolla, and the Mandeville Special Collections Library at UC San Diego have documented her work.Building on her understanding of book construction, Lund has designed and co-produced 74 illustrated children’s books, many inpaper-engineered or pop-up formats. She has worked with major museums including The Walker Art Center, The MinneapolisInstitute of Arts, and The Children’s Theatre Company and School (Minneapolis) to create 2-D and 3-D visual displays and installa-tions.She has also taught and lectured on The Artists’ Book movement at many art colleges and libraries around the country, includingOregon College of Arts & Crafts, Maryhurst College, Ringling School of Art & Design, and Penland School of Arts & Crafts.

(Su Lund) March in Mpls: An artist’s sketchbook. Unique artist’s book by Su Lund. 1985. 20p. 6.5’ x7.25”. Original mixedmedia artwork, collage and notes in color. The edges of the pages are hand colored. Blue handmade Japanese endpa-pers. Brown goatskin binding, with black and tan leather onlays to form an abstract design. In a brown cloth box withblack trim, and onlaid abstract paper design in black and white. Signed and dated in ink by Su Lund. Fine. $2200.00

29

56.

57.

56.

57.

(Su Lund)Black Coffee Details. Unique artist’s book by Su Lund. 1985. 16p. 7.25” x 4.25”. Original mixed media artworkand handwritten notes. Bound in brown goatskin with multi-colored small square onlays which form the design. Eachpage is hinged with Japanese paper. In a black cloth dropback box with cream trim; small color illustration at bottomright front of box. Signed by Su Lund and numbered 1/1. Fine. $2000.00

(Su Lund) Self-Portrait Postcard series. Unique artist’s book by Su Lund. 1986. 13 leaves. 6” x 8.25”. Pochoir prints, withnotes, by the artist, each on thick brown paper. Each print is held in place by black photograph hinges in each corner.Each page is decorated around the tipped-in image with color and a decorative border. Silver color is used around theedges of the pages on the verso as well as the recto of the page. Brown/tan mottled handmade Japanese endpaperswith the addition of small circles colored in silver around the edges. Bound in leather with an abstract design of onlaysin red and black across both covers; the entire surface is covered with a silver finish. Laid in a black cloth dropbackbox, lined in red cloth. The front of the box is inlaid and onlaid with an abstract design in red, black, brown and silver.Signed by Su Lund. Fine. $2250.00Lund writes: ‘ A pochoir is a cut-out pattern, similar to a stencil, through which color is applied to the paper’s surface. “This technique was used by Sonia Delaunay during the Art Deco period. The Japanese also used similar types of stencils for handcoloring.“The images are personal symbols, continuing the modernist preoccupation with the self & private vision. The floating head ... thecoffee cup ... All of these elements embody the artist’s states of mind in the studio.”

Unique and beautiful - with words by Paul Simon

(Su Lund) Under African Skies. Unique artist’s book by Su Lund with lyrics by Paul Simon. 1988-1994. 9” x 10”. 11handcolored intaglio etchings are laid into French-folded leaves which have the fore-edges with small pleats to allowfor painted pattern edgings. Each page containing an etching has been gone back into and hand painted in a soft gold.The text is handwritten in ink by the artist on the opposite page. Bound in hand-dyed brown-toned goatskin with reliefdesign and central painted image, all by the artist. Gray endpages with silver and with blue dots which match the relief

30

58.

59.

60.

58.

59.

design at the front fore-edge of the binding and the inside pages. Laid in a black cloth box, lined with red; front coverwith a design of vinyl and intaglio etching onlays. Signed in ink by Su Lund and numbered 1/1. Fine. SOLDWords by Paul Simon, from ‘Graceland’ album. (Used w. permission.) Simon was awarded the “Gershwin Prize for Popular Song”by the Library of Congress in 2007. This book won an award in a Cincinnati museum exhibit in 2005.

(Su Lund) JBK/JFK: Out of Balance,Out of Luck. A unique set of twosculptural wall books/boxes by SuLund. [New Mexico.] 2004-2005. PartI - 12” x 15” x 4” - open. Part II - 12”x 15” x 4” - open.Part I: Wood construction, pigments,wire, stone, dice, JFK speech text:Amherst College 1962.Part II: Wood construction, metal,brass, photos, pigments, stones,wire, glitter, and found objects.Unique work signed by the artist.Fine. $2200.00Lund writes: “In Part I, this diptychincludes excerpts from JFK’s famed 1962speech at Amherst College: In Part II, JFKis “Out of Balance, Out of Luck” inDallas, Texas. JFK was killed on Nov. 22,1963. JFK had a premonition the nightbefore, about the dangers of being inTexas at that time.”

31

61.

60.

60.

61.

62. (Su Lund) Dylan: Desire #61. Unique Sculptural wall book/box by SuLund. [New Mexico.] 2006. 9.5” x 15” x 4” (open). Wood construction, pig-ments, metal, glass, photos, eggshell, maps, wire, Dylan lyrics and foundobjects. Unique work signed by the artist. Fine. $1500.00“As a Fellow Minnesotan, this piece refers to Dylan’s personal journey “on theroad” from MN to NY to CA. References include: Highway 61, Desire, Dylan lyricsabout transformation and change, luck, fortune, religion, water, Gemini astrology,star maps, hands and time. “Don’t blame me, I’m from MN” button is from Reaganreelection in 1984. Minnesotans wore these buttons (made by an artist friend ofmine) and black armbands to protest election. Only Minnesota and Washington DCdid not vote for Reagan in that reelection.” - Su Lund.

63. (Su Lund) Chance/Peace: (John Lennon). Unique Sculptural wallbook/box by Su Lund. New Mexico.] 2007. 9.5” x 16” x 7” - open. An openwood construction, metal parts, photos, sheet with Chance/Peace: (JohnLennon), music, pigments, wire, maps, metal discs, postcards, foundobjects, carved ‘nine,’ wooden orb and blocks. A unique work signed bySu Lund. Fine. $2000.00

32

61.

62.

62.

Lund writes: [This work] “references to “War is Over! If you want it” billboard campaign of 1969 by John and Yoko. “The U.S. vs.John Lennon” legal case: Lennon was a “national threat.’’ Targets: Lennon and the World Trade Center, orbs, eyes, Japanese culture,and John’s lucky number: Nine.”

M.K. Publishers) Genesis. Artist’s book by Mikhail Karasik. St. Petersburg. 2006. 17” in diameter. Seven round colorlithographs of manhole covers by Mikhail Karasik; on the verso is text consisting of the first three chapter of Genesisin three colors to form a palimpsest pattern in four languages. Lithographic title on front and back of aluminum cov-ers, orange verso. Bound with one metal screw. Orange box with loose lid; round pattern on the lid and nine imagesof manhole covers on the inside and bottom of the box. In an 18.25” x 18.25” dropback card box with grey and orangetrim and copy of title page lithograph in orange on top. One in an edition of 15 numbered copies, signed and dated onthe inside back cover. Fine. $1500.00“Seven days of creation, seven sheets of paper, seven iron St. Petersburg manhole covers. In seven days the Lord created man andeverything on the earth. Seven old iron manhole covers, seven tables on which is written the text of the first three chapters of the Bookof Genesis. Manhole covers are artifacts of city life, a hidden land beneath them ... There is land - there is the underground, but ...[they] never meet. ... From my childhood they frightened me.“Manhole covers, like the old pages of a book scattered across a vast city. I wander through the streets and read their metallic words.Seven manhole covers, seven signs of the elements ...” Karasik, New Books 2004-2006.

33

64.

63.

64.

(M.K. Publications) Ryba. [Essays, Tales, Articles in Russian and English.] Artist’s book by Mikhail Karasik. [St.Petersburg. 2006.] 56p. 8” x 17”. Text and illustrations in black and white, silkscreen printed on black paper. Black cardcovers with title in white; black sewn binding. Black cloth and board dropback box with white silkscreen of a dominopiece. Wraparound black card protective folder. One in an edition of 37 numbered and signed copies. Fine. $350.00“The dictionary translates the Russian word ryba into English as fish. It does not translate the other meanings of the word. In Russian,ryba also means the end of a game of dominoes. It is the word spoken by the player who makes the last move, before all the dots onthe remaining dominoes are added up.“In publishing and printing, a ryba also means a dummy book design. The title of the Ryba collection of essays, articles and short sto-ries reflects both meanings of the word. ... “In this particular publication, the artist is also the author of the short stories. He throws his texts onto the table like dominoes. Thedots are the facial side and the texts are the reverse side of the domino. The game ends when the sixth domino is placed on the table.This book also ends unexpectedly. All that is left to be done is to count the dots on the remaining dominoes, like the empty pages.Dominoes remaining in the hand and unpublished text are the results of the game and the results of life, summed up by the shortRussian word ryba.” - Karasik.

A very special book by Robert Johnson

(Melia Press) Tickletoes. John Wills, Poet. Robert Johnson, Artist. (Minneapolis. MN. 1993.] 13 French fold leaves. 18” x12.75”. Designed and printed by Robert Johnson. Shapes and colors printed using a relief collograph letterpressprocess. Hand printed using Bembo, Huxley Vertical, and Clarendon type on Rives BFK paper. Bound by Jill Jevnewith an open sewn spine; boards of yellow fabric with a blue Moriki inset front and back. Pages are hinged with yel-low Moriki guards sewn on to five linen tapes. Bright blue cloth dropback box with paper title label on spine. No. 35in an edition of 40 copies, signed by John Wills, Robert Johnson, and four other contributors to the production. Fine.

$4500.00This large format book presents fourteen of Wills’ cheerful poems in combination with Johnson’s colorful, animated two-pagespreads. Approximately 160 press runs and 180 handmixed colors were required to achieve these unusual graphic images. An excit-ing visual book with charming text.

34

65.

66.

65.

66.

(Lois Morrison) The Journey Begins. Artist’s book by Lois Morrison. [New Jersey.] 2007. 4” x 2.625”. Accordion fold.Black and white drawings of a cedar tree and branch throughout with color xerox pop-up of broken dolls on mostopenings. Doll bodies found in La Gunilla in Mexico City. Printed on a Gocco printer on Magnani Pescia, Tyvek andCross-Pointe’ Synergy. Gone back into with a Pigma Micron pen. Typeface is Agate normal italics. Hand-cut, assem-bled and bound. Photographs by Enrique Chavarria. Boards bound in tan paper with black geometric pattern; title onfront and back. Black fabric band with crocheted button closure completes the work. One in an edition of 32 copies,signed by Lois Morrison. Fine. $300.00

(Lois Morrison) Turkey Trot. Artist’s book by Lois Morrison. [New Jersey.] 2007. 6 shaped leaves. 4.25” x 10.5”. Printedon a Gocco printer and Staedtler Mars mastercut block in Ill Omen. Text cut out and collaged onto pages. Printed onpink paper used for wrapping tacos. Plastic, tyvek and other paper. Some illustrations are laser printed, others doneby Gocco. Gone back into with Pigma pens. Grommets, onlays and pop-ups. End boards of printed yellow cloth withplum colored turkey foot. Bound with grommets and colored cord. In a floral Mexican oilcloth wrap tied with coloredcord. No. 23 of 25 copies, signed by Lois Morrison. Fine. $550.00

The creative spirit of Pacific Editions continues with a multi-layered new book

(Pacific Editions) NELSON & EMMA: Aphrodite & Ares Contemplate Admiral Nelson & Lady Hamilton. Text written byCharles Hobson who also designed the edition. San Francisco. [Fall and Winter of 2007-2008.] 41p. 10 “ x 11” x 1”. Thebook is built around five signatures called “intermezzos” attached to a concertina spine. Each intermezzo has a uniqueabstract acrylic painting on paper; an image of an historic sea battle printed on transparent film; a Renaissance-era

35

67.

68.

69.

68.

