Joshua Heller Rare Books, Inc. Washington DCCATALOGUE THIRTY-THREE

Summer 2006

SPECIAL DOUBLE ISSUE

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JOSHUAHELLERP O Box 39114 Washington D C 20016-9114 U S A

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

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Catalogue Thirty-Three - Summer 2006

Catalogue Thirty-Three has taken some time to appear; but, it grew like Alice after shedrank from the bottle labeled ‘drink me’! What was to be a publication of 54 pages thick-ened up magically to 90 pages with 221 fine items and over 300 mostly full color illus-trations.

We had a big story to tell, but what with the publication of ourand the Barbara Fendrick a lot of wonderful books were

put on hold.

This has at last all come together for us to now publish . There aretoo many exciting books to single out, but we hope that the selection, which took fivemonths to assemble, will be of interest and give you pleasure. This catalogue containsbooks on the Private Presses, Artists’ Books, Poetry, Fine Bindings, War, Peace,Calligraphy and Portfolios of Prints, Original Drawings and much more.

Your continued interest is appreciated. It encouraged us to produce the catalogue youhold today.

We wish you a Happy and Joyful Summer.

Joshua & Phyllis Heller.

________________________

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 afterits 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 Metrostops.

We accept Visa and Mastercard © Joshua Heller Rare Books, Inc. 2006.

Main cover illustration - Item No. 88. Photography - Neil Greentree.

Susan Allix -First time winner of the prestigious Gregynog Prize for letterpress printing

of her new book Through Closed Doors. Oxford 2005.

(Susan Allix) Through Closed Doors. Artist's book by Susan Allix with photographsof Italian doors and accompanying Prints. 7 Paraclausithrya [by] Theocritus Ovid,Tibullus, Plautus, Horace, Catullus, Propertius. [London.] 2005. 104p. 15.5" x 12".26 photographs - 16 in black and white and 10 in color, of which 20 are full page.With the photographs are a series of prints: 7 etchings, 1 linocut and 1 woodcut.Images printed, with the text, on Somerset pure cotton printmaking paper usingLysson archival inks. Text is handset and printed letterpress in Bembo as the prin-cipal typeface with the san serif Granby and more decorative types. There is alsostencil, air brush and crayon work, and some titles are printed on grey Japaneseor Zerkall papers. Bound in black goatskin on spine and fore-edge with boardscovered in Japanese wood veneer paper. The wafer thin wood has been printed,stained gray, air-brushed in soft red and black and wax polished. It is onlaid withpaper and reversed goatskin in black, gray, magenta and green. The doublures areblack Japanese paper and the endpapers have cut-outs onto a doorway printedonto the fly leaves. Laid in a dark gray cloth dropback box, lined with black. Onein an edition of 21 signed copies. Fine. $5500.00

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Allix writes: "This book combines Roman poetry with photographs of doorways from south Italy."Writing mostly during the 1st century BC-AD the poets used a genre of Greek and Roman literature known as the Paraclausithyron;a poem spoken "through closed doors", that takes the form of verses spoken by an excluded lover outside a door that forbids entry.Their themes include pleas for admission, attempts to persuade a girl to come out to them and complaints at the door's cruelty. Thedoors speak too. Becoming personified they tell stories of their owners and describe their own misfortunes and abuse."The series of photographs taken between 1969 and 2004 in south Italy and Sicily show aspects of the doorways that relate closely tothe themes of the poems. They range from architectural oddities or extravagant Baroque fallen into disrepair to painted, graffiti-strewn metal. Some come from Taranto, a place that especially pleased Horace ("Quell'angelo di mondo a me piu di ogni altro sor-ride")."The first poem is by the Greek poet Theocritus and is set in Sicily. The more strident voices of the Roman poets follow, with an extractfrom Plautus' comedy 'Curculio'. Among the cast of lovers and their girls are found generals, a wine-biber, a dead husband and thedoors themselves, voicing their own opinions; as Catullus's talking door says, "It's always the door's fault". Thus the words that speakof exclusion, desire for the unattainable, disrespect of age and also the comic foolishness of addressing a door find reflection in theshapes, characters and patinas of use acquired by the doorways. The selected poems have been retranslated or modernised with ref-erence to older, existing English translations." [Three images below.]

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Egypt - seen through the eyes of a contemporary artist and traveler

(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. $5250.00Allix 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 ofa man on a bus was exactly thesame as those in an ancient tombat which I had just been staring.Naguib Mahfouz, the Egyptiannovelist, seems to echo this whenhe says of one of his present daycharacters in Adrift on the Nile –"What is the point whether youremain on this earth or depart?Since historical time is nothingcompared to the time of the cos-mos she is really a contemporaryof Eve."The texts in Egyptian Green aremainly drawn from travellers vis-iting or writing about Egypt. Theearliest is a spell written inside anancient coffin; later writersinclude Plutarch and Catullus,also Leonhart Rauwolff, whonoted in 1672 that the water of theNile was "perfectly green", andAmelia Edwards on the precisecolour of palm trees. There aretwo calligraphic pieces of Kuficscript printed from the originalblocks found in Cairo."

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Three imagesfrom No. 2.

No. 2.

Evocative images of tattoed women from the 1920s to the 1950s.

(Arcadian Press) Cold Earth. Artist's book by Caren Heft. Poem by Alan Govenar. Stevens Point. Wisconsin. 2001. Coverboards, 12 leaves; accordion fold. 18" x 11.5". Front cover board with title and poem as typographic design in grey onboth front and back boards. 10 blown-up black and white images of tattooed women, with words from the poem inbrown, as well as odd letters adding to the page design. The whole poem printed in grey opposite the Colophon page,which is printed in brown. Grey cloth dropback box. One in an edition of 35 copies, with only about 13 copies avail-able for sale. Fine. [Illustrated below.] $1500.00

Colophon states: "When Leonard 'Stony' St. Clair died in 1980, his companion, Sue, gave these photographs, which were exchangedfrom the 1920s to the 1950s through Bernard Kobel's catalogue, Highly Tattooed Men & Women of Yesterday and Today, to Alan Govenar.Alan wrote the poem. Tom Greensfelder changed the size of the roughly 5 by 7 inch photographs.An inventive and slightly provocative album of tattooed ladies from the first half of the 20th century!

Arcadian Press - See Sailor Boy Press - Martyr, Mercury & Rooster.

A powerful new book - a homage to the veterans of the Vietnam War

(Arcadian Press) For Boys Who Dream of War. [Text] by Alan Govenar. With quotes by Wilfred Owen and W.H. Auden.Artist's book in box by Caren Heft. Stevens Point, Wisconsin. 2005. 16 pages. Triangular book - 17" spine x 12" x 12":8.5" at its widest point: triangular box - 25" x 17.75" x 17.75": 12.5" at it's widest point. Each page on Root River MillPaper made by Jeff Morin, Brain Borchardt and Caren Heft, or Hahnemuhle paper sized and tinted. Type is Gill Sans.Each different colored page opens up as a square. Open sewn spine with silver colored endboards which are lightlymarked to form a pattern with a cutout of an airplane in black with gray on the front board. Pages are edged withstars, the USA flag, or statistics relating to the Vietnam war. The book is laid in a scorched and black paint splatteredtriangular wooden box which is padded on the inside with a soft reddish cloth. The box has a magnet closure. On thetop of the box is a silver metal star, while on the inside of the top is a white plastic airplane. Set in the padded base ofthe box are two items; a 2.75" glass polished cast of a wounded soldier inscribed either with the number of Americanmilitary dead in Vietnam or the number of Vietnamese civilians killed or wounded during that war, and a small metalWWII first aid kit containing a only wound dressing, sulfa powder and instructions. These two items are covered witha triangular folded American flag, and the book laid on top of that. One in an edition of 49 copies. New. $1750.00

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Caren Heft writes to us: "I have threeb rothers, all were in Vietnam andSmokey was the best friend of one ofthem. Smokey was a Blue Angel ... WhenSmokey's body was returned to his fami-ly, my brother went to the funeral (hegraduated from Annapolis, the NavalAcademy, where he met Smokey) as didmany of their other classmates.Apparently it was a moving reunion."On the left hand page of the book are the

names of women who died in Vietnam - whether it be of war, illness or accident, as wellas those missing in action. It also gives statistics relating to the losses suffered by all.This moving work is about a pilot, LCDR Clarence "Smokey" Tolbert, whose remains were returned to his family in 1989. The differ-ent versions of his death were the reason for this book, writes Caren Heft in the Colophon. There are also, at the end of the text, wordsby an African American Army Chaplain interviewed by Govenar.Alan Govenar writes about his owngradual understanding of war, but thetext is mainly about "'Smokey' Tolbert,born in Tishomingo, Oklahoma - thepride of family, community - a boydestined to be who he became.Graduate of the U.S. Naval Academy,Class of 19962 - Blue Angel ..."Extroverted, gregarious, the kind of

person who made friends everywhere... always willing to lead ... would notadmit defeat, even in seemingly trivialpursuits such as a television appear-ance on The Dating Game.""... he made two combat cruises toVietnam ... He also made oneMediterranean cruise ... He had 145combat missions and 425 carrier land-ings. He was awarded the Silver Star,Distinguished Flying Cross, 14 A i rMedals, the Navy CommendationMedal, the Navy Unit Citation, andthe Vietnamese Service and CampaignMedals; all this before he joined theBlue Angels in 1968."In 1973 he was reported missing inaction, and his remains returned homein March 1989. A true Americanhero.

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All illustrations on

this page - No. 4.

ANobel Prize winner collaborates with unschooled artists

(Artist’s Press) The Ultimate Safari. By Nadine Gordimer. With original handprinted lithographs by Aletah Masuku,Alsetah Manthosi and Dorah Ngomane. Published by The Artists' Press. Johannesburg, South Africa. 2001. n.p. 8" x11.5". Twelve original lithographs drawn on ball-grained aluminum plates by the artists. Proofing and hand-printingof the images was carried out by Mark Attwood, Joseph Legate and Peter Sekole at The Artists' Press. Printed on 250gsm white Arches paper. The text was handprinted from polymer blocks on a Vandercook proof-press. Book designand layout by The Artists' Press. Hand written text by Ella Topham, aged five. Wristwatch pattern lithograph endpa-pers by Alsetah Manthose. Bound by Peter Carstens in cream textured cloth with letterpress printed paper title labelson spine and front. Slipcase with sides of the same cloth, marbled paper trim and leather edges to the open side. Onein a limited edition of 100 books, signed by Nadine Gordimer. Plates signed by the artists. Fine. $875.00Nadine Gordimer's story appeared in a collection of her short stories entitled Jump and other stories published in 1991 by BloomsburyPublishing Ltd. and David Philip. It is printed in its entirety here."The plates for this book were drawn in the village of Welverdiend, near the Kruger Park's Open Gate in the Northern Province, SouthAfrica, where the artists now live. This was done during a two week workshop facilitated by Tamar Mason and Paul Emmanuel in1995. The women do not normally work as artists. They earn what money they can as seasonal labourers on nearby farms, and werenew to the lithographic printing process and the making of images on papers. The workshop was a difficult and sometimes traumat-

ic experience for the three women, as they closely identified with the story." - Colophon.

6. (Ashendene Press) A Treatyse of Fysshynge wyth an Angle by Dame Juliana Berners.Chelsea. 1903. 48p. 7.75" x 5.5". Set in type by St John Hornby and Meysey Turton andprinted by the first-named in black, with red initial 'S'. Frontispiece illustration of fisher-man as well as diagrams showing fishing equipment. Limp vellum covers with gilt spinetitle. New brown cloth double slipcase with leather title label on outer cover. One of 125copies thus of 150 for sale. Near fine. [The Ashendene Press: XVI] $1500.00Reprint of the 1496 edition. Illustrations copied from the woodcuts in the original treatise.

7. (Barton Lidice Benes) I have found a cockroach in your product! [By] Barton Lidice Benes.Wedgepress & Cheese [Publ.] Published for an exhibition of B. L. Benes at Galleriet, Lund,Sweden, November 1982. 10” x 8” Card wrappers. Signed by the artist. Fine. $25.00Photographic reproductions of personal letters sent by Mr. Benes to several U.S. food companies com-plaining of foreign matter in a commercial product, with responses. This artist has conceived several

provocative small press editions, often in combination with his own graphic art.