69.

painting of Aphrodite colored with acrylic wash; and a page with cutout windows. The cover and slipcase have beencovered in a mouldmade paper called Canal made in Quebec that has been embossed with a pattern of netting for theslipcase. The cover of the book contains a lenticular photograph of an age-of-sail batttle scene overlayed with a paint-ing of Aphrodite by Titian who looms over the battle. The lenticular photograph shifts the view between the twoimages as the cover is tilted. The frontispiece images of Nelson and Emma have been made as two-layer monotypeportraits which have been reproduced as high-resolution digital prints on transparent film. They have been hinged soas to permit the top image to be lifted away to reveal a more disquieting view of each. The book concludes with a pop-up square-rigged vessel containing the images of Admiral Nelson and Aphrodite. One in a limited edition of thirty-five copies made during the fall and winter of 2007-2008. New. $2750.00From the Prospectus: “In 1798 Admiral Nelson led a fleet of British warships against the French at the mouth of the Nile with a dra-matic victory. Several weeks later he sailed into Naples harbor and was greeted with a huge celebration and the rapturous admira-tion of the citizens, including Lady Emma Hamilton, the British Ambassador’s beautiful young wife. Soon they became lovers. “In Greek mythology Aphrodite, goddess of love, and Ares, god of war, had a tempestuous affair which resulted in ridicule andembarrassment. Nelson & Emma records an imaginary conversation between Aphrodite and Ares about the admiral and the ambas-sodor’s wife, mortals who seem to embody the qualities of love and war that are the special purview of the the two gods. As the con-versation between the two gods proceeds they pull strings that lead to a net of disapproval and scandal being thrown over the twomortals.“At the heart of the design of Nelson & Emma is an intention to show alternative perspectives about the events that transpire and togive life to the odd coincidence that love and war are tied closely together in both the affairs of the gods and the affairs of mortals. “

Palladio’s ‘La Rotonda’ revisited by Ronald Keller

(Red Angel Press) Excerpts from The Four Books on Architecture: Andrea Palladio. Translated by Robert Tavernor &Richard Schofield. [Bremen, Maine & New York City.] 2008. n.p. 17.25” x 10.25”. Various size pages. Concept and art-work, as well as typesetting and printing done by Ronald Keller. Set by hand, the type is Bembo for text and sub-titles,with Caslon for the title. Printed on dampened Italian made Fabriano Artistico paper. Illustrations are depictions of LaRotonda, located near Vicenza, Italy. It is shown in line renderings in plan view and elevation, with a main image ofcast paper. Cream cloth boards with the title in brown letters on front board. The front cover is split in the center of thebook and the pages open both to left and right. As they are turned, the leaves are trimmed narrower, gradually reveal-ing the cast paper bas-relief image of the facade of La Rotonda on the inside back cover. One in an edition of 50 copies,signed by Ronald Keller. An elegant production. New. $750.00“The four chapters deal with the construction basics of classic architecture- sand, stone, timber, metals, etc. - and give concise analy-sis of them.“Andrea Palladio (1508-1580) was the designer of villas, churches and civic buildings, mostly in the Veneto region of Italy.Fortunately, many of his creations still exist and can be visited today, including La Rotonda, featured in this edition . His influencehas been great and many buildings since his time exhibit this (e.g. Jefferson’s Montecello.) ... The building features identical facadeson all four sides and the rooms within, arranged in symmetrical form, are proportioned to classical ideals. This elegant building isconsidered by many to be Palladio’s masterwork.” - Prospectus.

(Red Howler Press) A Valiant Reflection. Unique drawings with handwritten text by David Moyer. Translation bySamuel Butler. [Pennsylvania.] 2006. n.p. 7.5” x 5”. On 50+ year old J.P. Head handmade English paper. Drawn duringthe summer and fall of 2006. Bound in light tan leather with gilt title on front board. Laid in a green cloth dropbackbox with handwritten paper title label on spine. Unique manuscript book signed by David Moyer. The text consistsmainly of quotations from The Iliad, translated by Samuel Butler. Fine. [Images on request.] $1700.00

36

70.

71.

70.

A scarce layered contemporary pop-up by Larry Rivers

(Larry Rivers) Diana with poem. A three-dimensional work on paper. By Larry Rivers. U.L.A.E./Universal Limited ArtEditions. New York. 1970 – 1974. 25” x 28”. With an original poem by Kenneth Koch, ‘Diana Latin Goddess of the Moon’facing the image and printed letterpress on handmade paper with U.L.A.E. blindstamp. Four sheets of thin card lam-inated and hinged to create the three-dimensional image. All in beige linen folder. Cover with title ‘DIANA’ and‘Rivers’ handwritten in script. No. 8 in an edition of 19 dated copies signed by Rivers, plus 4 artist’s proofs. Fine.

$14,000.00A superb example of Rivers at his absolute best. This evocative portrait of a young woman looking through a window, as reflectedin the enclosed poem by the well-known American poet, Kenneth Koch. Rivers was a highly versatile Post-Abstract Expressionist who anticipated the Pop Art Movement. He was known for his humor, wit,and irony, especially in his narrative paintings.Copies of this work are at the Art Institute of Chicago, and the University of Texas at Austin.

Ilse Schreiber Noll

(Ilse Schreiber Noll) The Country. Accordion-fold book by Ilse Schreiber-Noll. [New York.] 1999. 5.75” x 3.75”. A wood-cut panel opens to show a single vista of a landscape in browns, black, orange and greens. Brown cloth boards with arecessed illustration of the sun. Brown cloth slipcase with title in black on a recessed label on the front. No. 1 in an edi-tion of 3 copies. Signed by Ilse Schreiber-Noll. Fine. $150.00

37

72.

73.

72.

73.

38

(Ilse Schreiber Noll) Ta n n e n . [Poem] by Bertold Brecht. IlseSchreiber-Noll - Woodcuts. 14.25” x 9.75”. [New York. 2007.]Printed at the Center for Editions at the School of Art and Design,Purchase College, SUNY. Two full-page woodcuts; one signed andone initialed and dated. Printed on Rives lightweight in Baskerville.In a cream folder with title and poem. Brown painted wrapper. Allin gray fold-over wrappers with the front cover painted in gray anda translation of the poem on a sheet of paper glued to the insideback of the folder. No. 19 of 20 copies, signed by Ilse Schreiber-Noll.Fine. $165.00

Lost in sand and ashes - an artist’s cri de couer

(Ilse Schreiber Noll) Die Dörfer und Felder vergehen. (The erosion of villages and fields.) [German text.] Unique artist’sbook by Ilse Schreiber-Noll. [New York.] 2004. 16p. including covers. 15” x 11”. Mixed media, sand, ground, and col-lage on paper. Photographs taken by the artist in Germany. Handwritten title on front cover. Gauze cover box withloose lid and recessed paper title label at bottom of lid. Unique signed book. Fine. $1750.00 From the Series (Book II) “Verloren in Sand und Asche - Lost in Sand and Ashes.”

(Ilse Schreiber Noll) Nacht. (Night.) A unique artist’s book by Ilse Schreiber-Noll. New York. 2006. 16 leaves. 9.25” x6.75”. Mixed media on paper. Bound with coarse gauze painted a similar blue. Title hand written in silver paint on thefront cover in silver. Box with separate lid covered in gauze; inside of lid and base of box with painted paper ingray/blues shades. Inlaid paper title on top lid of box. Signed by the artist on the back cover in silver. Fine. $750.00

74.

75.

76.

74.

75.

76.

A beautiful poem about love at the end of a lifetime - presented in a superb production

(Ilse Schreiber Noll) Promissory Note. [Poem by] Galway Kinnell. Woodcuts [by] Ilse Schreiber-Noll. New York. 2007.n.p. 13.25” x 9.75”. Woodcuts on pastel and pen drawing. Conceived, printed and bound by the artist on Mulberry andRives Paper. The poem reproduced from the handwritten manuscript, written out by Galway Kinnell for this book;poem also printed letterpress. Four-page color fold-out of the large woodcut. Dark blue wraparound cover with dark-er blue woodcut across the wrappers; title in white. Laid in a gray cloth covered board folder with round blue and yel-low-green illustration and title on front board. Signed by Galway Kinnell on the reproduction of the handwrittenpoem. Signed by Ilse Schreiber-Noll at the back of the book. One in an edition of 16 copies. Fine. $950.00

Camden! “ ... a city invincible” - Whitman. Poet Dennis Brutus renders an update!

(Ilse Schreiber Noll) For Camden. A book by Ilse Schreiber Noll. Woodcuts and Silk Screens. Poems by Dennis Brutusand Walt Whitman. New York. 2007-2008. n.p. 18.5” x 13.25”. Loose in thick wrappers illustrated with green woodcuts.Conceived, printed and bound by Ilse Schreiber Noll. Some pages with gauze overlays containing images and allow-ing the viewer to glimpse the words or images below. Laid in a card box with brown title on the lift-off lid. No. 4 in anedition of 7 copies signed by Ilse Schreiber Noll and Dennis Brutus. Fine. $3500.00The Introduction states: “Camden, N.J. - It does not take much time when visiting this city to have doubts about a line its mostfamous resident, 19th century poet Walt Whitman, wrote about it: “I dream’d in a dream I saw a city invincible.” In the decades afterWhitman’s death in 1892, Camden, located just east of Philadelphia, became a center of industry, home to RCA and Campbell Soup.[In] the years following, the city declined into one of the poorest cities in our country, a place best-known for government corruptionand crime.”

39

77.

78.

77.

78.

The excerpts of the poem ‘Letter to Camden Burial Place of Walt Whitman’ were handwritten by the poet, Dennis Brutus, in January2008, for this book. The artist cut the entire poem out of linoleum.Schreiber Noll writes: “I would like to thank Dennis Brutus for giving permission to use his poem for this project.”She also writes: “"Several years ago Dennis Brutus [sent me the poem "Letter to Camden". I had put it aside, but had always plannedto do a book with it. “I felt it was necessary at this time to make this book ,which brings attention to the problems of our cities. Camden next to Detroit,Oakland, Cleveland and others is considered one of the top ten most dangerous cities in the United States. ...“The images in ... "For Camden"... show the grief and needs of these troubled together with the voice[s] of two great poets, DennisBrutus and Walt Whitman.”

Carol Schwartzott

79. (Carol Schwartzott) Ola Mola:The Kuna of San Blas. Artist's bookby Carol Schwartzott. [Freeville.New York. 2004.] Accordion fold.5.25” x 7.25”. Designed andbound by Carol Schwartzott.Printed at Blacks CornerLetterpress in black, gray and redon Zerkall Text. Type faces usedare Miro by P22 Type, Skia andGeometric 231. Five stitchedfolios contain four double pages,and include text and fourteenblack and white illustrations. Thefolios are connected with fourdouble fold pages. Each blackfold displays a colorful, 5 layer,

cut-paper illustration. The black Japanese cloth binding contains an insert of an actual Mola sample - appliquéd clothwith embroidery. Matching black slipcase with red paper title label on spine. One in an edition of 50 signed copies.Fine. Last copy. $250.00“Ola Mola introduces the history, geography, religion, customs and aesthetic of the Kuna Indians of the San Blas Archipelago, a groupof some 300 islands off the coast of Panama. The Mola, a simple female garment, is fashioned out of two stitched and appliqued clothlayers front and back, with an addition of sleeves and yoke. This fabric panel will often contain historical designs representing theidentity of Kuna women in sociological and ethnological ways. My book is an attempt to follow the scholarly study of the garment,from the earliest contact to recent critical feminist views. “As an artist I tend to concentrate within the art and aesthetic areas of what I study. I collected my first Mola in 1970, and as a ‘sewer’I have always been fascinated by their innovative and skillful construction, as well as the wonderfully simple, yet complex imagery.I wanted my little book to show their detail, the textures formed by layering and the lush and vibrant use of color. I began the illus-trations by scanning fabric, then considered photographing them or using actual samples. At one point I had a wild notion of sewingmy own.“As the project moved along many techniques were employed and discarded. Finally, I decided on cut paper. Cutting the tiny, intri-cate patterns would be easy for one book, but what about 50? To the rescue came my daughter Gretel, an industrial designer work-ing in an architects office. She suggested the interesting solution of laser-cutting. So, with her dedicated help ... the colored illustra-tion became my own stylized interpretations of classic mola design.” - Schwartzott in the Prospectus.

(Carol Schwartzott) Concept Color. Jacob's Ladder format book by Carol Schwartzott. [Freeville. NY.] 2006. 4" x 4".Printed on Rives BFK and with colorful collages mounted on acid free boards, tied together with an assortment of col-orful ribbon, the book is about color. A paper wrapper houses the book and as each layer unfolds it provides a shortdescription of color. One in an edition of 20 signed copies. Fine. $75.00

Concept Color flips to reveal frag-ments of text and color shapes. Anadventure in color, the book usesthe Jacob's Ladder stru c t u re, abook technique developed duringthe 1800s. The ladder must bepicked up at the end and held in ahorizontal position to release thefirst section, which then tumblesdown into the next, continuinguntil it reaches the bottom.Reversing the direction brings theladder back to its original position.

40

80.

79.

80.

A beautiful new edition of a 19th century classic

(Carol Schwartzott) The Rubaiyat of Omar Khayyam. Translation [by] Edward Fitz Gerald. Concept, design, illustrationsand binding by Carol Schwartzott. Freeville. New York. 2007. n.p. 11" x 7". First Edition 1859. Text pages printed on anEpson 2000 on Mohawk Via vellum using archival pigmented inks. Illustration portfolios are on Moab Enrade, withthe original art scanned and printed on an Epson 2000 P. Each illustration is then overprinted with a linocut to pro-duce opacity and pattern. Additional applications of paint, colored pencil and graphite are used to heighten color anddetail. Each is finished with gold and silver leaf. The lasercuts are on Glama natural clear vellum, with archways ofrepeat patterns printed on an etching press using polymer plates. The dividers are hand-marbled Kozuke Japanesepaper. The cover is laser cut bookboard, painted and faux finished. Underneath is the title label with a handpaintedcolored background that sits behind the die-cuts of the window. Book bound in pale green Japanese bookcloth.Dropback box of matching green cloth, lined in Ingres Rag paper, handprinted using a collograph created from thepositive shapes from the archway of the cover. One in an edition of 25 copies, signed by Schwartzott. New. $925.00Schwartzott writes: "This edition of The Rubaiyat uses the 1st edition of FitzGerald's translations. Although it is not considered thebest of the translations, it is the original. The completion of this book ends my journey of almost ten years. Interestingly, as I workedon its design and reason I really felt it become a more timely piece. For me the Rubaiyat encapsulates the beauty, intellect and mys-ticism of the Persian world. How lovely to focus on what a culture brings to others instead of the brutality, fear, anger, and enormoussadness that the war in Iraq has conjured up and bestowed upon all of us. I wanted the book to be calm, serene, ethereal, peaceful,tranquil. “I chose a quiet solution for the typography, the layers of the illustration portfolios peel away like veils, and little dots of color hereand there, along with the gold and silver leaf represent the jeweled covers and illuminated miniatures of rare Persian books. Sincemarbling was an art invented and developed by the Persians, I used it for a segment divider. A simple binding and protective boxcompletes the presentation."

(Seven Hills Press) The Intrepid Ones. [By] Brian Borchardt. Stevens Point, Wisconsin. 2007. n.p. 9” x 5.75”. Collage,cut-outs, color decorations and reproduced images in various colors. Text was handset in foundry Tower and printedon Jeff Morin’s Vandercook SP15 proof press. Text papers throughout are a mixture of various color cotton and abacaf rom Caren Heft’s RootRiver Mill, while the cov-ers are Fabriano Uno. Thef ront wrappers has aflower stamp on a rectan-gular panel of light plum.Bound in signatures withopen spine and three stripsof the cover paper acrossthe spine. From the topstrip are red, green andwhite strings with a silvermetal decoration and a redplastic decoration. An edi-tion of 50 copies. Fine.

$250.00

41

81.

82.

81.

82.

Shirley Sharoff

Sharoff writes: “Ovi was the first book I made thanks to a collaboration with Francois DaRos, typographer in Paris. Ihad never much thought about making books before. I had begun my studies in Fine Art at Brooklyn College, but aftermy move to Paris, I began to work at the printmaking studios of Jonny Friedlaender and then the Ecole des Beaux Artswhere I was primarily interested in etching as a medium. But Ovi, made in 1986 but published in 1988, opened up anew way of thinking. I saw that texts that I loved could come together with prints and a conception of a book and makesomething wonderfully new. A book contained a different notion of time than a single print.“I have [participated] in bookshows in Ireland, Belgium, Luxembourg, Germany and France. My books are found inmany municipal and regional collections in France ... and the Bibliotheque Nationale. The Great Wall is part of the col-lection of [the National Art Library at] theVictoria & Albert [Museum] and the Bayerische Staatsbibliothek in Munich.”Sharoff’s work is also in the collections of many fine public and private collections throughout the United States,Canada and South Africa.

83. (Shirley Sharoff) The Great Wall. Artist’s book by Shirley Sharoff.[Paris. 1991.] 10” x 5.375” closed. One continuous strip with the topedge red. The Great Wall unrolls to a length of 7 meters but can bestood up to make a wWall of paper. Eight etchings and the students’comments alternate with the text in English, French and Chinese.Hand-set in Athenaeum type by Francois Da Ros on Arches paper‘prepared’ to look like a tablet whose text had been worn away.Folded like a snail, the book is presented in an Althuglas clip insertedinto a slipcase. One in an edition of 65 signed copies. Fine. Last copy.

$1000.00Sharoff writes: “In 1988 when I returned to Paris after a year’s stay in Beijing,China, teaching English, I knew that I would have to assimilate this profoundexperience in some way. A very strong impression concerned the bittersweetnature of Chinese life where objects, landscapes, people and living conditionscould be sublimely beautiful, but balanced in other situations by everythingthat could be harsh, difficult, tiresome and complicated. How to find a text

which could express this yin/yang situation. Finally, I found it in a text by LuXun, China’s most famous 20th century author, writ-ten in 1926. Hoping to see a new and modern China, he writes of the contradictions inherent in this great human construction: itsmonumentality and the loss of life caused by its building. ‘A curse on this wonderful Great Wall’ he writes.“As an English teacher, I assigned my students short compositions so they could practice writing English, but for me it was a wayinto the lives of young Chinese. I put extracts from these writings into my book to act as a counterpoint to the solidity of the GreatWall and as a background. “... Looked at from the top, the book reminds me of the labyrinth found in the Old Summer Palace outside of Beijing.”

(Shirley Sharoff) Procession. [By] Gertrude Stein. Translated by Francoise Collin. Engravings by Shirley Sharoff. [Paris.1995.] 10 double-fold leaves. 9.875” x 9.875”. Five engravings on Arches paper, and 9 variations on Moulin de Fleuracpaper pasted into the book, and a cut-out showing the postface. In a cut-out and shaped titled folder; laid in a red drop-back box with similarly shaped envelope flaps; white title on spine continuing on base of box front. One in an editionof 60 numbered copies, signed by Shirley Sharoff. Fine. $900.00

42

84.

83.

84,

85.

Sharoff writes: “Paris between the two wars, Paris of the American exiles, has always held a tremendous fascination for Americans,and I was no exception. As soon as I had finished my studies and had worked a few years to save up some money, I went to Pariswith the intention of staying only one year. But I am still there. As an American living in Paris, I made Procession as a remembranceand celebration of those mythic times when new forms of art, literature and music were capturing the rhythm of the modern and Iput Gertrude Stein in the middle. I also wanted to add to the stock of Gertrude Stein’s work in French and for this I called uponFrancoise Collin who had translated her work for “Les Cahiers du Grif”.“Readers knowing both English and French will appreciate the subtlety of her translation. The images of fragmentation are meant toevoke Stein’s use of language in their repetition and elaboration of sounds and words. The text is taken from a compilation of herpoems called “Reflection on the Atomic Bomb”. The Procession begins with the opening of the flaps of the red box and continues withan interplay of the white flaps of the inner folder, hiding and uncovering the name of the poem until we are safely inside.”

(Shirley Sharoff) Griffouillages [Doodles]. [Text and images by] Shirley Sharoff. [Paris. 1996.] n.p. 14” x 10.5”. One black-and-white and five color etchings printed by the artist on Hahnemule in a portfolio. Text handset using Typewritercharacters. Six etchings within a folder titled in turquoise with a front laser-printed doodle onlay which pulls openwith a pink plastic ribbon. This is under a pink Moulin de Pombie paper square with the artist’s name on the front andwhich slips through a slit to the verso giving details of the concept in French. The inside back cover contains conceptdetails in English on pink paper which continues through a slit to the back which contains hand-written colophondetails with number and signature. A further laser-printed doodle opens out beneath this. Laid in a titled pink papercover, with the front lined with blue corrugated paper and the back with white corrugated paper. Red paper boardslipcase. One in an edition of 25 signed copies. Fine. $800.00Sharoff writes: “A small press publisher, Richard Meier, suggested the idea to me of doing a portfolio of prints on the subject ofDoodles. I made the prints but as this project never materialized, I decided to construct a book around them which would bring outthe elements of fantasy and imagination. The etchings are compositions which use people’s doodles as a starting point. Many peoplein different types of jobs gave me their doodles, such as an office worker, a college professor, a director of a Limoges chinaware com-pany ... but the most prolific and inventive was a doctor from Reims who doodles her way through her patients’ phone calls andwhose work is part of the laser-print fold-out on the front and back. “... As there was very little written on the subject of Doodles, apart from connecting it to the Automatic writing of the Surrealist move-ment, I wrote the text myself.”

(Shirley Sharoff) The Yellow Line. Artist’s book by Shirley Sharoff. [Paris. 1998.] 3.25” x 2.75”. Accordion fold. Fourblack and white etchings by Sharoff. Typography by Francois Da Ros. Double accordion fold on Arches with a yellowline folded up into the cover which expands to parallel the 'wall’ of the book which contains 4 etchings and traces ofa painted line. Cover made of textured wallpaper painted yellow. Small copper plate in black thin card holder and 4additional etchings in a folder, all fitting with the book into a black slipcase. One of 8 Special copies thus in an editionof 50 signed copies. Fine. $350.00Sharoff writes: “One day on my way home in the 14th arrondisement of Paris I noticed that someone had painted a yellow line fromone end to the other of the buildings in this small street, running over walls, doors and gates. I returned with my camera. This wasthe beginning of the book I made a few years later. I have always been intrigued by what appear to be arbitrary or mysterious signsand markings on the surfaces of a city. Who put them there? What is the meaning? All very confusing.”

(Shirley Sharoff) Yellow Paper. Artist’s book by Shirley Sharoff. [Paris. 2000.] 6.25” x 8.25”. The artist made crushed-paper collages mixed with maps of the region to suggest both journey and terrain, one of which is found in the book.The cover is a scan of this collage. Two other collage scans are among the images as well as photos and map collageson transparent plastic. 'The star of the book’ - the yellow paper, is the means through which all the elements of thebook are viewed. Collaged boards with green paper spine with the same green paper forming an envelope-type wrap-

43

85.

86.

87.

86. 87.

per to hold the sheets of the book. Wrapped in thicker yellow paper and tied with blue string. One in an edition of 15signed copies. Fine. $500.00Sharoff writes: “An artist friend living in Toulon in the south of France showed me a pile of sturdy yellow tissue paper that had comefrom her great-grandfather’s mill. There were other papers too - anthracite and pink, but I was particularly impressed by this paperwith a non-commercial yellow color that seemed to have traversed the century. Sophie Menuet agreed to write a text about how shehad used her ancestor’s mill as an artist’s studio, what it looked like and how she had transported this paper from place to place inthe Provencal countryside when she changed studios, and that was often.”“...The book has become the final destination of the yellow paper in that Sophie Menuet has moved once again and has decided notto take the paper with her.”