8. (Thomas Bewick) Memorial Edition of Thomas Bewick's Works. 5 Vols. Bernard Quaritch.London. 1885. 10.25" x 6.75". Half brown morocco with brown cloth boards, gilt titling anddetails on spines. Marbled endpapers. t.e.g. No. 320 of 750 numbered sets, signed byBernard Quaritch in April 1885. Bookplates. Covers, spines, and corners scuffed and slight-ly worn, nevertheless a good set. $1,200.00

9. (Bird & Bull Press) La Relieuse: The Bookbinder. Charles Meunier’s Plaquette, 1900.Reproduction of a pewter plaquette of a woman bookbinder originally made by MauriceFavre, a French sculptor, and exhibited at the Paris Salon in 1903. 3” x 2”.Laid in a tan boardfolder covered with blue cloth; silver title on front. Notes on Meunier, a major bookbinderof the early 1900s, by Marianne Tidcombe. Fine. $50.00N.B. See Meunier binding - item #212.

10. (Bird & Bull Press) In Black & White. A wood engraver's odyssey by Wesley W. Bates.Newtown, PA. 2005. 74p. 10.5" x 7.375". Wood engravings throughout, and a four-color fold-out wood engraving. Printed on Zerkall mouldmade paper. Composed in Dante types byMichael and Winifred Bixler. Bound at the Campbell-Logan Bindery in black Japanese clothwith red leather title label and black and white woodengraving paper label on front board.Red cloth slipcase. One in an edition of 140 copies. Fine. $275.00Bates writes: "I was given a set of wood engraving tools for Christmas in 1980. I was married then andon a whim, my wife gave me the tools and a couple of end grain blocks to see if I would be interested.At art school I had been very involved in making woodcuts, so her gift was not far from the known, butat that point in my life I was only aware of wood engraving as the name of a related medium." -Prospectus.“... Bates' work as a professional illustrator includes the medium of scraperboard, which produces animage that can appear to be a wood engraving. The process ... is explained and a comparative exampleis included.”[See illustration top of p.7.]

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No. 6.

No. 8.

No. 9.

(Bird & Bull Press) My Log & Diary: 1994-2005. Interspersed with anecdotes and observations on book collecting, printing,private presses and other bookish matters. By Henry Morris. Newtown, PA. 2005. 105p. 12" x 9". Printed on ArchesMouldmade paper at the Bird & Bull Press in July 2005. Composed in Dante types by Michael and Winifred Bixler.Color and black and white illustrations, tip-ins and photographs. Bound by the Campbell-Logan Bindery in Textureddark blue Japanese cloth with gilt 'B & B' on front cover; tan/yellow leather spine with blue leather title label. Matchingblue cloth slipcase. One in an edition of 160 copies. Fine. $450.00"This book is a continuation of the entries in Two Birds with One Stone, which was published in 1994 and covered the period between1980 - 1993."These entries describe the day-to-day operation of a private press and include details of the making of many of my books whichwould usually remain unknown. " - Henry Morris.

(Black Cat Press) Poorer Richard: An Almanac Long After Franklin. By Norman W. Forgue. Foreword by R. HunterMiddleton. Illustrated by Arthur Rahnfeld. Privately printed for The Black Cat Press. Chicago. 1954. 44(1)p.8” x 5.25”.Printed from Linotype Fairfield on Victorian laid paper. Top edges uncut. Design and typography by Norman W.Forgue. Four full-page green, black and white illustrations, plus a page of variations in Press Marks for the Black CatPress. Red paper over thin card, with black title on spine and title in red against green on front cover. Green endpa-pers with illustration of the printer’s shop on free endpapers. A limited edition of the memoirs of Norman Forgue andhis early days in printing and publishing. Slight creases to top and bottom of spine and bottom right corners, else verygood. $25.00

(Louis W. Bondy) Miniature Books: Their History from the beginnings to the present day. By Louis W. Bondy. SheppardPress. London. 1981. First edition. 221 pages, includes Bibliography and Index. 8.5” x 6”. Color frontispiece. Black andwhite illustrations throughout. Red cloth with gilt title on spine. Illustrated dust jacket covered with mylar. Signed onthe front free endpaper by Louis Bondy. $125.00

(Boss Dog Press) Rules for Bookbinders. In English & German by Fritz Eberhardt. [Plains. PA 2004.] n.p. 7” x 5.25”.Illustrations are from Fritz Eberhardt’s original sketches. Calligraphy, presswork & binding by Don Rash. Line cutsp rovided by ScrantonEngravings. Text paper ofHahnemühle Ingres printeddamp on a Wa s h i n g t o nhandpress. Each binding oforiginal diff e rent colorpastepapers over board swith inkjet prints of animage from the text: withleather strips at head andtail. Spines stamped in goldor silver foil. An edition of100 copies. One of thre eSpecial bindings made spe-cially for us and signed byDon Rash. Fine. $195.00

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Item No. 10. Item No. 11. Item No. 12.

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No. 14.

John Eric Broaddus - Artist extraordinaire!

(John Eric Broaddus) Blue Cow. Unique artist’s book by John Eric Broaddus. 8” x 10.5”. Seven board leaves with wiresprial binding. Each leaf painted in different colors, with a square containing different cut-outs, so that on leafingthrough the book the viewer sees a different image at each opening. Black with tan splattered slipcase with illustrationof a cow against a landscape. Slipcase splitting at top and particularly at bottom. $900.00

(John Eric Broaddus) Prospect 2. Unique Artist’s Book by John Eric Broaddus. 1977. 15.75” x 16.75”. Title page and backpage (with Broaddus' rubber stamp) of translucent paper. 10 leaves of multi-colored painted and cut-out pages allow-ing the viewer a glimpse of the pages to come. Thick black painted boards with square glass cut-outs on both back andfront covers; paint splattered on the inside. Laid inside black satin, paint splattered on the inside. Title page signed anddated by Broaddus. Laid in black paint splattered cardboard box, slightly worn. Book fine. $3500.00

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No. 15.

No. 16.

(John Eric Broaddus) P.S. 1 Closet. Unique artist’s book by John Eric Broaddus. 1980. 7.25” x 10.5”. Eleven leaves withdesigns, painting, and cut-outs on the recto only. The last leaf is xeroxed text. Opaque grey wrappers with red plasticspine sewn with 6 black knotted cords. Signed and stamped by the artist on the front page. $350.00

(John Eric Broaddus) Black Book. Unique variant artist’s book by John Eric Broaddus. 1986. 8.5” x 6.5”. Black paintedand textured boards with 10 or ll leaves brightly painted and with cut-out pieces, which allow a view of pages alreadylooked at as well as those ahead. Fine. Each - $750.00[Illustration above shows two of the copies available from a selection.]

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Two images -

No. 17.

Images printed from the original blocks for the first time for this Special Edition

19. (Lewis Carroll) Sir John Tenniel's Illustrations toLewis Carroll's Alice's Adventures in Wonderland &Through the Looking-Glass. Ninety-one prints fromthe original wood blocks engraved by the BrothersDalziel from drawings by Sir John Tenniel & oneprint from an electrotype. Macmillan Publishers.London. 1988. 92 prints in 2 sets of 42 and 50prints. 9.5" x 7". Printed by Jonathan Stephenson atthe Rocket Press on Zerkall halbmatt mouldmade;slip mount of Zerkall laid board, title and captionon the mount in black. Each set housed in a drop-back box by Fine Bindery of gray canvas withmaroon morocco spine; titling in gilt.Together with:A Study of Sir John Tenniel's Wo o d - E n g r a v e dIllustrations to Alice's Adventures in Wonderland &Through the Looking-Glass. By Leo John de Freitas.Macmillan Publishers. London. 1988. 59p, illustra-tions [tipped-in], bibliography. 10.5" x 7.75". Set inBell type, printed by Jonathan Stephenson at theRocket Press on Zerkall halbmatt mouldmadepaper. Bound by the Fine Bindery in gray canvas;black leather gilt title label on the front cover. Anedition of 250 sets. Fine. $3500.00In 1985 it was discov-ered that all, except one,of the original wood

engravings for Alice and Through the Looking-Glass were held in two deed boxes, belonging toMacmillan Publishers, in the vaults of the National Westminster Bank. After consultation with schol-ars and conservators, Macmillan Publishers decided to publish a limited edition of prints takendirectly from the blocks, so that scholars and collectors could see these famous illustrations printedwith the detail and quality which John Tenniel, Lewis Carroll and George and Edward Dalzielintended.Jonathan Stephenson of the Rocket Press designed the edition, and printed the engravings using ahand-fed precision proofing press. Over two years of detailed, special preparation took place beforeprinting; even the shade of the paper, for the prints and study, was chosen to match that used in theoriginal edition.

20. (Carteret Book Club) A Snuff-Boxful of Bibles. ByWilbur Macey Stone. With illustrations from the author’scollection. Newark. MCMXXVI. (1926.) 6.25” x 4.75”.Printed by Douglas C. McMurtrie, Inc. Bound in browncloth spine and wood-veneer paper boards with papertitle label on front. Onein an edition of 200copies. Very good condi-tion. Prospectus laid in.

$225.00

21. (Chamberlain Press)The Three Bears. Wo o dEngravings by Sarah

Chamberlain. 1983. n.p. 7.25” x 5.25”. Illustrated throughout in full and half page blackand white wood engravings. Printed in Bembo on Japanese Etching paper. Bound byBarbara Blumenthal in brown and green paper with a bear footprint pattern. No. 88 inan edition of 125 copies, signed by S. Chamberlain. Fine. $200.00

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No. 19.

No. 20.

No. 21.

A tour-de-force of contemporary bookmaking - a Ron King classic

(Circle Press) Anansi Company. A collection of thirteen hand-made wire and cardrod-puppets animated in color and verse by Ronald King & Roy Fisher. The CirclePress. [London.] 1992. 15 unbound sections 15.75" x 12". Designed, silk-screened,hand-stenciled and letterpress printed by Ron King onto 500 gsm Arches rag-madepaper, held in a card wraparound and inserted into a heavily blocked solander box,17.75" x 13.5" x 4.5", which is covered in three different colors of cloth. Thirteen ofthe sections are French-folded and pocketed inside to hold the puppets and carrythe poems which are set in Monotype Walbaum. Puppets made from hand-bentbrass wire and card, measure 12" overall and are easily extracted from the box. Anedition of 120 numbered copies, signed by Ron King and Roy Fisher. Fine. $3600.00This is the seventh collaboration between King and Fisher and undoubtedly the most elabo-rate and ambitious one to date. The content is mainly derived from material gathered togeth-er by Walter Jekyll for his book Jamaican Song and Story, published 1907 for the EnglishFolklore Society. This version is basically a contemporary rendering of aspects of those famil-iar tales central to Caribbean culture, concerning Anansi, the spider-man, and his company of

animal friends.The outside of the sections are cov-ered with quotes in Caribbean patoisand lines of music set down by Jekyllin his book and accompanied by a col-orful carnival procession of figures and designs invented by the artist. Thebook involved over 500 hand-workings and is one of the decade's most

remarkable and innovative artists' books.

A unique work of art from Ron King

23. (Circle Press - Ron King) Mounted Alphabet. Unique wall piecemade by Ron King. 1989. 37" x 30"- framed; 28.5" x 22.5" - image size.A three-dimensional assemblage of cut letters of handmade paperand solid wood carved shapes. The letters of wooden triangularshapes have been mounted on heavy handmade paper, glazed andpainted over with PVA paint. The work has been mounted on beigelinen, backed and suitably framed and ready for hanging to show offthe beautiful blue-gray image to its full advantage. Fine. $4500.00Ron King of the Circle Press, whose work is represented in numerous privateand public collections internationally, has been fascinated by the alphabet andits forms. This original work is an excellent example of King as master of thecontemporary letterform.

No.23. - A rare opportunity to acquire a unique art work by King.

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No.22.

24. (Thomas James Cobden-Sanderson) The Journals of Thomas James Cobden-Sanderson 1879-1922. [Published by] Richard Cobden-Sanderson. London. 1926. Printed at the University Press,Cambridge. 10" x 7". 2 vol. 340p, 437p. Black buckram boards with gilt title on spine. Edition of1050 copies of which 1000 are numbered and for sale in Great Britain and America, this beingNo. 405. Compliments Slip of R. Cobden-Sanderson laid in with handwritten comment.Chipped photograph of Annie Cobden-Sanderson, dated September 13 1925 laid in, as well asa photograph of Stella Cobden-Sanderson. Slight offset on f.f.e. Dust jackets chipped withbrowned spines. Very good. $350.00

Three fine examples of work from The Doves Press

(Doves Press) The Tragedy of Coriolanus. By William Shakespeare. Hammersmith. 1914. 155(1)p. 9.25" x 6.75". Printed inblack with red by T.J. Cobden-Sanderson from the Text of the First Folio, first imprinted in 1623. Bound in cream vel-lum with title in gilt on spine; binding stamped 'The Doves Bindery' on inside back doublure. 200 copies on paper.[Tomkinson: 41] Fine. $675.00

26. (Doves Press) Areopagitica. A Speech by Mr. John Milton for The Liberty of Unlicenc'dPrinting, to The Parliament of England. Printed at The Doves Press by T.J.Cobden-Sanderson and Emery Walker. Hammersmith. 1907. 73(1)p. 9.25" x 6.75". Original limpvellum with gilt title on spine; Doves Bindery stamp at bottom of back doublure. 300copies on paper. New brown cloth board slipcase. Fine. [Tompkinson: 12] $900.00

27. (Doves Press) Note on a passage in Shelley's ‘Ode to Liberty'. Doves Press. 1914. 6p. 9.5"x 6.5". Original wrappers covered with new paper wrappers and slipcase with title onspine. Edition of about 300 copies. Very good. [Ransom: 42, p.253] $150.00

Three very special books from Enid Mark at her ELM Press

28. (ELM Press) Precessional. Poems byEleanor Wilner. Lithographs by EnidMark. Wallingford. PA. 1998. n.p. 20" x13.5". Lithographs in black, blues,ochre, purples and grays, hand-pulledby Timothy P. Sheesley. Cast inMonotype Garamond at the press ofMichael and Winifred Bixler and print-ed on Arches Velin by Daniel Keleherat Wild Carrot Letterpress. The twolonger poems are set on fold-out pages.Bound by Sarah Creighton in mid-night-blue Japanese fabric, with titlestamped in silver onto an iridescent-blue paper label. Lithographed endpa-per of a star field. In an edition of 61copies, this is one of only 45 numberedcopies for sale, signed by Wilner &Mark. Fine. $1250.00

This book grew out of a collaboration between artist and poet, words and images developing into a suite of nine poems with com-plementary lithographs. Eleanor Wilner’s vital and original voice is noted for its breadth of verbal effect, its intelligence, and highallusiveness, being passionate, evolutionary, and elegant. She has won The Juniper Prize and is a MacArthur Foundation Award win-ning poet. Eight of the nine poems were written especially for this book, and are previously uncollected. The mythic world of the textis reflected in the accompanying lithographs. Photographic images of water, wood, trees, grasses and stars create shifting visual tex-tures as they float across the pages to fade away at the letterpress printed poetry. A refined and handsome addition to the growinglist of Marks’ books which are produced in the best traditions of the finely printed and illustrated book.

The Elements awarded the Ninth Biennial Carl Hertzog Award for Book Design

(ELM Press) The Elements. A Poem by Susan Stewart with lithographs by Enid 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 byDaniel Keleher at Wild Carrot Letterpress on mouldmade English Somerset. Within three of the sections, parts of thepoetry are printed on fold out sheets of various Japanese papers. The lithographed images were conceived with a cam-era but manipulated digitally with photoshop software in order to generate the films used to create the duotone and

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No. 28.

tritone images. These films were transferred toplates and printed as hand lithographs byTimothy P. Sheesley. Bound in silver-gray Italianbook cloth over boards; the binding is enrichedwith blind embossing and spine label. Texturedgray paper from Twinrocker Handmade Paper isused to line the covers and for the end pages.Hand bound by Sarah Creighton. An edition of 45numbered copies, signed by the poet and theartist. Fine. $2,250.00Susan Stewart wrote The Elements, this long poem in fourparts, in collaboration with artist Enid Mark, who creat-ed the book’s visual form. The poet, author of three pre-vious books of poetry and a MacArthur Fellow, called onthe long Western history of myths and literature on air,fire, earth, and water; in the end she she created asequence unified by the themes of love and strife tradi-tionally associated with the elements. ... The poemunfolds 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 horizontal band that has its own rhythm, fading and increas-ing in dimension and intensity as the pages turn. On the final page opening within each section, three-color lithographs bleed overthe four edges of the ... spread of the book. Throughout the work, the concrete forms of the sections of the poem, unique to the vol-ume 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 the

University of Chicago Press. Columbarium features AIR FIRE EARTH AND WATER fromThe Elements.

Enid Mark’s very beautiful book of flower poems

(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 mould-made 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. One in an edition of 40 numbered copies, and 10 artist's proofs. Fine. $2750.00

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No. 29.

No. 30.

Poems by Diane Ackerman, Betty Adcock, Nathalie Anderson, Annie Boutelle, Rachel BlauDuPlessis, Daisy Fried, Celia Gilbert, Maxine Kumin, Heather McHugh, Constance Merritt,Alicia Ostriker, Susan Snively, Susan Stewart, Eleanor Wilner. Inspired by a long tradition ofherbariums and botanical books, especially those published in Europe from the 7th centuryonward. In this contemporary edition the scientific description of flora presented in such earlyvolumes is replaced by poetry. Enid Mark invited the various 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 concerns of each individual writer." ... the images ... describe more than one aspect of the featured plant specimen. Facing eachpoem is a photo-based duotone lithograph of the plant, printed in warm gray and black tones.A second lithograph, derived from a hand-drawing of the same plant, printed in glowing flo-ral colors that vary from page to page, appears on a translucent sheet tipped into the gutter

between the duotone and the poetry.”

31. (Evergreen Press) Punctuation: A Printer's Study. Preface by John Grice. Text fromthe Authors' & Printers' Dictionary, published by The Oxford University Press, 7thedition, 1933. Stroud. [U.K.] MMI. (2001.) 29(6)p. 20.75" x 7.25". Set and printed byhand. Bound by The Black Cat Bindery. Gray cloth board with inset paper title label.

No. 115 in an edition of 200 copies. Fine. $225.00

32. (Andy Farkas) Four Stories. Four originalstories and wood engravings by Andy Farkas.[Pennsylvania. 2004.] Over 28 original woodengravings, printed directly from the block bythe artist. 72p. 9" x 10.5". Printed letterpress inGaramond and hand bound in collaborationwith Egress Press and Blue Barn House. Eachstory is set within a different color paper, andthe whole bound in blue cloth with a partiallyopened spine, which displays the four differentcolor backings. The spine has four decorativestitchings - two above an open area and twobelow. Paper title label on front. Slipcase. Onein a signed, numbered and dated edition of 50copies. Fine. $1500.00Farkas writes: "I prepared endgrain maple and eachis carved using an array of tools including burins and

Japanese carving knives & chisels."

(Fleece Press) Leon Underwood: His Wood-engravings. With an introduction by George Tute. Wakefield. 1986. With thefrontispiece ‘Yucatas’. n.p. 13.5" x 10.5". Title page in red and black. Printed one side only on Barcham Green Sandwichpaper. Green cloth spine, green pastepaper over boards. Green cloth dropback box. One of 188 thus in an edition of 200copies. Fine. $375.00

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No. 33. No. 34.

(Fleece Press) Bookplates and Labels by Leo Wyatt. [By] Brian North Lee. Introduced by Will Carter. [Wakefield, WestYorkshire.] 1988. 79p, plus copper engraved bookplates. 10.75” x 6.75”. Tipped-in images of Leo Wyatt, various equip-ment, and studio. Wood and copper engravings in black red and brown. Printed in Didot Spectrum on a special Zerkallmouldmade paper, dampened before use. The blocks were all printed from the wood on a handpress, with the excep-tion of that of Claire Wyatt, which is a lineblock. Bound by Smith Settle in brown cloth spine with paper title label, andgreen patterned boards. Grey slipcase. In an edition of 300 copies, this is one of 270 thus. Fine. $200.00

Three creative titles from the much admired team ofInes v. Ketelhodt & Peter Malutzki

(FlugBlatt-Presse/Unica T.) Leporello 1 + 2. A collaborativework by Ines v. Ketelhodt and Peter Malutzki. Werkstätte vonUnica T./FlugBlatt-Presse. Offenbach /Lahnstein. 1989. 8.25"x 5.5". 2 vols. Accordion fold with images on both sides of thebook. Both books with gray boards, black titling and detailson front. White paper band fits round the books. No. 1:Fotografie & Typografie: Ines v. Ketelhodt; text passage byJoachim Schumacher. Handset and printed, with offset pho-tography. No. 2: Fotografie by Ines v. Ketelhodt in offset.Handset and letterpress printed by Peter Malutzki with linesin different colors. With text from Natürliches Zauber-Buch oderNeueröffneter Spiel-Platz rarer Künste, Nürnberg 1745. 60 num-bered copies, each book signed by the relevant artist. $495.00Together v. Ketelhodt and Malutzki selected 18 black and white pho-tographs which were composed into a sequence depicting movement,enhanced by the concertina form. Where Ines v. Ketelhodt has usedletterpress text to complement her photographs of a figure in motion,Peter Malutzki has used color lines to form his design on the page. A clever and successful concept, and what adds to the appeal isthe way both artists have often chosen the same place on the spread to add their text or design.

(FlugBlatt-Presse) Monochrome Bücher 1-6. Six artist’s books by Peter Malutzki. [Lahnstein. 1993-95.] Illustrations areprinted with polymerplates, woodblock (No. 1), linocut (No. 4). Box - 13.5" x 10". All texts are handset with the BauerBodoni. Each of the six volumes has its own size and all fit in a gray cardboard box, with title in relief on lid. One of50 sets, numbered and signed by Malutzki. Fine. $1100.00No. 1: schwarz. 40p. 6.25" x 6.25". Printed black onto black kraft paper, with black card boards with title and woodengraving.Text passage from Konrad Bayers Der Kopf des Vitus Bering dealing with the question 'where is the world (our planet)situated’. A wood engraving from the 19th century (showing a round piece of an old machine) is printed on everypage, rotated by 30 degrees from page to page. So the tool becomes a rotating planet. It is orbited by the typographyin the opposite direction.No. 2: rot. Tatjana Tolstaja, Saßen auf goldenen Stufen... 4p. 9.5" x 6.25". Printed red onto red kraft paper. Red decoratedand titled paper board covers. The collage illustrations (running over all pages) are made up of pictures from maga-zines and newspapers showing people and places in Russia. The Russian author writes about her childhood in Russia.

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No. 3: grün. Poems about the four seasons by Friedrich Hölderlin. 96p. 8" x 6.5". Poems are printed onto a backgroundof leaves. Original leaves of four different trees (maple, ash, beech, oak) were used. They are printed green onto greenkraft paper.Green printed paper over board with title and leaf illustrations all in green.No. 4: gelb, ‘isch.’ 48p. 13" x 9". Printed yellow onto yellow kraft paper. Thin card covers with title and thick yellowline across card. The volume takes rhymes with the ending »isch« out of a German rhyming dictionary (Willy Steputat,Deutsches Reimlexikon, Leipzig. 1896.) and set it in relation to colored spaces printed with linocuts. Cut-out sheets addto the complexity of the design.No. 5: blau - Eduard Mörike, Die Historie von der schönen Lau. 60p. With 17 illustrations. 9.75" x 7.125". Underwater pho-tographs by Malutzki. Printed blue onto blue kraft paper; with shaded blue paper boards, title on front and spine.Bound by Ines v. Ketelhodt. Mörike is one of Germany’s greatest lyric poets of the 19th century. His story tells about awater nymph (the beautiful Lau) who could not get pregnant because she never laughed. Once she had laughed fivetimes, then she would become pregnant.No. 6: weiß. [Poems by] Rafael Alberti, Blanco/Weiß. 76p. 6.875" x 9.5". Printed white onto white waxpaper. Title inwhite on translucent wax paper over thin board. 33 poems about the color white (from the cycle ‘A la pintura’) in theSpanish original with a German translation. The translucence of the paper allows the next page to be viewed as thoughin shadow.This series of six monochrome books by Peter Malutzki follows (concerning the chosen colors) the theory of colors by Goethe whotakes green also as a primary color like red, yellow, and blue. They are put between the black and white books.

A wonderful typographic feat! Peter Malutzki can do

impeccable letterpress printing on any kind of paper!

37. (FlugBlatt-Presse) Von Anton bis Zeppelin. Analphabet by Peter Malutzki composed of sculp-t u res made mainly of concrete and steel.[Lahnstein. 1995.] Concertina printed on bothsides. 9.5" x 6.25". Hand set letterpress with blackand white photographs in offset. Photographs ofthe sculptures were complemented by texts thatcontain the respective letter as a single letter. Greylinen end boards, with the Alphabet in block lettersacross both boards. One of 100 copies, signed byMalutzki. Fine. $325.00A list at the end of the book states where the texts comefrom. In English, German, as well as German translations

from Russian and Italian, the texts vary from the Brothers Grimm, Hans Arp, Lewis Carroll, to Italo Calvino and many others. Anamusing alphabet beautifully presented in a unique way.