(Shirley Sharoff) La Reparation. Poem by Jean-Loup Philippe. Images and design by Shirley Sharoff. [Paris. 2001.]7.25” x 9.5”. 5 signatures loose in a rough blue corrugated card wrapper, printed on BFK Rives, with text composedby Michael Caine in Times 18. Red etching with two large plastic numerals, as well as various numbers as part of the

design, folds round the central similar etching shaded in yellow, red, and green. Sheets are torn to create the impres-sion of broken paper, with text on both complete and torn portions. At the end is a torn black folded sheet containingan English translation of the text on transparent paper. Wrapper torn and then repaired with colored sisal string. Blackslipcase with onlaid section of blue corrugated card. One in an edition of 40 copies numbered and signed by the poetand artist, plus 5 HC copies. Fine. $500.00Sharoff writes that she created a book around a poem by Jean-Loup Philippe. “I had just broken my ankle and felt in need of repairs.This book was a manifestation of the repairing.”She states: “A man has a sudden flashback of images belonging to his childhood but recast in an anguishing light: mutilated dolls,the swish of taffeta skirts, fresh young skin. He feels himself to be brittle, coming apart ... but no ... he pulls the disassociating partsof himself back together and runs on his way. He feels he has repaired his memories.” A clever and attractive book.

89. (Shirley Sharoff) Les Amazones. [The Amazons.]Artist's book by Shirley Sharo ff. Text by FrançoiseSeloron. [Paris. 2005.] 16.375" x 6.5". Loose in portfoliowith one illustrated sheet. The wraparound cover has acut-out of an Amazon with a spear and shield.Wraparound fits into a black card cover with a slitallowing a portion of an Amazon in red to show on thefront cover. The portfolio fits into the back folded coverwhich contains an English translation of the text "TheAmazons are Amongst Us." Typography by Jean-JacquesSergent. Printed on Rives white. The engravings are ondifferent sizes of paper with text on the reverse. Graydropback box with red paper lining and black title onfront inside cover. Four color engravings of differentsizes and placed in descending order by Shirley Sharoff.Two in blue, one in orange and one in red. One in an edi-tion of 25 copies, plus 3 H.C. copies, signed by Sharoffand Seloron. Fine. $700.00Sharoff writes: "When breast cancer struck, Françoise Seloron,author of The Amazons, discovered that she too was an Amazon.In fact, through her lifestyle, she recounts, she had always beenan Amazon, a clandestine Amazon. Françoise is an old friendwho I met during my early days in Paris in the '60s. Her com-

44

88.

88.

89.

bative attitude towards her illness so impressed me that when she told me that she was doing research on the Amazons, I decidedthat cooperating on an artist's book would be my way of helping to keep up her morale and of pulling something positive out of thenegative. The text, adapted from her book, “The Amazon of '48'” deals with the myth created by the ancient Greeks who celebratedthe strength and independence of this tribe of women yet set them apart as being warlike and 'unfeminine'. The four etchings indescending size give form to the book, and integrated the Amazons into our contemporary world where they - like all of us - are bom-barded by labels, images, advertising, pictograms, tourist signs, warning, instructions and grafitti."“This book relates the legendary Amazons of the past - women who had a breast removed to that they could improve their archeryand javeline throwing skills - to the women of the present who have a breast removed for medical reasons.”

(Shirley Sharoff) The Song of the Wind Horse. Artist's book by Shirley Sharoff. Photographs of Tibet taken by the artistin 2004. [Paris. 2005.] 8.5” x 8.25”. Typography by Jean Jacques Sergent. Illustration of wind horse and Tibetan writ-ing in orange and black in a frame on the first page. Two thin card pages which fold out to show text and a double-page spread of 16 photographs of Tibetan banners on mountain tops and 2 squares of colored paper. 8 of the photo-graphs 'fall' open to reveal long attachments of handmade paper or squares of colored paper illustrated with imagesof a wind horse. Colophon written by hand on a yellow wind horse. Laid in a three-sided board folder covered in nat-ural color handmade Tibetan paper with red petals and green leaves; lined in yellow and gold illustrated Tibetanpaper with a cream wind horse on the last side. Slipcase of mottled handmade cream Nepalese paper. No. 2 of 3copies, signed by Sharoff. Fine. $650.00Sharoff writes: “The text referring to Sherlock Holmes is a conjecture that he was in Tibet during the time he disappeared after seem-ingly being murdered and then re-appearing years later.”The book can be displayed open to show the long attachments of paper, reflecting the long banners of the mountain-tops of Tibet. Awonderful concept.

A new book with a noisy surprise - A great concept!

(Shirley Sharoff) Bruits (Noises). Artist’s book by Shirley Sharoff. [Cléry. 2007.] n.p. 7” x 13.5” - folder closed. Five coloretchings - one full-page and four, together with the title, in narrow strips on a cut page. Typography by Jean-JacquesSergent. Pink chemise with cut-out front containing loose leaves with lists of various daily noises in our lives. The che-mise and folder made by Marie-Christine Kréziak. Red double-folder decorated with black dots, patterns and letterscontaining the work on the one side; on opening the left side a startling sound is emitted. Laid in a black board slip-case. One in an edition of 30 copies on vélin BFK Rives blanc plus 5 hors commerce copies not for sale. Numbered andsigned by the artist. Fine. $625.00A loose sheet containing a list of English translations and explanations for each sound is given at the end of the work. Shirley Sharoffselected the noises and created the cut-outs, the cover and the five engravings to accompany the sounds of urban life. Sharoff writes: “Objects like animals can speak to us. While the sounds of living creatures are made by physiological mechanisms,the noises of objects come from their relation to surfaces, air acceleration or space. ...” An interesting typographical layout - with a great sense of humor! The surprise of the ‘sound’ completes a most attractive work.

45

90.

91.

90.

91.

Mary Heebner

(simplemente maria press) On the Blue Shore of Silence: Poems of the Sea by Pablo Neruda. A la Orilla Azul del Silencio:Poemas del Mar por Pablo Neruda. Designed and illustrated by Mary Heebner. English translations by Alastair Reid. sim-plemente maria press. [Santa Barbara. 2001.] Portfolio - 14" x 11". The original watercolor paintings in the Isla Negraseries were made for the specific purpose of creating the editioned book, On the Blue Shore of Silence, using the Gicléeprinting process at Duganne Atelier, Santa Monica, under the direction of the artist. They were produced on SomersetVelvet 300. The portfolio consists of 12 hand-folded folios, each containing an image presented with a poem in Spanishby Pablo Neruda and Alastair Reid's translation into English. The text was printed letterpress from polymer plates atThe Lumino Press, Santa Barbara, California, on handmade linen paper produced by the artist with the assistance ofPat Almonrode at the Dieu Donné Mill, New York City. The poems are digitally typeset using Adobe Jenson for theEnglish text and Arrighi for the Spanish; Trajan titles. The cockling on the edge of the linen sheets was purposefullyintended to allude to waves approaching a shore. The handmade linen wrappers were individually painted with indi-go pigmented pulp by the artist at Dieu Donné Papermill, New York. Images and poems were tipped onto larger sheetsof Fabriano Tiepolo. Also included is a hand-sewn signature consisting of title page, introduction, table of contents,colophon and acknowledgments. In a handmade case constructed with imported Japanese blue flecked silk book clothover boards with Birch wood sides. Title on spine; fasteners are silverplate. Cases were produced at The Lumino Press.An edition of 50 copies; the first 22 are Special copies, each copy containing one of the signed, original watercolorpaintings from the Isla Negra series mounted in a self-standing mat. 10 hors commerce copies were also produced. Fine. One of the special edition copies, with the original watercolor painting laid in. $3800.00Regular edition without the signed original watercolor laid in. $3000.00On the Blue Shore of Silence is Heebner's fifth editioned artist's book.Heebner states: “It was Alastair Reid who ... enabled this project to come alive by agreeing to work with me and letme use his translations. The unexpected joy of producing this book was the time spent listening to Alastair spin sto-ries about his friendship with Pablo [Neruda] as we selected poems, read them aloud, digressed about the sea andChile, about language, color, and light. ... Carmen Balcells, agent for Neruda’s estate, kindly granted permission to usehis poems in their original Spanish.”Alastair Reid, (b.1926) has lived in his native Scotland, in Spain, Greece, the UK, the USA, France, Central and SouthAmerica. He is a distinguished poet, author of more than twenty books, and was a contributor to the New Yorker mag-azine from 1951 until the 1990s. He is an internationally acclaimed translator of Latin American poetry, notably thewritings of Pablo Neruda and Jorge Luis Borges.Reid said about this book: "I am certain that Pablo Neruda, who was an impassioned book collector, would havecrowed with delight at seeing and handling Mary Heebner's On the Blue Shore of Silence (which has been brought outas a trade book by HarperCollins).

46

92.

92.

Mary Heebner, after 3 years of planning, painting and printing, continues in the great footsteps of modern exponents of contemporary Book Artists’ illustrating the classic texts -

A journey of discovery culminates in a superb new rendering of the great classic by William Shakespeare

(simplemente maria press) The Tragic History of Hamlet: An Artist’s Interpretation of the Classic Text by WilliamShakespeare. [By] Mary Heebner. Santa Barbara. 2008. 16” x 12” x 2”. 20 prints from original collage paintings, letter-press text. Watermarked paper with stencil and pulp-painting. John Balkwill of The Lumino Press, Santa Barbara,printed the text letterpress on the individual mingei paper folio sleeves, and on the handmade paper sheets, editionedby hand on a Vandercook UNI cylinder press, using Centaur typeface. He also laid out and printed the complete playin booklet form. Artist and bookmaker designed the clamshell box, which Balkwill built with black mohair over boardswith a red leather spine. The cover paper of the clamshell box is from Cave Paper in Minneapolis, onto which the skullmotif is debossed. Prints in brown handmade paper wrappers with a red trim in the box. Hand-stitched booklet withentire play Hamlet included in the box. It is hand-stitched with a cover of handmade amate paper, debossed with ahand-drawn ‘HAMLET’. An edition of 20 copies, signed by the artist, three of which are hors commerce. New. $6500.00

47

93.

93.

93.

Heebner writes: “In 2003 Josine Ianco-Starrels invited me to participate in an exhibit, “Shakespeare as Muse”, at Southern OregonUniversity Museum of Art. I had been working on a series of small figurative paintings that I sensed could become a part of a serieswith works by William Shakespeare as inspiration. These painting became the left panels of the original triptych collages of theHamlet series from which twenty direct archival pigment prints were made on Somerset Velvet paper for this artist’s book.“I made the pigmented flax and abaca two-sided chemises, the watermarked ‘Ophelia’ and HAMLET over beaten abaca sheets, andthe individually pulp painted, and stenciled cotton and abaca sheets used for the title page, with papermakers Paul Wong, SteveOrlando and Moirin Reynolds at Dieu Donné Papermill in New York City in September, 2007.I drew a version of the honeysuckle image from the Second Quarto title page, printed in 1604, and added to this a sketch of a skullthat I used for the cover image and as the header on each of the folio text blocks. I drew an eye for the title page, beneath the stormy,moody pulp painting, denoting that this was my visual interpretation of Shakespeare’s classic text.“… Source for the text is ‘The Globe Edition’ of the works of William Shakespeare, edited by William George Clark and William AldisWright, electronically available through the University of Virginia Library.” A powerful new interpretation of a great classic.

48

93.

93.

The Tern Press

(Tern Press) Notes & Numbers. Music in the Lyrics of Robert Herrick.Selected and introduced by Roth Collolly: illustrated by Nicholas Parry.[Market Drayton.] Shropshire. 2007.] 36(1)p. 7.5” x 6.5”. Set in Poliphilusand Blado by Kelsey Thornton. Printed on Zerkall paper with terra-cottalithographs by Nicholas Parry. Bound by Mary Parry with red cloth spineand brown and white patterned paper sides. Paper title labels on spineand front. 30 copies signed by Nicholas and Mary Parry. New. $195.00The texts of these poems have been checked against a first edition of Hesperides.