John Gerard’s new contribution to the art of the Alphabet

38. (John Gerard) Alpha Beta. Artist's book by John Gerard.[Rheinbach, Germany.] 2005. 20 leaves.10.75" x 6.75".Handwritten black ink letters of the alphabet and red let-terpress on handmade paper. Light salmon endboards withwhite sewn coptic binding. Illustrated label on front. In anatural thin card envelope folder with the title written inink. A unique variant in an edition of 20 similar copies.Signed, numbered and dated by Gerard. Fine. $450.00A homage to the alphabet and the golden section.

A new illustratededition of a Poe

classic

39. (John Gerard) ThePit 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 12ptGaramond-Antiqua. at the Copernicus Graphische Werkstatt, Alfter. Paper Frenchfold. Open sewn binding with black linen spine and black thread, natural paperboards with black title on front. In a black linen dropback box with title in blindon front and spine. An edition of 25 copies, plus 5 artist's proofs, signed byThomas Rug 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.

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No. 38.

No. 39.

A Private Press classic from 1927

(Golden Cockerel Press) The Trve Historie ofLvcian the Samosatenian. Translated from theGreek into English by Francis Hickes with anIntroduction by J.S. Phillimore M.A. LL.Dtogether with the Greek and decorated withWood Engravings by Robert Gibbings.[Waltham Saint Lawrence.] 1927. 44p. 12.75"x 9". The Greek was set with the assistance ofthe Oxford University Press from the Jacobitzedition of 1852; English from the first editionof 1634. Printed by Gibbings on Englishhandmade paper. Quarter bound bySangorski & Sutcliffe in brown morocco andlinen over boards. Spine with 5 raised bands and title in gilt. T.e.g. No. 56 in an edition of 275 copies. With theBookplate of The Golden Cockerel Press. Minor rubbing to spine, corners slightly bumped, but still a very nice copy.[Chanticleer: 53] $750.00

(Golden Cockerel Press) Gray’s Elegy Written in acountry Church-yard. With a Foreword by ChristopherSanford and Eight Engravings by Gwenda Morgan.London. 1946. 19(1)p. 7.5” x 5”. Edited, designed,produced and published by Christopher Sandfort inCaslon’s Old Face type on Arnold’s mouldmadepaper. Printed at the Chiswick Press, London. In atotal edition of 750 copies, this is No. 48 of 80 copiesspecially bound by Sangorski & Sutcliffe in greenleather with gilt title on spine, gilt urn with foliage onfront, and a lyre and foliage on the back. T.e.g.Original green cloth slipcase faded at edges.Bookplate of previous owner on front pastedown;offset on f.f.e., else very good. $350.00

(Thomas Gray) Poems By Mr. Gray - A New Edition. Printed for J. Dodsley, in Pall Mall. London. MDCCLXX (1770.)120p. 7.25” x 2.5”. With an Ode written out by hand over four free endpages at the back. Rebound in full brown calfwith five raised bands and black title label on spine. Marbled endpapers. All edges colored. Pocket in back cover con-tains a section of original similar marbled paper and signature of a previous owner dated 1814, as well as theBookplate of a previous owner. Also in the folder is an article from a newspaper dated 1823, which discusses Gray andhis work, and comments on the fact that until 1799 there had not been “even the slightest memorial”, when a neigh-bor erected one. Book in extremely good condition apart from offset of a flower which had been pressed between pages64 and 65. $250.00

(Joan Hassall) Flow gently, Sweet Afton. Matted and mounted original woodengraving by Joan Hassall. Undated.Actual engraving - 1.625” x 3.25”. With matting and mount - 9” x 10.75”. Titled and signed by Hassall in pencil. $125.00

(Joan Hassall) The Cygnet. Original woodengraving by Joan Hassall. 2.75” x 2.125” image on 4.5” x 3.875” thin card.Titled and signed by Joan Hassall. $100.00

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Item No. 41.

No. 43. No. 44.

A selection of work by one of America’s most creative Book Artists

Mary Heebner is an internationally exhibited artist and published writer whose paintings and artists books are in collections here andabroad including the San Francisco Museum of Modern Art, Santa Barbara Museum of Art, The United States Embassy in Moscow,the National Archive of Iceland, the University of California Special Collections at Los Angeles, the University of Alberta, Edmonton,Canada, University of Reno, and the Fiske collection at Cornell University. She collaborated with photographer Macduff Everton inwriting the text for The Western Horizon (Abrams, 2000).

(Mary Heebner) On the Blue Shore of Silence: Poems of the Sea by Pablo Neruda. A la Orilla Azul del Silencio: Poemas del Marpor Pablo Neruda. Designed and illustrated by Mary Heebner. English translations by Alastair Reid. simplemente mariapress. [Santa Barbara. 2001.] Portfolio - 14" x 11". The original watercolor paintings in the Isla Negra series were madefor the specific purpose of creating the editioned book, On the Blue Shore of Silence, using the Giclée printing processat Duganne Atelier, Santa Monica, under the direction of the artist. They were produced on Somerset Velvet 300. Theportfolio consists of 12 hand-folded folios each containing an image presented with a poem in Spanish by PabloNeruda and Alastair Reid's translation into English. The text was printed letterpress from polymer plates at TheLumino Press, Santa Barbara, California, on handmade linen paper produced by the artist with the assistance of PatAlmonrode at the Dieu Donné Mill, New York City. The poems are digitally typeset using Adobe Jenson for the Englishtext and Arrighi for the Spanish; Trajan titles. The cockling on the edge of the linen sheets was purposefully intendedto allude to waves approaching a shore. The handmade linen wrappers were individually painted with indigo pig-mented pulp by the artist at Dieu Donné Papermill, New York. Images and poems were tipped onto larger sheets ofFabriano 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 watercolor paint-ings 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 let me use his trans-lations. The unexpected joy of producing this book was the time spent listening to Alastair spin stories about his friendship withPablo [Neruda] as we selected poems, read them aloud, digressed about the sea and Chile, about language, color, and light. ... CarmenBalcells, agent for Neruda’s estate, kindly granted permission to use his 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 South America. He isa distinguished poet, author of more than twenty books, and was a contributor to the New Yorker magazine from 1951 until the 1990s.He is an internationally acclaimed translator of Latin American poetry, notably the writings 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 have crowed with delightat seeing and handling Mary Heebner's On the Blue Shore of Silence (which has been brought out as a trade book by HarperCollins).

(Mary Heebner) Seeking the Open Heart. Poems by Michael Hannon. Images by Mary Heebner. simplemente mariapress. Santa Barbara. 2002. 9.25” x 9.25”.10 Giclée images created in response to the set of ten poems. The edition of

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Giclée prints was printed on Somerset Velvet Enhanced paperusing Pinnacle gold archival inks at Duganne Atelier, SantaMonica. Text printed letterpress from photopolymer plates,typeset in Baskerville MT, at The Lumino Press. Pastepapersover cover boards created by Mary Heebner; toning clothspine with gilt title. Pale green card slipcase. An edition of 70copies for sale, plus 5 hors commerce, signed by MaryHeebner and Michael Hannon. Fine. $850.00Heebner states: “Only by listening over and again for the rhythm inMichael’s poetry could I begin to paint. As a reedman, who had alsorecorded countless musicians, my dad, Walt Heebner, used to tell methis: - to find a rhythm, you had to listen to the space in between thenotes. ... These images are in memory of him.” The ten originalacrylic and pastel paintings were Heebner’s response to Hannon’s setof poems. The paintings were made specifically to create the book,and the prints were editioned under the direction of the artist. A beau-

tiful book, with jewel-like images.

(Mary Heebner) Folio No. Two: Scratching the Surface.Broadside. Text and image by Mary Heebner. Originally fromthe book Scratching the Surface: A Visit to Lascaux and Rouffignac. simplemente maria press. [Santa Barbara. 2003.] 22” x9”. Direct pigment print, letterpress text, on Fabriano Uno rag paper with gold debossing of simplemente maria press-mark. An edition limited to 50 signed and numbered boardsides. Fine. $95.00

A Sacred Geography: Sonnets of the Himalaya and TibetA collaboration with the poet and anthropologist Sienna Craig

(Mary Heebner) A Sacred Geography: Sonnets of the Himalaya and Tibet. Art work by Mary Heebner. Poetry by SiennaCraig. simplemente maria press. Santa Barbara. 2005. 14 sheets in total. Box - 21.25" x 9". Sheets - 20” x 8”. Chapbook- 11.75" x 5.875". The design of the book alludes to traditional Tibetan texts. Twelve sonnets were printed letterpressfrom photopolymer plates in Democratica on kitakata paper at The Lumino Press and editioned by hand on aVandercook UNI cylinder press. The poems are placed onto handformed sheets of individually pulp-painted paperwithin a border of two of the eight sacred Tibetan Buddhist symbols, the Endless Knot and the Conch. A signed andnumbered print, Drifts and Plates, inspired by the sonnets, serves as a frontispiece. A reader’s chapbook with the poet-ry and commentaries, printed in Spectrum types, is recessed in the bottom of the handmade brown silk clamshell boxwith tan trim. An edition of 20 copies for sale with 5 hors commerce. Frontispiece signed by Mary Heebner. Title pagesigned by Mary Heebner and Sienna Craig. Fine. $2400.00

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No. 48.

A portion of sales will help support projects in the Himalaya andTibet through DROKPA.“The natural colors of the landscape, and, in particular, a sinuous,thousand-foot long wall of boulders etched with Tibetan prayers -mani - and washed in streaks of sacred mineral colors, that I encoun-tered in Mustang, Nepal, remained vivid memories. With the maniwall in mind, I hand formed sheets of paper from abaca and cottonfibers at Dieu Donne Paper, New York City, with Jan Drojarski assist-ing and pulp painting each sheet with earthen and metallic pigment-ed linen pulp, in variations of these striped patterns. The drawing ofan ammonite fossil or saligram - relic from an ancient sea that preced-ed the birth of the Himalayas - is debossed onto each hand formedsheet.” - Heebner.

The Sonnets: “The first six poems are named after places inMustang District, Nepal, a region I first visited in 1993, and towhich I have been returning since.“Lubra is a small village of fourteen households located in thePanda Khola river valley. It is a settlement defined by in partby Bön, the pre-Buddhist religious tradition of Tibet. The hillsaround Lubra testify to the region’s geological history, to a

time when the whole of the Himalaya and Tibetan Plateau was ocean.” - Sienna Craig.

(Mary Heebner) A Sacred Geography: Sonnets of the Himalaya and Tibet. Embellished Chapbook. Art work by MaryHeebner. Poetry by Sienna Craig. simplemente maria press. Santa Barbara. 2005. Chapbook - 11.75" x 5.875". A c h a p-book, printed letterpress with Kakeshibu paper over board covers, imprinted with the fossil ‘saligram’ drawing, andcontaining all 12 of Sienna Craig’s poets plus an introduction, a section of ‘Placing the Poems’ in a geographic & cul-tural context, and an afterword by Mary Heebner . A folder bound in at the back includes two original watercolor andgraphite paintings that allude to the striped prayer walls and to shapes of a stupa and prayer wheels that the artistencountered while visiting Mustang, Nepal and Tibet. Each measures 9.5” x 4.5” and is signed. Cardboard box withthe imprint of the press on top. One in an edition of approximately16 copies. Fine. $395.00A portion of sales will help support projects in the Himalaya and Tibet through DROKPA.

For Alice lovers - a treat!

(Gloria Helfgott) Down the Rabbit Hole. A unique artist's book object by Gloria Helfgott. 2006. 7" x 4.5". Two 4.5" x 4.5"blocks on a painted wooden base. A hole in the top block contains the bottom half of a small wooden painted figurewith paper clothing. The bottom block has cut-out holes, each containing different objects - a small red teapot, a blacktop hat, white gloves and the face of a clock. Both blocks are painted and written on in white acrylic ink over beigeacrylic paint on Davey board. Both blocks turn separately on a painted wooden base, with metal construction. Laid ina red cloth dropback box lined with red suedette with a white painted wooden rabbit on the right hand bottom of thelid. Signed, titled and dated by the artist on the bottom of the base of the work. Fine. $1750.00

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No. 49.

No. 50.

Three great books from the doyen of American printmakers - John Ross

(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. Image ofa brass tray printed intaglio on an etching press. One tipped-onillustration, as well as a fold-out graphic. Two pages with piecesof original Moroccan textile work. Various images of people,places, and animals printed by a xerox process. Red leather spinewith gilt title and side decorative line; black cloth boards withinset of an example of original colorful weaving. Red cloth slip-case. An edition of 14 signed copies. Fine. $2500.00The textile on the cover was woven from wool in a plain weave with weftsubstitution by a Berber woman in the Middle Atlas mountains on a sim-ple upright loom. Each binding is a unique variant containing a differ-ent textile fragment on the front panel.John Ross was one of 13 printmakers invited to work in the printshop ofthe Assilah Forum Foundation in the summer of 2001. A wonderful, com-plex, and colorful book, which brings alive the sights and textures ofMorocco.