(Tern Press) Ivor Gurney: Twenty Poemsof Walking. Selected with an Introduc-tion by R.K.R. Thornton. [MarketDrayton. Shropshire.] 2007. 33p. 12” x8.75”. Set in Poliphilus and Blado byKelsey Thornton. Printed on Magnanipaper with lithographs by NicholasParry. Lithographs colored in tones ofyellow/tan. Tan handmade paperspine with black title, and light graypaper boards with green wood typelettered title overall on boards. One inan edition of 30 copies signed byNicholas Parry & Mary Parry. Fine.

$195.00The poems have all been re-edited fromtheir sources. Slight editorial changes andsome punctuation have been introduced:Gurney’s dots have been standardized to a regular three; apostrophes have been suppliedwhere necessary; titles of plays and other works have been italicized; Gurney’s amendmentshave been incorporated. - Colophon.

(Tern Press) The Taill of The Scheip and the Doig. [By] Robert Henryson. Lithographsby Nicholas Parry. [Market Drayton. Shropshire.] 2007. n.p. 10.5” x 7.5”. Printedin red Delphin on Zerkall paper with black and white lithographs by Nicholas &Mary Parry. Black cloth spine with brown patterned paper boards; title on Zerkallstrip in black on cover. Terra-cotta illustrations on endpapers. One of 30 copiessigned by Nicholas Parry and Mary Parry. Fine. $250.00

49

94.

95.

96.

94.

94.

95.

96.

Beth ThielenBeth Thielen’s pop-up books allow for an emotional experience that is powerful, vivid and real. She says “I think ofbook art as a personal journey, an interior landscape.” In her book, Why the Revolving Door: the Neighborhood, the Prisons,the sculptural pop-ups echo the dark days of the L.A. riots - a cry from the heart. Thielen decided, after some years ofgrieving, to make available a small edition of a visual diary she created a week after her mother’s death. This, too, isan artist’s outpouring of memories, in this case those of a departed parent - and this work stands as a moving testa-ment to a daughter’s grief.She has been teaching in the California prison system since 1985. When Thielen first started teaching, it was through the California

Arts Council Artist in Residency Grants. Selected by a panel of her peers, she received $1600 per month to provide 20 hours per weekof instruction at the participating institution. Many young artists in the state of California started their careers with this program.That program no longer exists, and the tolerance for this kind of program is increasingly threatened.Thielen’s unusual books continue to make one stop, think, and admire. Her work is represented in the Paul Getty Museum of Art,the Library of Congress, Houghton Library, Harvard, Yale University, the Spencer Collection at the New York Public Library, as wellas other important public and private collections.

(Beth Thielen) The Tower. Book design by Beth Thielen. Linoleum prints, original texts and binding by various prison-ers at San Quentin State Prison and the California Rehabilitation Center between the years 2006 and 2007. California.Approximately 14” x 9” at its widest point - closed. Prints on Arches Text Wove 120 gr in Daniel Smith Domestic VelvetBlack AC63. Text in Times New Roman printed on an Epson Stylus CX4600 on Neenah Classic Crest, Solar White 24lbs acid free papers. Bound in Gray Canapetta Italian Book Cloth over acid free, Lignin free Binder’s Board. Jade 403PVA, methyl cellulose paste, Black Arches cover, Canson Mi-Teintes Steel gray, Pearl, Barbour’s Irish Linen Thread.This work has four books forming part of the four internal sides. Also included are two small booklets; one with thephysical details of the work and the other giving ‘Notes on the Tower Book’. In an edition of 30 handprinted andbound books, only about 8 copies are available for sale; the majority of the edition has been given to the participants.Fine. $5000.00This moving work is an important social statementopening a window to the lives and situations of incar-cerated prisoners.Quotes from a prose poem in one of the books compris-ing The Tower by Adryan Piddington, one of the pris-oners at San Quentin:I remember...On our way up the hill I saw our facility.It looked like “the projects” to me.(Still does.) All dirt, no grass. Too manypeople for such a small space.

I remember wondering why, or how thisplace ws run. I remember walking through the Unit 4 gate and wishing they hadn’tcalled my name to get off here. I remember laughing, not understanding how they couldcall this a prison. Once I got on the yard I

50

97.

97.

looked at the view of the city lights andthe heighborhoods surrounding me frombeyond the fence and it made the laughterfade to thoughts of my freedom....Stnnding by that slide door on the dirtyard, I remember missing everything Itook for granted!!

Notes on the Tower Book - by Beth Thielen:“This is the only book edition of its kind. It is a collaboration between the art program at San Quentin and the now disbandedWomen’s Program at the California Rehabilitation Center, in Norco, California. ... ““Trust is the key to working in this world. When Officer Strobelt asks me as I leave the prison: ‘Do you have your murder weapon?’I must indeed have my retractable knife with all the snap off blades accounted for. Like the Hippocratic oath, I must first ‘do no harm.’The officers and staff of the prison need to know I can be trusted. The inmates also need to trust me to watch my tools. They don’twant to see their cell torn up and their bodies searched because a tool is missing. We make the structure of trust transparent to every-one. When everything is well lit, it’s harder for trouble to develop. “My primary interest has been to provide art classes to women in prison. By using the ‘craft’ of book arts, I’ve been able to draw intothe program many women who might not otherwise investigate art. Through private funding, I purchase the best materials I can find:Canapetta linen book cloth from Italy, Irish linen threads, archival glues, French printmaking paper. The value of the materials reflectsthe value I place in my students. I bring the best to encourage the best and they never fail me. It’s amazing how simple and true thisformula is. Works from my classes are in collections at the Getty Museum of Art and The Library of Congress, to name a few. Thepurpose of the work is to give my inmate students the proper ‘dress’ to attend the ball, to become part of the conversation about incar-ceration when a more enlightened perception is possible. “We are living in a time of twisted priorities, of which our overflowing prisons are symptomatic. Teddy Roosevelt was the first tocoin the concept of the “living wage.” That it should be ‘...a standard high enough to make morality possible.’ When I look at theimages created by my students or read their stories, I see Dorothea Lange’s Dust Bowl refugees. I give this as an example to illustratethat I am responsible as an artist to see the context I exist in. Art is about seeing. As you look at this work, I challenge you to seelarge.”

Larry Thomas - Book Artist & Social CommentatorLooking back to our Spring 1996 Catalogue Sixteen, and, with the passing of twelve years, Carol Barton’s words aboutthe highly creative and satirical work of Larry B. Thomas still resonate today.

“Larry Thomas is a rascal when it comes to bookmaking. He creates little volumes which are so immediately playfuland enchanting that most viewers are well under their spell before discovering the works’ sarcastic core. ...“Thomas himself is soft-spoken and shy but, as in his books, these qualities mask a sharp, biting wit. He’s an avid col-lector of anything that might eventually become the stuff of his work: photo albums, lost dog/cat signs, religioustracts, conversations ‘over-listened to on buses and check-out lines.’ Saving and recycling these bits of life is part ofthis artist’s creative ritual. ...“Thomas’ books are like the court jesters of old. The antics on their pages are nimbly entertaining, but they belie someserious issues; ethical behavior, prejudice, misplaced social values, violence and war. Thomas coaxes his viewers toquestion their positions on these subjects through a humor which is both humane and constructive.”Larry B. Thomas received his MFA from the Universityof Georgia, and also studied at the Ta m a r i n dLithography Workshop and Oxford Polytechnic. Hewas an Associate Professor of Art at Georgia StateUniversity until he retired from teaching.” - Takenfrom the exhibition catalogue for “Painting, Drawing,and Works on Paper” - the Southern A r t sFederation/National Endowment for the Arts 1994Fellowships. Exhibition held at the Southeastern Centerfor Contemporary Art, Winston-Salem, N.C. 22 October1995 - 15 January 1996.

(Larry B. Thomas) Animals in a Garden. Unique artist’sbook by Larry B. Thomas. [Athens. Georgia.] 2001. 3pop-up openings in accordion fold book. 10" x 7.5".Pop-up openings against a collaged background. Darkbrown cloth spine with layers of brown paper at top,bottom and sides of spine; tan paper boards with papertitle label on front. Signed and dated. Fine. $400.00

51

98.

98.

(Larry B. Thomas) Reincarnation, and I repeat.Unique artist’s book by Larry B. Thomas. [Georgia. 2002.] Accordion fold.7” x 4.5”. Front cover image, plus eleven xeroxed images of medieval or victorian scenes - all with the artist’s faceinserted onto one of the characters in the illustration. Laid into brown paper board binding, cover illustration includestitle; last leaf glued to back board. Fine. $250.00

(Larry B. Thomas) Never Say Kill. Artist’s book by Larry Thomas. [Athens. GA.] 2003. Accordion fold. 5.5" x 4.5".Xeroxed alphabet book, with gray and white images in the background and alphabet letters in color. Green cloth spine,pale green boards with recessed decorated title label on front board. An edition of 10 signed copies. Fine. $165.00

(Larry B. Thomas) A,B,See. Artist’s book by Larry Thomas. [Athens. Georgia. 2003.] Accordion fold book.3.75” x 3.25”.Rubber-stamping and photoshop. Cream card over board with brown cloth spine. Paper title label recessed on frontboard. One in an edition of 10 signed copies. Fine. $85.00A Book Dedicated to all people who find spelling difficult and have suffered the abuse and scorn of: Teachers, Friends,and Relatives who insist, “It is spelled just like it sounds!”

(Larry B. Thomas) School Days 1948-49. Grand Avenue. Artist’s pop-up book by Larry Thomas. [Athens. Georgia. 2004.]Three double-page spreads, one pop-up and two pull-out with a string. 8.25” x 8.25”. Color and black and white xeroximages, with onlaid xerox text. Grey cloth endboards with recessed image and title label on the front. An edition of 3signed copies. Fine. $395.00

(Larry B. Thomas) The Brightest Most Original Newsiest Cleverest Wittiest Journal Published. Artist’s pop-up book byLarry B. Thomas. [Georgia.] 2007. 4.625” x 3.625”. Four double-page pop-up spreads in color. Collaged images and asingle line of collaged text on each spread. Cream endboards with recess on front board containing image of a younggirl and extended title. Unique book signed and dated by Larry Thomas. Fine. $295.00

(Larry B. Thomas) Things not alive. Artist’s book by Larry B. Thomas. [Georgia.] 2007. 7.75” x 4”. Four fold-out colorcollaged pages shaped on top, with illustrations and a line of text on each side of the book. Unique book signed byLarry Thomas. Fine. $325.00

52

99.

100.

101.

102.

103.

104.

99. 100. 101.

102. 103.

Judith Rothchild & the Art of the Mezzotint -treasured books from the Verdigris imprint

Judith Rothchild was born in Boston, Massachusetts. She is a graduate in Fine Arts from the Rhode Island School ofDesign (1972). She moved to the south of France in 1974 and in 1997 established Éditions Verdigris with Mark Lintott.They have jointly published over twenty Livres d’Artiste from 1997 to 2008.“Most people consider mezzotinting to be so long and tedious, they are astonished that anyone would consider doingit in this age of instant technology. It is, in fact, the time element which creates the process and knowing how to workwith it, rather than against it, is the essence of the problem. Preparing the plate with the mezzotint rocker is long andmeditative, but I have the satisfaction of knowing that the plate will have a rich velvety texture that will be an idealsurface for drawing. ...“For over thirty years, my work in pastel has been concerned with the color of light and how it creates form. My workin mezzotint has taken that process one step farther, simplifying the question of pure light, letting the object glow inthe darkness. The subject of these prints is really the pleasure of looking and in this age of zapping and video clips, itis more than ever essential to take the time to observe and to share these moments of concentration with the viewer.”- Judith Rothchild, Gravures en manière noire mezzotints 2004-2007.