Ross, in his own words, describes the background to the work:“For more than twenty years the Assilah Forum Foundation has been inviting musicians and visual artists to participate in a CulturalFestival each August. In the summer of 2001 I was one of thirteen printmakers invited to work in the printshop in Assilah, asked byMohammed Omar Khalil on behalf of Mohammed Benaissa for the Foundation. The work in this book represents some of the impres-sions that I received as a result of the visit to Morocco. The complete reliance on an abstract, geometric concept of art has led to aflourishing of decorative and embellished surfaces that are varied and complex.“Every appropriate wall or building has been lavishly bejeweled with tiles, carvings and paintings that enrich the houses, mosquesand other structures in the country.“The geometric foundation of all the patterns and motifs gives a sense of unity to Moroccan art that is difficult to achieve in anotherway. Representational art is little used in Morocco for enhancing the mosques or other official buildings throughout the country.”

(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. [Illustrated] Text in English, Italian and Greekfrom various sources. Black cloth boards, with a recess on the front board containing a ‘mock’ plastic printer’s typeblock with the title printed backwards in various colors. Black cloth slipcase with woodtype letterpress printed, bril-liantly colored, full page title label. One in an edition of 25 copies, signed by John Ross. Fine. $2000.00

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No. 51 -binding -above;double-page

spread - left.

Almost all the type is from the collection of the Tipoteca Italiana, with a few fonts fromthe High Tide Press in New York. In his Introduction, John Ross writes: " ... [I heard of]a newly forming type museum in a town about one hour north of Venice."... Clare Romano, my artist wife, and [I went] to the town of Cornuda, ... to visit the justorganized Tipoteca Italiana, a foundation created for the purpose of collecting and pre-serving the type and presses used in the letterpress printing industry. ..."The driving force behind this new museum of type and presses is Silvio Antiga, thepresident of the Foundation and a director of the printing firm of Antiga Grafiche, athriving, high quality press for posters, fine books, and other commercial and industrialprinted material. The unmatched energy and enthusiasm of Silvio Antiga is the primereason why this new collection of type and presses has developed so rapidly and effi-ciently 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 theywould send their rarely used type and other equipment to form the core of the growingcollection. The response was overwhelming and the new museum was flooded withthousands of fonts of type, scores of presses, type setting machines and other devicesthat had been outmoded by newer systems.“Of course, this mass of material needed to be housed, so the Tipoteca bought and recon-structed a deconsecrated church nearby, erected new structures and designed new andefficient 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 dis-played, a job which challenges their dedicated mechanics and technicians."I suggested to Antiga that a working printshop could be used to produce artists books,posters or prints to keep the letterpress tradition alive by artists and designers using theequipment collected in the Tipoteca. He agreed and this book is one of the first efforts toproduce new work using old technology."

A tour de force by Ross using old type to form not only text, but brilliantly colored illustrations.

53. 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 pagesare from Florence, Italy, and collected in 1958 and 1959. Collagraphs, printed from collageplates made from mat board, fabrics and other materials glued together with acrylic poly-mer gesso. Printed on 2 ply Rising museum board. Quotations and recipes are printed onLenox 100 paper. Quotations are printed in Garamond Italic and recipes are set inHelvetica Lite. Both fonts are from the linotype machine. All images and text are printedon a Vandercook 219 proof press in the East Hampton print workshop of the High TidePress. Sam Joffe printed some of the recipes, while most were printed by John Ross.Binding by James DeMarcantonio of wooden boards imitating fruit crates and two metalring binding holders at the top. The back is double green cloth board joined with clothwhich allows the book to stand upright to see the recipes (while cooking!). The metalrings allow the pages to turn easily. In a dark green cloth thick board slipcase with slipsfor the two metal rings. 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 sectionson the various fruits. Contents include sections on the apple, banana, blueberry, cherry, lemon,orange, peach, pear, plum, pineapple, and strawberry, "A mutual passion for fruit pastries and cakesled Ross and 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 orfour years has enabled both of them to appreciate the problems as well as the joys of their separate endeavors, a humbling yet grat-ifying experience." - Introduction by Ross & Joffe.

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No. 52.

No. 53 -

aboveand right.

A tribute to a mother

(Linda Hoffman) Winter Air: A Journal. Text and prints by Linda Hoffman. 2001. Ninearchival digital prints by Linda Hoffman. Printed letterpress in Monotype Bembo onCave paper of 100% flax. Text printed at Wolfe Editions, Maine. Twenty loose foldedsheets with text and images laid in a cream double-thickness paper folder with a decora-tive blue strip down the front. Matching cream dropback box with blue paper strip incor-porating silver title on spine made by Praxis Bindery. An edition of 200 copies signed byLinda Hoffman. Fine. $500.00This is a journal Hoffman "began one winter when [she] walked daily on an uninhabited island inthe middle of the Nashua River”. Not only are the images very beautiful, but the text is simple andstraightforward, moving as only good prose or poetry can, in this wonderful journey of tribute to anoutstanding woman and scholar - Hoffman’s mother.This book is in the collections of the Pierpont-Morgan Library; New York University; The HoughtonLibrary, Harvard; the Boston Public Library; Kalamazoo College, and The Cary Collection, R.I.T.

(Douglas Holleley) Secrets of the Spread. [By] Douglas Holleley. Clarellen. [Rochester. NewYork. 2005.] Accordion fold book of 36 pages. 5.875" x 4". The book was photographedwith a Canon Digital Camera. Printed on an Epson 2200 printer on Epson Archival Mattepaper with Epson Ultrachrome inks which are considered to be permanent. Bound withblack binder's cloth endboards; title and illustration on front. The accompanying accor-dion fold booklet, Revisiting Secrets of the Spread, 2006, (11.75" x 8") is also photographedand printed in the same manner on the same paper. An edition of 33 copies, signed byDouglas Holleley. New. $445.00The images of the gutters and spreads in this book are photographedfrom: Les Mille & un Tours, ou Experiences de Physique Amusante et deMagic Blanche; Publié par Ana-Gramme Blismon, Paris, 1869. Theimages of the eyes and mouths are from: Descriptive Mentality from theHead, Face and Hand by Holmes W. Merton; David McKay Publisher,

Philadelphia, 1899.

(Incline Press) The Book Decorations of Thomas Lowinsky. [By]Colin Myers. With a Memoir by Katherine Thirkell. And anAnnotated Checklist by Oliver Clark. Oldham. 2001. 122p.13" x9". 90 illustrations in total; including all his surviving unpub-lished illustrations, an autograph poem and an ink sketch, 2woodcuts, all his patterned paper designs and publishers’devices. 2 Double Crown Club menus are reproduced, one ofwhich is hand colored as is the original. 35 illustrations in thetext and tipped in full page facsimiles of a further 26, includinganother hand colored plate, matched with the original. Clothspine and boards covered with a new printing of one of his Curwen designs. Text on acid-free Magnani paper, withfacsimile pages and plates on a range of hand and mould made papers to approximate the originals. Slipcase. One inan edition of 250 copies. Fine. $325.00Lowinsky was born in India; schooled at Eton; spent a year atOxford; two at the Slade; followed by active service in Franceand Germany with the Scots Guards, where he also assisted ...as a war artist: he was one of the circle of friends and support-ers of Charles Ricketts, and a founding member of the DoubleCrown Club. A man of independent means, Lowinsky was alsoa man of independent mind. He was intimately involved withthe production of most of the books he illustrated for he workedwith his friends, as authors or publishers: Sacheverell and EdithSitwell, Frederick Etchells of Haslewood Books, Oliver Simon atCurwen, Francis Meynell at Nonesuch, and through AlbertRutherston for the Shakespeare Head Press. Among the fullpage facsimiles are ten illustrated title pages, nine of them inte-grated with the full checklist prepared by Oliver Clark. There isalso a previously unpublished studio portrait of Lowinsky, anda family group drawn by their friend, Albert Rutherston.Katherine Thirkell is the daughter of Lowinsky, and has intro-duced the book with recollections of life with him. A fine bookon a long neglected figure in the British private press world ofthe first half of the Twentieth Century.

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57. (Incline Press) Art for Life: TheStory of Peggy Angus. By CarolynTrant. With an introduction by TanyaH a r rod. [Oldham.] 2004. 242p.Includes Index and Chro n o l o g y.14.25" x 10.25". Main text cast inMonotype Scotch. Design and letter-press printing by Graham Moss andKathy Whalen. Magnesium blocksfor illustrations printed in the text bymade by the Block Shop inManchester. Illustrations and tip-insthroughout in color and black andwhite, as well as printed sample ofw a l l p a p e r. Printed on Magnanipaper specially made for this book.Chapter headings on different colorpapers. Binding by Stephen Conwayin half tan binders cloth with

tan/brown patterned paper sides and title in red onfront. Together with: Tan/brown patterned portfo-lio with tan cloth spine containing the following - a)A facsimile booklet Indonesian People's Art by PeggyAngus in a paper pocket; b) a transparent plasticholder with a specially made CD on Peggy Anguswhich includes some of her singing; and c) a pocketcontaining 10 varied items by Angus, as well as acream brochure explaining what all the items in theportfolio are about. Llaid in a red/beige patternedboard slipcase with red cloth sides and trim. An edi-tion of 350 copies. Fine $595.00This book was judged to be one of the 'Five Best Books' ofthe Fine Press Book Fair, Oxford Brookes University,November 5 & 6, 2005. An excellent and comprehensiveproduction detailing the life and work of a very specialwoman artist who deserves fuller recognition.

58. (The Janus Press/The Theodore Press) Dido andAeneas. An Opera Perform'd at Mr. Josias Prinst's

Boarding-School at Chelsey by Young Gentlewomen. The Words by Mr. Nahum Tate. The Musick composed by Mr. HenryPurcell. Bangor, Maine, and Newark, Vermont. April 1989. 37 printed surfaces. 14.875" x 6.5" folded, 14.875" x 70.25"unfolded. Accordion fold pulp painted base sheet with pulp painted and shaped insert pages on which the text is

printed. Each opening of the accord i o nforms a stage set for one of the opera's fivescenes. With a wraparound title sheetwhich forms the cover and spine.Typographical design by Michael Alpert;book structure and box by Claire Van Vliet.Pulp painting by Claire Van Vliet withBernie Vinzani and Katie MacGre g o r.Supplemented with other papers fro mM a c G re g o r- Vinzani, Tw i n rocker andBarcham Green. Text handset. Enclosed in adoubletray box covered with blackJapanese cloth. With a compact disc record-ing of the opera enclosed in a removablechemise located inside the box. One of 150copies. Colophon states that this copy is forthe previous owner, inscribed with the

words 'with all good wishes Claire'. Fine. Scarce. $1000.00The book may be opened in the normal way, arranged in a zig-zag line, or a star-circle shape to display all the scenes at one time.

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No. 57 - above and below.

No. 58.

(Janus Press) A Scribe of Kloster Eibingen. [Poem by] W.R. Johnson. Broadside. [2005.] 20" x 14". The letters are fromHildegard's lingua ingota and are silkscreened on paper pulp painted with Kati MacGregor in Whiting, Maine. One inan edition of 75 copies. Signed and dated by Claire Van Vliet. Fine. $150.00A Scribe dreams of letters like snowflakes falling on a snowy field.