Ruth Fainlight, the poet, writes in the Introduction to a catalogue of the work of Judith Rothchild [2007].“Are these the images of feathers - with their weightlessness and subtle mottling, the varied textures of down and vaneand quill evoked by her masterly skill - or are they actual feathers pressed into the creamy paper? Are those translu-cent pomegranate seeds the same seven seeds Persephone ate, tempted by Pluto? The shine on a plate and the glintalong a glass, the faintly speckled tender smoothness or silvery fuzz of begonia leaves against the dense blacknessevoked with her burin, are so convincing that they seem absolutely real.“Since our first meeting more than twenty years ago, I know that each chance to view Judith Rothchild’s latest workwill be a sure source of pleasure. Her prints, etchings and mezzotints, the exquisite embossments which ornament herbeautifully produced artist books ( on some of which we have collaborated), unfailingly increase my admiration forher artistry and the delicacy and nobility of her vision.”

53

104.

105. (Verdigris) Feathers. Eight Poems by Ruth Fainlight & Mezzotints byJudith Rothchild. Octon. MMII. 15.75” x 12.75”. Loose in signatures. Eightmezzotints in nine plates and two embossments on the title and contents pagesprinted by the artist. Printed on Hahnemühle paper in letterpress, hand-set inVendome Romain, on a Stanhope press by Mark Lintott. Wrappers and slipcas-es screen-printed by the artist on Canevas paper, with slipcases by ClaudeVallin and Mark Lintott. Slipcase with top and bottom covered in the sameplum paper over board and illustration as the wrappers: sides of the box arenatural light color wood. One of 22 regular copies in an edition of 30, signed bythe poet and artist. Fine. $1250.00The poet writes: “The general nature of the subject proposed for this book - feathers -made me wonder at first how I could write something as specific as a poem. but it wasjust this aspect which allowed the freedom to approach the subject from different anglesand speak in various and distinct voices. The reality of a visual image can trigger verbalassociations, as words will generate images.“Some of these poems are entirely products of the imagination ... some are descriptionsof particular scenes or incidents lodged in my memory ... Other poems are a directresponse to the first sight of one of the mezzotints ... the glorious print of peacock feath-

er evoked the flaunting birds in Holland Park, which, when the wind is in the right direction, I can hear from my London flat ...“This is not the first time Judith Rothchild and I have worked together, and our collaboration continues to be a mutually inspiringand very satisfying relationship.”Ruth Fainlight was born in New York City, and has lived mostly in England since the age of 15. She was educated at schools inAmerica and England and married the writer, Alan Sillitoe, in 1959. She was Poet in Residence at Vanderbilt University, Nashville,Tennessee, in 1985 and 1990, and received a Cholmondeley Award for Poetry in 1994.Fainlight has written many books, which include poetry, short stories, translations, drama and opera libretti. She has also translatedtwo books of poetry from Portuguese, and collaborated with Alan Sillitoe on a translation of a Lope de Vega play. Her own poetryhas been published in Portuguese, French and Spanish editions.

(Verdigris) Tempête et Calme. [French.] Poems de Jules Verne. Mezzotintes de Judith Rothchiild. [Octon.] 2004. 12.25”x 6.5”. The poem is superimposed on a series of four mezzotints, and unfolds as a vertical accordion fold. Printed onHahnemühle by Mark Lintott on an Albion press.. Mezzotints and screenprints on the cover and lining the gray drop-back box were printed by the artist. One in an edition of 38 copies, numbered and signed by Judith Rothchild andMark Lintott. Fine. $750.00This poem was written in 1848 when Jules Verne was only twenty years old. The poem describes passing through a storm before

reaching safe haven on the other side.

107. (Verdigris) 12 O’Clock News. [Text by] Elizabeth Bishop. [Mezzotintsby] Judith Rothchild. [Octon.] 2005. n.p. 11.5” x 18”. Two mezzotints byJudith Rothchild. Eight fragment of the second plate have been printed fol-lowing the indication given by the author in the text. Printed onHahnemühle paper and bound in the Japanese style. Gray boards withma-roon inset at spine. The mezzotints and screenprints on the covers and slip-cases have been printed by the artist. Mark Lintott handset and printed thetext letterpress in Vendome Romain on an Albion press. maroon endpapers.Binding and slipcase by Lintott. One in an edition of 50 copies, signed byJudith Rothchild and Mark Lintott in pencil. Fine. $1300.0012 O’Clock News was first published in 1976 in the collection Geography III.The text is a seeming description of a landscape, but we are made aware atthe end of the book just what kind of a landscape it is!

108. (Verdigris) Écriture aux objets d’encre. [French.] Original text by JamesSacré written in response to a series of four mezzotints by Judith Rothchild.{Octon. France.] 2005. 7.75” x 8.75”. Mark Lintott printed the text letterpress,handset in Vendome Romain on an Albion press. Printed in the form of aleporello on Hahnemühle paper. The mezzotints are composed of fiveobjects of different periods and continents which fold out to form a unity ofsimilar volumes and helixes. The mezzotints, as well as the screen prints onthe charcoal/black wrappers and slipcases, are printed by the artist. Lintottmade the slipcase and the gray marbled endpapers are by Lintott andRothchild. One in an edition of 50 copies signed by the author and artist.Fine. $750.00

54

106.

106.

(Verdigris) Magie blanche. [French.] Text by Marie Rouanet. Mezzotints by Judith Rothchild. [Octon.] 2006. 16” x 12”.A suite of 10 mezzotints (11 plates) and text in loose sheets of Hahnemühle paper. Mezzotints and screen prints print-ed by the artist. Text printed in handset letterpress in Vendome Romain on an Albion press by Mark Lintott. Yellowdropback box covered in Fabriano Ingress screen printed with mimosa leaves; Gray cloth spine with paper title label.Loose gray sheet printed with the mimosa pattern laid on top of the sheets. One in an edition of 30 copies, signed andnumbered by the author and artist, with the individual prints initialed by the artist. 21 loose sheets. Fine. $1750.00The original text by Marie Rouanet was inspired by ten mezzotints by Judith Rothchild and the spirit of the restaurant, The Mimosa,created by Bridget and David Pugh.

(Verdigris) Aux États-Unis d’Amérique. [To The United States of America.] (In English and French.) [By] Victor Hugo.Mezzotint by Judith Rothchild. [Octon, France.] 2007. 8” x 5”. Accordion fold book with four boards. Printed by MarkLintott on Rives BFK on an Albion press. Mezzotint printed on Hahnemühle. The French text is attached to the insideof the front board and the English text is attached to the inside of the back board. The two bottom boards lie flat toallow the full view of the mezzotint. Black cloth outer spine with tan paper title label; relief title on front board. Innerboards with black cloth spines. Slipcase of tan/brown marbled paper, which tones with the brown/black outer boardcovers; inner board covers of beige/light brown. All covers are in toning shades. An edition of 45 copies, signed in pen-cil by Judith Rothchild. Fine. $700.00 A letter written by Victor Hugo on December 2nd, 1859. It is a passionate plea to the people of the United States to save JohnBrown from the gallows.

55

109.

110.

108. 109. 109.

110.

The truly unique work of a great creative force where color, texture, calligraphy and binding all come together

(Laura Wait) Open Road: Vol. 1 - The Mountains and Deserts, Vol. II - The Pacific Coast. Artist’s book by Laura Wait.Denver. Colorado. 1997. Accordion fold. 7.5” x 22”. Open - 15’. Hand colored lithographs printed on SaundersWaterford paper. Concertina binding on yellow and black cloth bristol boards which hold the prints in place. Title pagecontains a ‘Legend’ of words having to do with road signs, and as keys for the images. End boards of yellow cloth withhand-colored acrylic stencils of road signs. Black dropback box with recess containing handpainted road signs in yel-low and black. One in an edition of 12 signed sets. Fine. $3500.00“These images were developed over a twenty-five year time period. I used to draw in the car while driving across the west, andinclude the mirrors and road signs, as they are an inseparable part of the view. The postcards were collected along the way, or sentby friends. Together, these images provide a better feeling of the journeys than photographs, which are so important in recordingmodern travels. This book is meant to be traversed: stand it up on a big table and walk along it.” -- Wait.This interesting work contains drawings from sketchbooks, and postcards collected on the trips, the 15’ opening gives some feelingof road travel.

56

111.

111.

112.

(Laura Wait) T-crossed. Unique variant artist’s book by Laura Wait. [Steamboat Springs.] 2007. 20 paper leaves, 8p. ofmylar. 10” x 4” 1”. Etchings, letterpress, handwriting and painting. Handwritten in manuscript on the half title andthroughout the book. The pages and the Mylar sheets were first printed with wooden type on an etching press, andthe paper versos were printed with etchings. Paste-painting completed on both sides of all paper in many layers.Handwriting on many pages. Sewn onto a concertina with linen thread. Spine of brown Harmatan leather with a gold“T” handtooled at the top. Boards are aircraft plywood covered in etchings printed on Japanese paper. Multiple layersof acrylic paint and varnish were applied to the covers. Brown endpapers of Walnut dyed Cave paper. Black clothdropback box lined with brown painted paper; paper title label on spine. One in a series of seven unique variants onthe intertwined symbols of “T” and the cross. Colophon handwritten and signed by the artist. Fine. $2500.00

(Laura Wait) Volute. A unique variant artist’s book in a series of 9 by Laura Wait. [Steamboat Springs. 2008.] 9 leaves.13.5” x 6.75”. The pages were first printed with intaglio plates on an etching press, using Rives BFK paper with GraphicChemical etching ink. Collographs and woodcuts of spirals and labyrinths were printed in color with Akua ink on topof the black. Acrylic paste painting and ink writing complete the pages. Bound in the drum leaf style with a brown calfleather spine stamped with a woodcut, with paste paper sides made from the collographs from the book. Black clothdropback box with dark pastepaper lining. Jill Bergman assisted with the printing, binding, and box-making. No. 6 ina series of 9 variant copies, signed by Laura Wait. New. $2750.00“This series celebrates the essential cyclical nature of art, agriculture, and the universe.” - Laura Wait.

(Laura Wait) Momentum Arbusti: a celebration of trees. Unique Variant artist’s book by Laura Wait. [Steamboat Springs,Colorado.] 2008. n.p. 14.875” x 5.874” x 1”. Woodcut, collograph, handwriting and painting. Sewn on linen cords withgreen linen thread. Additional sections of thick card were sewn on for boards, and cords laced in. These boards werecovered with patinated embossed copper in shades of green and yellow with the copper undertone. Jill Bergmanassisted with the binding. Black dropback box with paper title label; gray suede lining. No. 2 in an series of 6 uniquevariants signed and dated by Laura Wait. New. $3000.00This series celebrates the three kinds of trees: Life, Magic & Immortality. A shorrt history of the meaning and importance of trees inworld culture is written in the middle of many pages.The book was begun in 2004 with the creation of extra pages of “In the Garden”. Additional imagery was added in 2006-2008 usingpaste painting, stencils and many layers of handwrriting as text and image. Text is on libretto included with the book.

57

112.

113.

114.

113.