(the jenny-press) ABC: The Artists' Books Conference. June 15-18, 2005. Keynote addresses. [By Betty Bright and MarkDimunation.] New Haven, CT. [2005.] 56p. 8.5" x 5.5". Thin card wrappers with a color photocopy of a print designcreated by the editor, Jae Jennifer Rossman. One in an edition of 300 numbered copies. Fine. $15.00

Fizzles - one of the great Artist’s Books of the latter half of the Twentieth Century

(Jasper Johns) Foirades/Fizzles. [Texts in French and English.] Five prose fragments [”Foirades”] by Samuel Beckett,selected from his Pour finir encore et autre foirades. Original prints by Jasper Johns. Petersburg Press S.A. London. 1976.13.5” x 10.5”. 57 pages [on double leaves]. 13” x 10”. Twenty-six lift ground aquatints (most with etching, soft groundetching, drypoint, screenprint and/or photogravure); five etchings (some with soft ground etching and/or drypoint);one soft ground etching and one aquatint. Color lithographs for endpapers and box lining on Richard de Bas Auvergnepaper. Text pages handprinted at the Atelier Crommelynck, Paris, on handmade Richard de Bas Auvergne paperwatermarked with the initials of Beckett and the signature of Johns. In a beige linen-covered solander box, with pur-ple silk tassel. With an internal case lining of color lithographs by Jasper Johns. With original interleaving tissues. Onein an edition of 250 copies. Signed by both Beckett and Johns. There are also 30 artist’s proofs and 20 “hors-commerce.”Fine. $20,000.00“Two of the most enigmatic artists of our time, Samuel Beckett and Jasper Johns, collaborated on this complex yet elegant artist’sbook. Originally written in French ..., the brooding essays were rewritten in English by Beckett for this project. Nevertheless, Johnsdecided to include both texts that expanded his own involvement to thirty-three etchings and aquatints plus color lithograph endpa-pers. Johns’ imagery is based on a major four-panel painting, Untitled (1972), along with his classic imagery related to numbers andbody parts. This cerebral volume that provokes more questions than it answers is considered one of the greatest artists’ books of thesecond half of the twentieth century.” - Artists’ Books in the Modern Era 1870-2000, The Reva and David Logan Collection of IllustratedBooks, p. 254-5.“The prose pieces of Beckett in Fizzles were mostly written in French in the 1960s and early 1970s, some of them for Jerome Linton’speriodical Minuit. Beckett’s links with Linton went back to 1951, when the Editions de Minuit published Molloy and Malone Meurt.The author described his method of producing Fizzles as ‘breaking wind quietly, hissing, spluttering; a failure or fiasco.” - From Manetto Hockney, Modern Artists’ Illustrated Books, p. 354.Considered one of the great artists’ books of the latter half of 20th Century, Fizzles developed an international reputation for its com-plexity. It was included in the important Museum of Modern Art exhibition, A Century of Artists’ Books (1995). Copies are in majorinstitutions worldwide.

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62. (Ines v. Ketelhodt) architektur / baukunst. [By] Ines v. Ketelhodt. Offenbacham Main. 1987. 48p. 11.5” x 6.5”. Concept, design, typography, photographyand binding by Ines v. Ketelhodt. 22 black and white photographs. Phototype-set and offset. Transparent and opaque paper. Binding of white paperboard cov-ered with transparent paper with title and illustration on front. The photographswere photocopied to take away the smoothness of the photographs. The textsand photography fragments are interrelated and given equal value by being setin vertical and horizontal alignment and juxtaposition. 70 copies, signed andnumbered by v. Ketelhodt. Fine. $175.00v. Ketelhodt writes: "Space in architecture. Architecture in space. The space assumed by abook. The space inside the book: layers of opaque and transparent paper - creating newspace. Twenty-two photography fragments show sections of the architecture from theMuseum für Kunsthandwerk in Frankfurt am Main, conceived by Richard Meier. Theblack-and-white photographs were taken in1985, the year the museum opened."

Text fragments are by Le Corbusier, Demokrites, Theo van Doesburg, NaumGabo, Hans Hollein, Yves Klein, Rob and Leon Krier, Richard Meier, AntoinePevsner, Hans Poelzig, Mies van der Rohe, Werner Ruhnau and Louis

Sullivan.

63. (Angela Liguori) The Jumblies. [By] Edward Lear. Illustrated byFabian Negrin. [Translation from English into Italian by DamianoAbeni.] Milan. Italy. 2004. 16p. 8.5" x 7.25". Letterpress printed onItalian Fedrigoni paper. Text in Proforma. A single signature pam-phlet with exposed stitching on a folded black Fabriano paper.Bound with grey Japanese Obonai paper on the boards, with papertitle label on front; Japanese hand made paper end sheets. A num-bered edition of 150 copies, signed by the illustrator. Fine. $180.00"The Jumblies" by Edward Lear is part of a collection of "Nonsense Songs,

Stories, Botany and Alphabet" published in England in 1871. This delightfulpresentation of his work is a collaboration of graphic designer Silvana Amato, illustratorFabian Negrin, printer Lucio Passerini, and book artist Angela Liguori. Text is in Italian aswell as English.Born and raised in Rome, Italy, Angela Liguori currently teaches classes in book arts atseveral colleges in Michigan, where she now resides. Her work has received national andinternational recognition.Silvana Amato , born in Rome, Italy, graduated in graphic design from Istituto EuropeodelDesign, in 1988. She works in her own studio, specializing in publishing design. In recentyears she has been involved in different projects with other book artists in Italy andabroad. She is a professor of Graphic Design at the University of Rome, La Sapienza.Fabian Negrin, born Laos, studied design and fine arts in Mexico, and has lived in Milan,Italy since 1989. He works as an illustrator for many Italian magazines and newspapers,also for) children’s books and for numerous publishers in Europe and the UnitedStates.Recently he has started to write and illustrate his own books.

(Angela Liguori) Insettario/Insectionary. [Poemry by] By Elio Pecora. [Italian with English translation.] Illustrations byFabian Negrin. Edizioni Almenodue. Italy: December 2005. 5.75" x 8.25". Designed and hand-bound by Silvana Amatoand Angela Liguori . Printed in offset on Fedrigoni Italian paper.Text composed in Sator ("unpublished" font by

Sumner Stone, 2005). Hand-bound on a dos å dos book structure, with three holes pamphletstitch. The endboards are covered in Japanese Tairei paper; handmade paper endpages. Aninsect illustration on both boards. Numbered and signed edition of 100 copies. Fine. $160.00Elio Pecora graduated Laurea Honoris Causa, from the University of Palermo, Italy. Translation fromItalian into English by Alessandra Nicifero.The English version is on the one side and the Italian version

on the other!

65. (Logan Elm Press) 7 Poets: Samuel Johnson - John Milton - John Dryden - Joseph Addison -Jonathan Swift - Alexander Pope - Thomas Gray. Sidney Chafetz & James L. Battersby. The OhioState University Library. Columbus, Ohio. 2005. Loose in portfolio. 20.25" x 13.25". Printed onRives Heavyweight mouldmade paper on a Vandercook No. 4 Proof Press. The seven four-and five-color reduction woodcut portraits were produced by successively cutting away por-tions of each woodblock's surface after each color was printed, repeating this process for eachportrait, cutting and printing until very little of the woodblock surfaces remained. Text print-ed from photopolymer plates made at Boxcar Press. Loose in a handmade heavy card port-

folio with paper title label on front. One of 75 numbered copies, signed by Robert Tauber, James L. Battersby, andSidney Chafetz. Fine. $250.00

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No. 64.

No. 65.

Robert Tauber designed and printed this portfolio. James L. Battersby, Professor Emeritus of English at the Ohio State University, haspublished extensively on 18th century literature and criticism, the work of Samuel Johnson, and modern critical theory.Sidney Chafetz, Professor Emeritus of English at the Ohio State University, has produced an extensive body of work as a printmak-er, including numerous portraits of authors and cultural icons.

A tribute to Angela Lorenz

The Artist’s Book as Theater of Memory by Angela Lorenz

“For some of us involved in the practice of artist’s books, it is not really the format or technique or graphic style that defines our bodyof work, it is the process. This is true of conceptually-based work. Each project begins with an idea to explore which will itself dic-tate the material, structure, process and edition size in order to communicate the concept or the research in the most meaningful waypossible. In an extreme example of late, I instituted a conceptual pricing system for the first 12 copies of The Strength of Denham – SirJohn Denham Jeans and Imitation Denhams(2004). This book, in 54 copies, resembles a deck of playing cards, and tells the biography ofpoet and gambler Sir John Denham(1615-1669) in a 696-line poem in rhyming verse. The first 12 copies of the book are housed in theback pocket of paper blue jeans created through a color pencil frottage on mulberry paper stitched on a sewing machine. But onlyone pair of jeans, with very long legs, is dedicated to Denham, with his most famous lines of poetry letterpressed on the faux-leatherback label. The other 11 copies are knock-offs, or imitation Denhams, with imitations of his poetry by Pope, Swift, Dryden and less-er poets including two anonymous ones. The amount of work to create each pair of very realistic paper jeans is the same, but thefamous name-brand authors cost double the amount of their less-laureled peers. Alexander Pope imitated Sir John Denham quite abit, including, as acknowledged by Pope himself, his entire poem Windsor Forest. Couplets from two of Pope’s other poems adorn twocopies of jeans in the series, but they are tiny in size, as he was described as a dwarf, probably due to polio in his youth. The detailsand stitching for the Pope jeans are based on the manufacturer GAP, as Pope highly esteemed Gaius Asinius Pollio, an early patronof poetry in Augustan Rome.

“Artist’s books are well-suited to conceptual art as the possibilities are limitless. My personal perception of infinite exploration camethrough an unusually early exposure to a dozen printmaking techniques in boarding school at Phillips Academy, Andover. Theastounding variety within printmaking furnished me with an open mind toward process. Also, as prints are generally endowed withthe ability to be produced in editions and often created in sequences, the progression to artist’s books was instinctual. The first bookI created in high school, for a trimester independent study course, in hindsight was prescient of the conceptual approach to come.The book was a 12-foot mixed-media scroll without text titled The History of Technology(1982). Technology, from pre-history to the pres-ent, is represented as a dragon. While I chose the dragon because I could adapt its physical aspects to the landscape(jagged spinecamouflaged in the mountains, nostril smoke alongside smokestack emissions), I was astounded to discover how appropriate thedragon was symbolically a year later in a Brown University philosophy course. The dragon, it turns out, is a potent Taoist symbol ofchange. While interesting accidents have continued to manifest themselves in my work, the dragon revelation alerted me to thepower of emblems and knowledge represented conceptually.

“The conceptual approach is a purposeful one. In my own editions, each aspect is carefully considered to see how it may contributeto the whole. In my serious, at times ridiculous, pragmatic approach, while consumed with how to convey information, I long neg-lected to notice that my methodology served unwittingly as a way for me to remember what I researched. Rhyme has always beenan aid to memory, at least since the time Simmias of Rhodes made rhyming shape poems in 300 B.C. Many of my works contain con-cise rhyming texts which synthesize non-fiction research, but other memory techniques are more subtle. My hidden mnemonicdevices have turned out to be self-serving, mirroring memory techniques taught in ancient Greek and Roman rhetoric texts or inRenaissance tracts on “Theaters of Memory”. Mnemonics didn’t progress a great deal from the ancient practice of assigning a strik-ing imaginary symbol or tableau to each room of a familiar building to facilitate delivering a lecture or a lawyer’s argument. But inthe Renaissance, religious scholars and scientists began making diagrams and models as knowledge memory-aids, sometimes withthe aim of attaining enlightenment, often incorporating mystical and occult traditions, like cabala.

“ I presumed my primary goal was to enhance the artist’s book with knowledge contributing to the whole, challenging myself to com-municate in the most interesting and unconventional ways possible, it turned out that my methodology was even more practical thanearlier warranted. My attempts to construct each artist’s book as a totality, as a framework to attach information to, meant that eachtime I was creating an individually-tailored memory theater, layered with symbolic meaning. In my search to express ideas in anappropriate way I stumbled on a way to appropriate knowledge, invented several thousand years ago. That said, this is not so dis-tant from the typical grade school shoebox-diorama book reports of my youth.

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No. 67.

“This way of working serves me ultimately as the Classical masters of rhetoric intended: to facilitate public speaking. When I pres-ent an array of books in public, my mind recalls the various elements of each work - the edition size, the name of the typeface, thename of the paper or fabric, the materials and processes used – to which historical and cultural facts are attached. Advocates of mem-ory techniques in the past suggested that students use a real building as a structure for laying knowledge in, but that if they ran outof places, they could invent them. Inventing the structure involved even more memorization, so it was considered more difficult andless effective. The custom-built artist’s book is even easier to use than a building as it is portable and visible to the eye.

“Thus, I will remember an Eye For an Eye(1994) is an edition of 20 copies for 20/20 vision. I will also remember that Binding Ties(1997)is in an edition of 30 copies, because of the obscure fact it is tied to: that the modern necktie took shape dur-

ing The Thirty Years’ War in 17th century France. Using river water to wash the text of “The Strengthof Denham” reminds of how Sir John Denham used the physical landscape and architecture of the

Thames River valley in an allegorical and emblematic way, interpreting symbolically everyaspect of this geographical area to convey England’s history and politics from Henry the VIII

to Charles I in his most famous poem “Cooper’s Hill”. But I used Bologna’s Reno River, notthe Thames to wash the inkjet text. I wasn’t conscious when I collected the water thatReno, pronounced in English, elicits the idea of gambling, Denham’s nemesis. Dyeing theetching paper for The Nomad’s Chair(1998) with tea and that of The Theater of Nature(1999)with calendula flowers recalls, respectively, that tea is very important in nomad ritualsof hospitality and that medicinal plants, or simples, had a primary role in the firstEuropean museums. Choosing to letterpress The Nomad’s Chair without ink, known asblind stamping, reminds that desert nomads have to read nearly invisible clues in theirchanging landscape in order to orientate and survive. Text that contrasted strongly fromthe pages seemed inappropriate for a book about cultures defined historically through

descriptions generated by foreign observers. Nomads themselves have always relied onoral transmission, not the printed word.