Eleven Love Poems by Women

(walking bird press) To stretch the Night: Eleven Love Poems by Women. A series of eighteen unique monotypes by ElenaPopova. Printed and bound by Tara Bryan. A unique cover bronze bas-relief by Luben Boykov. Newfoundland.Canada. 1999-2001. n.p. 11.5" x 10". Images are unique monoprints printed on Fabriano Artistico paper. The sheets areglued together. Endpapers of indigo-washed kozo backed with another paper to make it thicker and easier to glue.The boards are black walnut coated with black lacquer; black calf spine. Each binding has a unique bas-relief of bronzewhich is bolted to the cover. The bas-reliefs are created from grass and wax and then bronzed with its gold and greenpatina. An edition of 18 unique variant copies, with only 15 for sale. Signed by all three collaborators. Fine. $5500.00A list of the eleven poets, spanning many centuries and countries, is given at the end of the book. They include Louise Labé, HwangChin-I, Anna Akhmatova, Lady Suo, Christina Rosetti, Edith Sodergran, Sulpicia, Emily Dickinson, Sappho and Amy Lowell. Popova and Boykov are Bulgarians who moved to Canada in 1990 and have lived in Newfoundland from that time. Their workshave been shown nationally and internationally, with examples in public and private collections in North America and Europe.Tara Bryan was born in Texas and has a MFA degree from the University of Wisconsin-Madison. She has lived in Newfoundland since1992. Printing and making books both on her own and with collaborators, her work is in public and private collections in NorthAmerican, Europe and South Africa. Highly recommended!

58

115.

114.

115.

Mike Hudson & Jadwiga Jarvis and the Wayzgoose Press

- A tribute

With the kind assistance of an Australian collector,the following entries give some idea of the work andoutput of the Wayzgoose Press, one of the world’smost prestigious small presses, established in 1985in the Blue Mountains outside Sydney. As most ofthe publications of the press are long out of print,this is a good time to look back at the achievementof the creative team of Hudson and Jarvis as shownon these pages - especially with the publication nowof The Wayzgoose Affair - the history of the Press. About Jadwiga Jarvis and Mike Hudson:“Mike Hudson was born in London in 1939 and stud-ied design at the Hornsey College of Art where helater became a senior lecturer in photography. He hasworked in the UK and in Australia as a graphicdesigner and a photographer. His wide-ranging skillsinclude calligraphy, typography, wood engraving,lino cutting, book binding and printmaking.“Jadwiga Jarvis was born in Poland in 1947, fromwhere nine years later, together with her family, shemigrated to Israel. As a teenager she studied art at theHornsey College of Art where she met Mike. Theirrelationship, which she describes as ‘a teenager/man-about-town friendship’, was interrupted whenJadwiga was drafted into the Israeli army. In 1968 shemigrated to Australia. In 1977 Jadwiga’s and Mike'spaths crossed again in London and they decided tosettle in Australia together. Jadwiga’s loves are music(she studied piano), literature and art. For much of heradult life she worked as a film animator.” - The Wayzgoose Affair.

THE WAYZGOOSE PRESS

60

61

116. 117. 118.

About the Press:“...That two unusually talented people from different parts of the world shouldultimately meet and share such an arcane obsession [as printing, designing andpublishing books in small runs - using centuries old printing methods -] is simplyregarded as fortunate. That they could pursue this passion in a corrugated ironshed in the Australian bush and then have their hand made limited editions col-lected by such august institutions as the Museum of the Book in Holland, theVictoria & Albert Museum in London, [The National Gallery of Art and theLibrary of Congress in Washington D.C. is particularly gratifying]. ... JadwigaJarvis and Mike Hudson are a rare partnership. ... Over the years the Press hasreceived many accolades and is greatly admired internationally by book collectorsand peer practitioners alike.“Since 1985 the Wayzgoose Press has produced 20 books and close to 50 broadsidesin limited editions of between 10 and 50 copies, as well as numerous ephemeralprintings. All texts are hand set, illustrated with relief imagery (wood engravings,linocuts, monoprints and collographs), printed on a proof press and hand-boundor hand-assembled and housed in a purpose-made box. ... Every aspect of produc-tion, sometimes even the writing, takes place in house, or, more precisely, in shed.“Contrary to their name, Wayzgoose, an old English word referring to the annualprinters’ picnic, the Press has found that ‘printing by hand ain’t no picnic!’ ... Thiscry is all the more poignant given the scope of what Wayzgoose Press has taken on.The Press has always incorporated into its production the entirety of the bookartist’s armoury: typography, layout, colour, design, illustrations, textures, binding... A love of black humour and the occasional profanities (Ockers) add textual meatand an element of adventure to their publications, together with the visual puns,the symbolism, literary references and the vibrant colour.”Note: Most of this Introduction is extracted from the text on the dust jacket of TheWayzgoose Affair by Carolynne Skinner. (with some additions by us!)

(Wayzgoose Press) Wayzgoose: The Australian Journal of Book Arts. No. 1. Sydney. 1985. 93p. 12” x 7.5”. Set in LinotypePalatino. Color and black-and-white tip-ins and illustrations throughout. Bound in heavy blue wrappers with title,illustration and list of contents on front cover, over Bemboka Oatmeal and Fabriano covers. In a total edition of 450copies. this is No. 350 of 350 copies in wrappers. Fine. $150.00This journal was inspired by the British Whittington Press’s production of Matrix. It was hoped that this fascinating work would becontinued on a yearly basis, but unfortunately this did not transpire!

Two original woodengravings evoking a sense of place

(Wayzgoose Press) Katoomba Morning. Original wood engraving by Mike Hudson. Katoomba. 1992. Mounted - 15.75”x 12”. Black and white engraving. Gray card mount. A/P signed and dated by Hudson. Fine. $125.00

(Wayzgoose Press) Alitji in the Dreamtime. Original wood engraving by Mike Hudson. Katoomba. 1995. Mounted - 12”x 8”. Black and white engraving on paper watermarked with a figure. Gray card mount. A/P signed and dated byMike Hudson. Fine. $100.00

(Wayzgoose Press) The Isle of Pines. By Henry Neville. Illustrated by Mike Hudson. Introduction by James Rigney.Katoomba. NSW. [Australia.] 1991. 44(1)p. 12” x 7.5”. Linocuts in black, yellow, brown and black with white byHudson, who also designed and bound the edition. Handset by Jadwiga Jarvis. Printed in black and brown by Jarvisand Hudson. Bound in cream cloth boards; sun design in orange and red, with black ship, title in black on spine.Endpapers printed with sun design in orange and red. Red paper over board slipcase with black paper trim. No. 40 inan edition of 55 copies. Prospectus laid in. Fine. $485.00Henry Neville (1620-1694), the author of The Isle of Pines, was a member of a noble family with a long and influential record of involve-ment in the political life of seventeenth century England ... the tale, written after the restoration of the Stuart monarchy, is a projectof the experience of defeat.The narrative begins with George Pine, an imaginary traveler marooned with four women on an idyllic island somewhere in thevicinity of Australia. With no apparent need to work on this island, he sets about the task of populating and colonizing it. After hisdeath, his only son and heir tries to establish an idyllic republic,but does not succeed.

(Wayzgoose Press) The Auld Shop and the New. Writtenspecially for “The Chief”, George Robertson of Angus &Robertson . ... [Poem] By Henry Lawson. Katoomba. 1992.11.” x 7.25”. Two-color linocut illustration. Designed andillustrated by Mike Hudson. Handset by Jadwiga Jarvis inBembo and Baskerville on Mohawk Superfine Soft White.Hand printed in brown and black. Some pages narrowerthan others. Bound by Jarvis and Hudson.. This copy inc ream wrappers; front cover with two-color woodengraving and title. In an edition of 70 numbered copies,signed by Mike Hudson and Jadwiga Jarvis, this is No. 51of Nos. 50-66 bound in stiff printed wrappers. $165.00Lawson writes in a ‘more-or-less’ Scottish dialect of the original‘auld’ bookshop of his publisher and of the colorful, boozy life ofhis era.

62

116.

117.

118.

119.

120.

119.

120.

(Wayzgoose Press) the terrific days of summer. Prose Poem by Ken Bolton. Katoomba. 1998. Accordion fold; 25p. each12.75” x 18.25”. Illustrated with multi-color graphic devices of collographs and monoprints, all hand-inked. Designedand letterpress printed on Magnani Incisioni 222 gsm by Mike Hudson and Jadwiga Jarvis. A separate 12p. foldedillustrated Introduction by George Alexander printed on Mohawk Superfine in pocket of inside front cover. Containedin a multi-colored cloth covered portfolio on which the title and some of the graphic devices are printed. No. 20 in anedition of 35 signed copies, of which 30 are for sale. Prospectus laid in. Small bump at lower outer side of box, elsefine. $2500.00We have just received the very special Designer Binding in full leather of this book. One of only 2 copies.$7000.00Jadwiga Jarvis writes: “The orange ‘cloud’ shapes are collographs. After much testing and experimenting, we made the blocks out ofa range of amorphous materials, wonderfully inappropriate for orthodox letterpress printing, and consequently managed to achievesomething resembling an etched image which changed slightly with each pull. The graphic devices are monoprints, hand-inked onthe press and later further enhanced with handpainting. In other words, each copy in the edition is unique. All in all, a huge, nerve-racking, but immensely satisfying job!The other details ... the author's name is Ken Bolton. Bolton is a brilliant and significant contemporary Australian poet. “This was more or less our departure point for the design of the book. The visual elements are all ‘the same’ but in constant transi-tion, their colours, position on the page, relationship to each other and to the text ever-changing like the mood of the poem. The intro-duction will be an analysis/appreciation of the poet, the poem and our visual/typographic treatment of it.”She also states: “Everything you have before you has been printed letterpress the hard way, ie. from original materials, not from ...blocks. Even the squiggly line is a genuine lead rule, cajoled into performing acrobatics. The ‘binding’ involved gluing togetheralmost a half a kilometer of paper ... by the time this job is finished we’ll be ready for a long holiday - in a Home for the Bewildered...!!”

63

121.

122.

122.

121.

Bold, brash and colorful!

(Wayzgoose Press) Ockers. A prose poem by the poet called π.o. - or Pi.O. Katoomba. NSW. Australia. 1999. Concertinaformat. Approximately 40' long when fully opened, folds into 14" x 19.5" pages. Conceived, designed and illustratedwith linocuts by Mike Hudson, and the type set by Jadwiga Jarvis. All aspects of production were manually executedat the press by the two partners. Printed letterpress on Magnani Incisioni using a Western proof press. Printed clothcovered portfolio together with an Introduction and a Glossary of Ockerisms. No. 22 in an edition of 40 signed andnumbered copies, of which numbers I-V are not for sale. Prospectus laid in. Fine. $3950.00This work was part of an ongoing series of extravagant typographic acrobatics - pushing the envelope with the marriage of excit-ing typography and exacting and complex illustration. All these factors combine to dramatize and express the energy and aes-thetic shock of new contemporary poetry. The partnership of Jadwiga Jarvis and Mike Hudson has previously published DadaKampfen un Leben und Tod (Dada fight for Life and Death) in 1996, and The Terrific Days of Summer in 1998. (Both these titles sold out onpublication.) In this series of typographical exuberances they recently published their 'tour de force' - Ockers.Ockers is a prose poem by the contemporary Greek-born Australian poet called π.o. - or Pi.O. (N.B. π.o. wrote one of the two intro-ductory pieces for Dada Kampfen.) It's a satirical look at the "Ocker" phenomenon as seen through the eyes of a bemused outsider. TheOcker rage (one could hardly call it a 'cultural' movement) lasted for about a decade: films were made, fame and fortune achieved bysome (Paul Hogan of "Crocodile Dundee" amongst them). In international terms, Jonathan Swift's definition of a 'yahoo' as used inGulliver's Travels can be related to an Ocker.The poem is a kind of social documentary of the events of the time. Since the whole thing was a bit of a joke, the work is treated assuch and designed a la comic book: voice balloons, thought bubbles, frames around the pages, etc. To keep in the spirit of 'Ockerism'(bold, brash and boisterous), and at the same time with the art/commercial art/comic book trends of the 60s and 70s, the illustra-tions (big, bold, boisterous and very colorful) have echoes of Roy Lichtenstein and Andy Warhol mixed in with pure MikeHudson. The typography is, as ever, anarchic, using every sans serif known to man (plus a few unknown, hand drawn especially forthe occasion) and a few serifed type faces thrown in. The colors are numerous, the number of illustrations too great to count. Theaverage number of passes through the press per page was EIGHT, often more ... Partly due to the number of different colors used,and partly to the complexity of the layout - in a couple of instances four passes just to print all the black elements on the page.The Wayzgoose Press's books in this series are held by the following institutions:The National Gallery of Art, Washington, DC; Cary Graphic Arts Collection, Rochester Institute of Technology; Sterling MemorialLibrary, Yale; Marriott Library, University of Utah; Kennedy Library, California Polytechnic State; Green Library, Stanford University;University of Ohio Library, Athens; Louisiana State University Special Collections Library, Baton Rouge; The British Library, London;as well as in distinguished private collections. As part of their grand trilogy of illustrated 'in-your-face' typographically exuberant book-making, this work, with its roistering,rollicking narrative, is arguably one of their best and boldest books!! The bulk of the edition was sold pre-publication.

64

123.

Helping to redress the imbalance in the general understanding of what constitutes quality book production

(Wayzgoose Press) Private Impressions (No. 1-8). Plus Introduction. A collection of monographs about printing and otherbook arts. Written by Mike Hudson & Jadwiga Jarvis. Katoomba. NSW Australia. 1995-1996. 2000-2001 n.p. 11.75" x8.25". Illustrated with appropriate examples of printing from the periods under discussion, hand set and printed let-terpress in several colors on Mohawk Superfine 148 gsm. and stitched into stiff printed wrappers with the monographnumber highlighted in color. The set includes the 8-page wrappered Prospectus produced in 1995.The Introduction to Private Impressions is No. 13 in an edition of 45 copies. Nos. 1-4: A Pressing Argument, May 1995; It goes against the Grain ..., August, 1995; Broadly Speaking, November 1995;Printers & Politics, February 1996. All Nos. 1-4 in an edition of 50 copies signed by Hudson and Jarvis.Nos. 5-8: Evolution (including Introduction.) June 2000. Tells the story of the early Greek convention of ‘aural reading’from papyrus rolls, through the Dark Ages and the monastic traditions. The ‘invention’ of the Carolingian manuscriptstyle and the rise of secular, silent reading practices in the early Renaissance. No. 6: Revolution. Presents the Gutenberg Bible as the beginning not just of a new technological age but as the start ofthe compromise work practices that mass production activities encourage.No. 7: discusses the fits and starts of the book trade and the drive for rationalization of techniques at the expense ofthe creative potential of authorship throughout the 20th century. The value of Stanley Morison’s & Beatrice Warde’ssobering influence is examined and questioned. No. 8: Re-evaluation. Weighs the benefits to text and reader of an individual and creative approach to book design,typography and illustration against the losses inflicted by mass production principles.Nos. 5-8 are number No. 13 in an edition of 60 copies signed and numbered by Hudson and Jarvis. Fine.

The complete set - $1100.00In the prospectus announcing this series of monographs, Jarvis and Hudson write “there is surprisingly little published material con-cerning the nature, craft, technology or philosophical rationale of why and how such things as private presses actually exist - partic-ularly in these days of electronic data transmission. We hope to redress this imbalance in the general understanding of what consti-tutes quality book production by publishing monographs on the art & craft of letterpress printing, wood engraving, wood and linocutting, typography and layout, binding, book design, private press history, etc.” The Wayzgoose Press published these excellent monographs to redress some of the gaps in our knowledge of the art and craft of handhand-printed bookmaking.

65

124.

124.

66

125.

Orpheus - another exuberant typographic masterpiece

(Wayzgoose Press) Orpheus through the Rear-Vision Mirror. Poem by George Alexander. Introduction by the poet.Katoomba. 2002. Book conceived and designed by Mike Hudson and handset in a variety of 14 point types by JadwigaJarvis. 32p. 13.5” x 9.5”. Profusely illustrated with collographs and monoprints hand-inked on the press thus makingeach copy in this edition unique. Multi-colored word panels, each hand-inked. All printing is letterpress, includingthe background, in numerous colors on cotton-alpha Magnani Incisioni. Graphic devices also hand inked. Severalpasses were needed to execute each procedure, with the total number of passes per page averaging a dozen. Containedin a thick paper ‘envelope’, and housed in a box covered in red cloth, printed with the title in blue. One of 32 num-bered copies, signed by the poet, designer and printer. No. 20 of only 27 copies for sale in a total edition of 32 num-bered copies, signed by the poet, designer and printer. Prospectus laid in. Fine. $2850.00“Since the early 1970s George Alexander has worn a diagonal path between literature and the visual arts, writing for performance,radio, and the printed page, as well as a diverse array of art criticism, ... [His] work has been translated into French, Italian andGerman, and he has been the recipient of Fellowships from the Australia Council and the New South Wales Ministry of Arts. ... Hehas published three literary texts, one of which was awarded the NSW Premier’s Award, 1999.” - Prospectus. “This Wayzgoose Press production is the fourth in a series of contemporary Australian poets, and is, as usual, not only textually excit-ing, but typographically inventive and layered.“The page is designed to resemble the ‘fold-out’ function of a route map (as with the Orphean journey narrative), and the whole workcan be viewed when fully unfolded and laid open. There are cut-out shapes that camouflage themselves according to what, by chance,will insinuate itself behind them. An angry paint splatter ... punctuates the stream of [words] and gives an edge to the growing senseof alienation suggested by the poem’s descriptions of reality.”- Prospectus.The poem was specially commissioned for this truly exciting and unique work. Highly recommended as a great exhibition piece - awork that vividly demonstrates what is still creatively and technically possible using 500 year old methods of printing in a digitalage!When the poem is completely revealed the book opens up to approximately ten feet in length.

A work of great creativity inspired by Hollywood heroines of the 30’s and 40’s

(Wayzgoose Press) Dorothy Lamour’s life as a phrase book. By Noëlle Janaczewska. Introduction by the author. Katoomba.Australia. 2006. Bound as a concertina, the book consists of 11 triple-gate pages, folded to approx. 17” x 12”; openedeach page measures approx. 24” x 17”.This typographic rendition of Noëlle Janaczewska’s play was conceived,designed and illustrated with multi-colored linocuts by Mike Hudson. Hand set in a variety of types by Jadwiga Jarvis.The book was printed in numerous colors with further illuminations by hand on some pages making each copy in theedition unique. Hand printed letterpress on Magnani Incisioni 220 gsm on a Western proof press, the book is con-tained in a brightly patterned cloth-covered box with the title printed on a recessed label and a purple ribbon tie. Anedition of 30 numbered copies, signed by the poet, Jarvis and Hudson. Numbers I-V are not for sale. Of the remaining25 copies, three are in designer bindings. Fine. $3800.00

67

126.

125.

“Noëlle Janaczewska is an award-winning Sydney based playwright whose work has been staged locally and interna-tionally, as well as broadcast on radio. Her play, Dorothy Lamour’s life as a phrase book, is the third in a series of mono-logues inspired by Hollywood heroines of the 1930s, 1940s and 1950s, and was written for a solo performer. In it, the'glamour girl’ made famous by her ‘road movies’ in which she co-starred with Bing Crosby and Bob Hope, finds her-self in a poem instead of a movie and marooned in a dingy Sydney hotel. However, as Janaczewska’s characters donot conform to the romantic air-head type assigned to them in their films, Dorothy’s miscasting leads to much reflec-tion and soul-searching.“In order to maintain the spirit of a performance, we have given the book a theatrical setting; the hotel room, whichappears on every one of the 11 gate-fold pages, is its ‘stage’. Onto this stage various scenarios (suggested by the text,but not a literal depiction thereof) are introduced. We aimed for the contradictions, confusions and contrasts, for theelusive and enigmatic, the tangential and bizarre. The ‘props’ range between curious and surreal, and include a chess-board, a maze, a giant pineapple, a clapperboard, and an overweight Ronald McDonald. (Oh yes, there is alsoDorothy’s trademark hibiscus.) The introduction and colophon pages feature the same room/stage, but on these theset is empty and shown as if unlit, alluding to the characteristic hiatus of a theatrical presentation both before curtain-up and after the final curtain.” - Prospectus. A tour de force.

126 - Above: Six images of the ‘stage’ for the various scenarios -each part of individual larger gatefold pages which include the text

68

The Wayzgoose Affair by Jadwiga Jarvis - the history in full color

- together with a bibliography ofone of the great contemporary private presses

(Wayzgoose Press) The Wayzgoose Affair. [By] Jadwiga Jarvis. The Wayzgoose Press. Katoomba. 2007. 177p. 14” x 11.5”.Black cloth boards with illustrated endpapers. Black and red dust jacket. One in an edition of 500 copies. Signed spe-cially for us by Jadwiga Jarvis. New. $250.00Carolynne Skinner, an Australian-based publisher and arts promoter, in writing about this book states: “In compiling The WayzgooseAffair, Jadwiga Jarvis has used excerpts from her correspondence with friends, colleagues, supporters and, occasionally, detractors,to weave a story both instructive and amusing. She records the setbacks, successes, irritations and even disasters with a wicked witand an often sharp and critical tone. No holds are barred. She begins with the setting up of the press, its search for a permanent home,and more-or-less chronologically descries the technical challenges, frustrations and pleasures of each project, complete with illustra-tions.”Carolynne Skinner, writing in the November/December edition of The Book Arts Newsletter No. 38, of the School of Creative Arts,Department of Art and Design, UWE Bristol, UK, states in her review of The Wayzgoose Affair:“Has there ever been a book like The Wayzgoose Affair? I doubt it, or if there will ever be another like it. Until now, books written bysmall press printers about the practice of book making have been few and slight - largely because most productions from the tradi-tional private press fraternity are not much to write home about, particularly concerning their literary, historical or visual significance.Similarly, books written by private press biographers - whether about individual presses or the movement as a whole - have lackedcolour, life and typographic spirit. Until the Affair.“The Wayzgoose Affair is an admirable compilation of an extraordinary effort, maintained against the odds and for a time span that isall the more remarkable because it straddles the period that has seen the digitised typesetting and printing revolution establish newparameters of design thinking. Although this edition of 500 copies was printed commercially, it has all the hallmarks of a private pressvisualisation. Conceived and designed entirely “in house” on a PC, in its generous proportions, dramatic layout and idiosyncraticselections it pays homage to the pioneers of the manuscript book, when time and money were emphatically not the desiderata of pro-duction.”

69

127.

LATE ARRIVAL!Men in Suits- A Day on the Hill

A New Book by Rosamond Casey

An artist offspring of the Washington power-scene returns with her camera to record her impressions of the current environment

Raised by men in suits, (father, uncle, step father, grandfather) through her childhood in Washington DC, the artist returns homedecades later to see what’s going on. What are they doing up there? Not doing? Undoing?

Carrying a point-and-shoot in her pocket, she wanders all over Capitol Hill, following them everywhere they walk, through thestreets, in and out of restaurants, hotel lobbies, the senate buildings, poking into offices and chambers in order to capture them asthey move about. The book contains hand-pulled photo reproductions of ten mixed media photo/ paintings averaging 48” x 36” insize which the artist made from the snapshots taken on the Hill that day.

We begin the visual query with a piece called “Initiation”, moving on to “Chinese Whispers”, “House of Deliberation”, “Powerstroke: Act one”, “After Thought”, “The Double Tree Hotel Massacre”, “the Passion”, “What Lurked Beneath the Thing he WouldHave Said”, “The Flagellation”; and finally in a sort of prayer for redemption, “Enter the Blue Dawn”. The ten images allude indi-rectly to a Stations of the Cross journey as the artist attempts to piece together an answer to the question, “What happens to thesemen in suits during this passage through the rock-hard halls of power?”

The clamshell box that holds the book is bound in Versace pinstripe wool with solid brass spine engraved with the title of the work.The interior lining is a fleshy pink silk on the verso and scarlet red on the verso tray. The book is bound in brass channel, the samematerial used to frame the photo/paintings depicted in the book. The box measures 19” x 14”. One of 25 copies. $1500.00

70

128.