“The conceptual book’s layering of information may even be evinced through the process ofhandling the book, which in the case of Chewing Tzu(1993) and Soap Story(1999) involve chew-

ing and washing the book, respectively. Four volunteers from the audience read aloud, in turn,one of the four Taoist phrases printed with food coloring on the gum. They must then chew the gum

in order to discover the flavor, so that the public may ruminate over the relationship between flavor andtext. Washing with pieces of letterpressed soap to release, in six installments, the cloth pages of the artist’s

book “Soap Story” parallels how the protagonist of this true story washes away her own woes. Putting on latex gloves before stretch-ing the latex pages of the book “Lay Text”, prevents the oils of our hands from hastening the demise of the book, and calls attentionto the perils of obstructing communication. The pages, when stretched, transform their messages regarding the sensitive nature ofcensorship in art and public health. Even with proper care, the latex book’s shelf-life is necessarily circumscribed.

“But materials must be used carefully, not only regarding archival concerns. Whether or not materials are used conceptually, pre-cious materials can overpower concept or content. Janet Zweig made that clear in her “concrete books” course at Rhode Island Schoolof Design. She encouraged us to take the idea one step beyond the obvious. I often make facsimiles of materials that they may relatemore closely to the world of the book and gain new life once-removed from their origin. It seemed fitting that a writer be describedwith writing materials: color pencil on paper jeans with a paper button. Though they appear to be silver jeans buttons, these are tem-pera on watercolor paper, with a cast-bronze embossing. The four layers of paper, painted and sanded, incorporate a bookbindingscrewpost to attach them to the jeans, or inside the box of edition numbers 13-54. While initially I only intended to make buttons forthe 12 jeans, I decided one should be included with every copy, along with a scrap of the trousers. Many of these works are used inteaching liberal or fine arts. I felt the button and the scrap would invite closer inspection into the world of the mysterious, influen-tial, yet forgotten poet and spy Sir John Denham. The jeans function as an emblem of Denham’s life and work, a paper theater ofmemory for a once budding dramatist, who had to re-invent himself when Cromwell outlawed the theater.

“Most of the ancient texts on memory techniques were lost. Much of what Renaissance intellectuals and occult philosophers tried toteach through memory tracts, diagrams and emblem books is indecipherable today, defeating the purpose of these mnemonicdevices. I hope to avoid the same demise. Accordingly, one of my maxims states in the second ribbon-spool volume of Maxims by theYard – Some in Meter Vol.II(2005), “I may be obscure, but never opaque.”- Angela Lorenz.Note: This essay waswritten especially for us for this catalogue. Most images courtesy of Angela Lorenz.

Looking back at fifteen years of unusual, exciting and creative work

(Angela Lorenz) Bound to Make Books: An Exhibition of Limited Edition Books by Angela Lorenz. Introduction by EleanorGarvey. Widener Memorial Room Rotunda, Widener Library. Harvard University. September, 1994. Sponsored by TheDepartment of Printing and Graphic Arts. The Houghton Library. Printed at Stamperia Valdonega of Verona, Italy, onarchival paper. n.p. 8.25" x 8.75". Lavishly illustrated in color throughout. Covers of black board, held together withred shoelace threaded through hole. Black slipcase. An edition of 500 copies. Fine. $25.00

(Angela Lorenz) Red Ages. A B.C. - A.D. (sic). By Angela Lorenz. Bologna. Italy. 1991. Miniature. Accordion fold. 3.5" x3.5". 54.25" open. “Red" in various positions throughout. In red with black titles. Red cloth with figure in relief.Glassine and red cloth slipcase. An edition of 150 copies. Numbered, signed and dated by Angela Lorenz. Fine. $100.00“This is Red's second multiple edition, following his debut in the printed world with Red Empire, 1990. This leporello silkscreen edi-tion on acid-free paper conveys Red's continuing sense of humor with play on words and a singular ability to adapt to any given sit-uation. In Red Ages, Red lends himself to the depiction of the History of Man beginning in the age of reptiles and ending on Broadway.

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He chooses to avoid the technological era, limiting himself to more playful and less automated activities.” - Lorenz.

(Angela Lorenz) Pandora's Hieroglyphic Primer. By Angela Lorenz. Bologna, Italy 1992. 6" x 10" in its case. Silkscreenedon cotton cloth in Century Schoolhouse at Edizioni Grafiche Il Navile and cut by the artist with pinking shears. An edi-tion of 45 copies. Fine. $600.00“Pandora's Hieroglyphic Primer is a poem of words and hieroglyphics colored by hand. Text is based on information from history andmythology concerning prototypes of women responsible for propagating evil in the world. This work was originally inspired byimages of the snake in the Garden of Eden in the Sistine Chapel and elsewhere ...“Pandora was familiar to me from childhood as the Greek woman who openedthe box, letting evil into the world. So it seemed appropriate that Pandora's box bethe idea behind the project, which led me to the concept of the sewing basket. It isironic that a female figure let evil out of a box, yet her descendants have been con-fined to it. Representations of and restrictions on women limited their choices attimes, but with limitations people often become even more resourceful. With thatidea in mind, I restricted myself to the materials available in a woman's work box.Some women, from ancient Greece onward, were able to sculpt in marble andpaint oils, but most were not. They were largely restricted to their homes and tothe so-called "minor arts," which were executed alone or with groups of women inseminaries and community gatherings. Within the confines of their sewing boxesthey composed embroidered rhymes and imaginative designs that endure.” -Lorenz.

(Angela Lorenz) Paper Plates - She’s a Dish. By Angela Lorenz. Bologna, Italy 1993.14"x14"x1.2" box, 10.5" plate diameter. The work consists of six round collagraphs,which slot into two sets of paper triptychs resembling wooden cupboards. Thebrown frames of the cupboard are also collagraphs. The six plates may be removedfrom their triptychs, revealing a handmade triangular brass hook at the top of each,which allows the plates to be displayed individually on a wall. In a narrow woodencrate suitable for shipping glass or china, with faces peeking through the slats onboth sides. The top edge of the crate is hinged, and upon opening it, a yellow cordwith a tassel may be pulled to extract the "menu" or colophon. The colophon wasprinted by Stamperia Valdonega in Verona, Italy on archival paper produced byCartiere Fedrigoni. An edition of 24 copies. Fine. $5000.00“The collagraphs are relief prints which may be made from any variety of collaged materials,including cardboard, paper, cloth, or string. But as these particular plates are copies of Italianceramic Fourteenth and Fifteenth Century, dishes known as "Belle Donne" or "CoppeAmatorie," depicting portraits of women, it seemed appropriate that spaghetti should be usedto create each woman's image. Instead of explaining the process in an expository fashion in thecolophon, it is presented as a recipe with ingredients and directions. The spaghetti was cooked,strained, carefully glued onto cardboard and sealed with vinyl glue. The plates were printedafter a lengthy inking and wiping of each one, involving both intaglio and toprolls. Each platehas a minimum of six colors applied and wiped before printing with brushes of different sizes,rags, paper, and cotton swabs. The poetic text surrounding the portraits was cut from cardstockand glued down to resemble the painted scrolls of the original plates which indicated the woman's name followed or preceded by

the adjective "bella.” - Lorenz.

(Angela Lorenz) Noticing Death. By Angela Lorenz. Bologna,Italy 1993. 14.1"x10". Seven transfer prints, originally in the formof slides, were printed with an instant slide printer and trans-ferred onto damp etching paper with a roller. The text andfriezes were printed by Stamperia Valdonega in Verona, Italy onarchival paper produced by Cartiere Fedrigoni. The photo-graphs were taken over a four year period by Angela Lorenz andGianni Figliomeni. Packaged in a heavy paper envelope with ablack line printed across the upper left corner, like the announce-ments handed out to friends and relatives when someone dies.Inside such an envelope is a card containing a photograph on theleft and a short text or poem on the right. The envelope containsthe seven Polaroid transfer prints and one photo paired witheight letterpress cards with printed phrases that refer to eachimage. The cards, or broadsides, resemble the death notices com-monly plastered throughout the towns of Southern Italy and small towns even in the north, with black cornices or dec-orative borders, and bold sans-serif typefaces. An edition of 20 copies. Fine. $1200.00

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“Visibility is the main concern, in order to inform as many people as possible of thedeath or its anniversary. This means the notices are collaged over and beside circus,advertising, film and shark-show posters, or even on dumpsters. For the residents,it is merely information - the location is of no importance. Taken out of context,

these images surprise them, but in daily life, the irony passes unnoticed.” - Lorenz.

71. (Angela Lorenz) An Eye for an Eye. By Angela Lorenz. Bologna, Italy1994. 1.6" box diameter, 3.1"x3.1" paper opened. The edition of 20 copiesrepresents the standard measure for vision. Printed on a single piece ofvellum cut to form nine circles folding into one behind the eye. The eyerests on a black satin cushion with a ribbon tab in a gold box, with a coverresembling a round gold picture frame in acrylic gesso. The tab facilitatesthe opening of the box, or it may be used to thread a cord that could hangfrom the neck. Etched eye and photo-etched text printed on vellum byGiorgio Cardarelli of Stamperia Bentivoglio. Fine. $1000.00“Miniature eye portraits are a rather obscure phenomenon of the late 18th centuryand early 19th century, and their history is even more curious. For that reason, thephoto-etched poem, to be read clockwise from the title, may seem entirely cryptic,necessitating a brief explanation.“Supposedly, the first eye miniature in England was commissioned by Mrs.Fitzherbert, to be painted by Richard Cosway as a present for the Regent Prince. Inreturn, the Regent Prince presented her with a ring containing a portrait of one of

his eyes on her next birthday. This represents the genre of eye portraits adopted as tokens for lovers, eyes revealing their true identi-ties to only a select few, and often remaining anonymous in posterity. In that way, sweethearts were reminded of their lovers' ever

watchfulness. However, some artists, such as SirGardner D. Engleheart, painted eye portraits formany members of the same family, and at timesboth the right and left eye separately. Perhaps thesecurious mementos served years later, in moments ofmourning. Occasionally they contained human hair

in a separate compartment.” - Lorenz.

72. (Angela Lorenz) Riddle. By Angela Lorenz.Bologna, Italy 1994. 6.6"x5.3" book;8.4"x10.3"x2.2" box. Letterpress in Caslon, anEnglish typeface accused of imitating Dutchp redecessors, at Stamperia Valdonega inVerona, Italy. In a dark blue cloth dropbackbox. An edition of 21 copies. Fine. $1200.00“In order to remain a riddle, this book should not

have a prospectus. However, once the work has been viewed, further description may be helpful. The colophon divulges that Riddleis about wallpaper, and sample books, researched in the print room of the Victoria and Albert Museum as well as in publishedsources. The format of this book draws upon experiences viewing wallpaper and sample books in the V&A. Pieces of gray foam arebrought out with each work to protect the prints or books, and the material to be viewed arrives in mysterious clothbound clamshellboxes. Until the box is opened, it is not known whether what inside corresponds to what was ordered, and how it will appear. Theseelements are present here, and this format allows the viewer to read the text of Riddle once through, before seeing a single scrap ofwallpaper. In that way, it succeeds in being a riddle, without premature clues.“Once the book is discovered within the foam, the text unfolds line by line, this time illustrated by a piece of wallpaper, except forthe first page, which shows a reproduction of a wallpaper tax stamp from the 1700s. This excise duty stamp is composed of the mono-

gram of The Georges, and is one of several stamps occasionallyfound on the back of wallpaper from circa 1712-1812. Wallpapermanufacturers that did not comply to the taxation laws were subjectto the death penalty.” - Lorenz.

73. (Angela Lorenz) Binding Ties. Artist’s book by AngelaLorenz. Bologna, Italy 1997. 5.1"x16.2"x1" box, 20.9"x13.1"opened book. Edition of 30, plus A-L lettered series for non-commercial use. $3500.00“This book presents six vignettes, from the Bronze Age to the pres-ent, in the history of international trade across six continents. Thebackground information for the poetry comes from economics andanthropology texts. The structure of the book is full of cultural infor-mation as well, representing a combination of Western businessmanand indigenous inhabitant. The poems are hidden within six

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silkscreened and die-cut regimental ties, from regiments sent to colonial territories ofBritain, bound in a panorama format. Only the word "pull" is visible at the top of eachtie. When the white interlining is pulled up slightly from its armature, the words grad-ually appear. The text is not chronological. It travels East, starting with the Wahgi inPapua New Guinea. Subsequent stops are made in the Pacific at the Marchesan Islands,South America, Africa, the Middle East, and East Asia.“The reverse side of the book shows four die-cut rectangles in the shape of tie labels.Once again, the interlining of the ties shows through, this time displaying four words:RUBBER, SILK, COTTON, and COPPER. The importance of textiles in trade from pre-history onward cannot be overemphasized, and copper, Africa's most important miner-al export, gave rise to the Age of Electricity, enabling trade to advance at lightning pacevia the telegraph. But when the interlinings are pulled up again, they form the colophon.Rubber becomes "Rubber stamp and" "silk screen on" "cotton rag paper with" "copperwire and raffia binding." Copper wire was even used as currency in West Africa, so in asense, the book is bound with money: hand-made staples of pinstriped copper electricalwire. The rubber stamp text is printed in the typeface New Caledonia, a place once vis-ited by James Cook and later colonized by the French.The ties, left to right: 17th/21st Lancers, Royal Corps of Signals, Colonial Police, IrishGuards, Calcutta Light Horse, and Kenya Police.VIEWER BEWARE: The blades of the ties will spear through the bottom of their sheathif they are put point down.Published together with Sintesi Edizioni, a press created by Guido Tucci dedicated toproducing artists' books in Bologna, Italy.

(Angela Lorenz)Where's The Button? By Angela Lorenz. Bologna, Italy, 1997.7"x11" box, 6.5"x9.8" book. Edition of 9 copies. $4000.00“12 images accompanied by poetic text describing the use of common buttons in differ-ent cultures over the last 100 years. These are buttons as they were not intended to beworn - none of them function to keep garments closed. Each example is depicted withan embossed relief print printed on an etching press, a sort of bas-relief in the sense thatthe images, and the buttons, are raised, not recessed in order to best recreate the origi-nal object or textile. A novel technique was devised in order to do this, and to reproduce the extremely fine textures in each example;those of wool, felt, cotton, leather, feathers, horsehair, and embroidery. Normally, the textures would be collaged onto the printingplate to make what is known as a collograph. In this case, a cast or mold of each image was made by pressing the textures and but-tons momentarily into sheets of plastic modeling clay, flattened out into rectangles by the artist. Then the plastic was hardened in theoven, just as real plastic buttons, the most common by far, are formed through heat with molds, creating a symbolic relationshipbetween the work of art and the buttons of which it speaks. Each image is bound with a thread and two buttons to a piece of stiffcloth, with rhyming text created by hand and sewing machine in buttonhole stitch. The colors of thread used and complementarystitching all relate to the material culture of each place. The letter "O" throughout the text is represented by buttons similar to thoseused in the original context, which means there are roughly 50 buttons sewn onto each work. The edition is housed in a handmadearchival box, with buttons attached to the front with brass wire and linen ribbon glued inside to facilitate opening the box and remov-ing the work. The box mimics the way buttons are displayed and sold in shops, with even a reproduction of an Italian button boxlabel for the pertinent information about the edition on the back.“A stitch in time saves nine perhaps-there are nine copies in this edition - but with the help of the artist's sister-in-law AnnaFigliomeni much time was saved sewing the text.” - Lorenz.

(Angela Lorenz) The Nomad's Chair. By Angela Lorenz. Bologna, Italy, 1998. 8.6"x8.7"x1.9" box. 24 collographs createdwith two interlocking plates that were inked separately with up to seven colors and fit together again on the etchingpress, allowing for an elaborate series of colors with only two runs through the press per collograph. The collographssewn together with wool yarn to form, when opened, the reproduction of a 19th century Kurdish tribal carpet, sans

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borders. Vellum cover with leather labels and clothbound slipcase. An edition of 12 copies. Fine. $8000.00“The "book" has the appearance of a traveler's elegant 19th century exotic novel. ... it unfolds panorama style to reveal a short poem,blind-stamped in letterpress, about nomads and rugs. The etching paper has been hand-dyed with tea, not only to evoke the desertbut also to incorporate a substance and ritual central to the daily lives of many nomads.“The two printed triangles visible represent two nomad tents in barren surroundings as well as pyramids, often depicted alongsidenomads in exotic 19th century illustrations. The rug slips out of its case to be viewed or displayed flat or vertically, ...” - Lorenz.

76. (Angela Lorenz) Artificial Hills. By Angela Lorenz. Bologna, Italy1998. 7.4"x5.7", 87.2" fully extended. Each of the 12 images was orig-inally printed in black and white in different versions, manipulatedby Guido Piacentini in the printing process to evoke the peculiaritiesof 19th century photographs. The artist further manipulated themthrough painting, tearing, folding, and collage. These definitiveimages were then re-photographed, and it is this subsequent print-ing that involves unusual processes. This book was printed inGaramond by Stamperia Valdonega on Fabriano museum boardand bound with strips of bookbinding cloth in a panorama format.Corners rounded individually with a 19th century manual cuttingmachine. In a red cardstock box with real gold lettering also printedby Stamperia Valdonega and die-cut to show the first hill presentedof the book inside. The photographs are a collaborative effortbetween the author and Guido Piacentini, who hand-printed each

one. An edition of 20 copies. Fine. $2500.00“This work has the appearance of a travel souvenir book, but it functions as a vehicle for an urban studies exploration of man-madehills in the city of Bologna. "Artificial" hills are the only hills in the center of Bologna, as the area from there to Venice is largely a flatplain which was once an inland sea. From the perspective of a native of New England, these strange little hills are perplexing, as theyare not the result of glacial activity. The hills have been photographed at the end of the 20th century, but the images appear to be much

older, to create a feeling reminiscent of 19th century photographs. The chemicals and theprinting processes used, requiring two printings and four baths for each of twelve photo-graphs, are historical themselves, as well as being extremely archival. Under each photo-graph, a text on the left printed in letterpress describes what each hill was and what it hasbecome, while a rhyming poem on the right gives an amusing description of the nature andevolution of these various categories of hills, largely unnoticed by Bologna's inhabitants.“The images for Artificial Hills were photographed using a Nikon F3 camera with variouslenses on Ilford Delta 400 film, developed in Ilfosol, and printed on AGFA Classic 118 FB pho-tographic paper.“The process used to create the final prints is among the oldest still in use after its inventionin the 19th century. The sepia toning creates prints which last longer, in archival terms, thanthose in black and white. For Artificial Hills, which mimics a 19th century panorama touristalbum, this process was chosen not only for archival reasons, but because it is appropriateconceptually.” - Lorenz.

77. (Angela Lorenz) Theater of Nature or Curiosity Filled the Cabinet - Trade Edition.Written and illustrated by Angela Lorenz. Novelties of Purpose. A division of

Angela Lorenz Artists Books. [Italy. 2002.] Pop-out book. 6.75” x 6.5”.Fine. $40.00This pop-up museum housed in a magic lantern box is an amusing introduction to the history of museums from Ancient Greecethrough the 18th century. The artist’s hand drawn copperplate etchings, based on old engravings depicting the earliest museums inEurope, are reproduced here in a facsimile version of the original limited-edition artist’s book. Inside, a rhyming poem recounts therise and fall of cabinets of curiosities, illustrated with nine watercolors based on 16th and 17th century manuscripts commissioned

by Ulisses A l d rovandi (1522-1605) housed in theUniversity of Bologna Library, and by Manfre d oSertala (1600-1680), now housed in the BibliotecaEstense of Modena, Italy.

78. (Angela Lorenz) Maxims by the yard: Some inmeter. Spools of Knowledge. Vol. 1. Artist’s bookby Angela Lorenz. [Bologna. 2003.] Roll of ribbon5.5” in diameter. Red/pink ribbon with maximsin red on the pink side of the fabric. Card holderwith title in red on one side and edition numberin pencil on the back side. Spool title printed atStamperia Valdonega of Ve rona on acid-fre ecardstock manufactured by Cartiere Fedrigoni.

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Spool die-cuts created and executed in Bologna's industrial quarter. Ribbon woven in Capri, Italy. Sewing, ironing andcylindrical forms carried out by the artist. The volume is stored in a non-adhesive cardstock clamshell box, with onewoven maxim, visible on the spine, used to bind the clamshell together. One of 100 copies. Fine. $375.00Angela Lorenz never ceases to amaze and instruct with her clever concepts. This volume of 36 original maxims mimics a spool ofribbon from a sewing shop. The maxims, one for every inch in a yard, are woven, not printed, on a computerized loom. The lettersare red on a white ground, with reverse tones on the verso. The ribbon scroll has two joins, sewn on a sewing machine, with ironedfolds to evoke the folds of banners or scrolls with titles or mottos, often with Latin text, found in paintings, crests and seals.“The maxims here are heartfelt opinions, autobiographical musings and human observations. Some are intended purely to amuse,but all spring from truth. A number of the maxims are composed in rhyming couplets or metric verse, which is why "meter" figuresin the title. That is also why there are precisely one hundred copies in this edition; one for every centimeter in a meter.” - Lorenz.

N.B. There is a Vol II of Maxims by the Yard in deep orange, as against the red of the first volume. It, too, is in an edi-tion of 100 copies. Fine. $375.00

(Angela Lorenz) The logical way to become an Artist. By Angela Lorenz. [Bologna.] Reprinted 2003. Printed at StamperiaValdonega. Verona, Italy. 4.75” x 7”. Card pages, printed in red and bound with white cord through two holes near thespine. A satire on the ‘ease of making artists’ books.’ Fine. $20.00

(Angela Lorenz) The Strength of Denham - Sir John Denham Jeans andImitation Denhams. [Poem.] ‘Retailed’ by Angela Lorenz. Bologna, Italy.2004. Accordion foldout book. 4" x 3.25". Printed on Ermine paper froma Bond Street stationer in London. Ink jet text in Times was washed withriver water. Book bound with scraps of paper rubbed with blue colorpencil on mulberry paper. Cover wrapper based on an antique tax wrapper for playing cards with inset of DenhamJean button embossed on Nile paper and portrait of Sir John Denham. One of 44 thus in an edition of 55 copies, signedand numbered by the artist. Fine. $450.00The first 10 variant copies of this work include a pair of handmade blue jeans made of mulberry paper. They weresewn by the artist on a sewing machine, after the white paper was rubbed with a blue colored pencil. Each pair is dif-ferent. The books are placed in the back pocket of the jeans. Fine. $5200.00The poem is a humorous punning narrative in 696 rhyming lines. The life of Sir John Denham (1615-1654) unfolds vertically from anaccordion fold deck of 51 card shaped pages bound with remnants of the 10 pairs of paper Denham jeans. Denham had many careers- including that of poet. The poem chronicles his tragicomic life - lawyer trained at Lincoln's Inn, poet, playwright, sheriff, governor,soldier, mail courier, spy, courtier, translator, diplomat, tutor to Member of Parliament. Today his work is totally unknown.

(Susan Lowdermilk) Momento Mori. Quote by Shakespeare. Woodcut artist's book by Susan Lowdermilk. [Eugene.Oregon. 2005.] Accordion fold. 12.75" x 4.75".Two color woodcuts. Text and image printed on Stonehenge paper. Blackcorrugated card covers with Indonesian palm leaf style binding sewn with white cord. Paper title label on front. No. 3in an edition of 12 copies, plus 2 artist's proofs. Signed, numbered and dated on the reverse side. Fine. $400.00

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Introducing the work of an important Russian artist and lithographer -the doyen of the artist bookmakers working in Russia today

“Mikhail Karasik is an acknowledged leader in the movement in Russian artknown as the artist’s book. This unique phenomenon in Russian art would notexist in its present form were it not for his vital contributions. Karasik’s workshave been acquired by some of the world’s leading libraries and museums. ...Karasik regularly contributes to international projects, special auctions andfairs. The western image of the modern Russian artist’s book is, to a largeextent, synonymous with his name and work. ...“Like Maxim Gorky, Mikhail Karasik can rightfully confirm: ‘All the best in meI owe to books.’ He could even go so far as to say: ‘What I am I owe to books.’... As the artist himself correctly says: ‘Bookishness is a personality trait, a men-tal state, a psychological attitude.’ His path in life was predefined by his Jewishbackground and his childhood.“Mikhail Karasik claims - and his works confirm this claim - that each newbook begins with an image that appears in his head, tow hich a text is thenselected or written.”“... Karasik employs devices not commonly used in the book form, printing onprimed canvases, utilitarian paper forms and real objects. The best example ...is his non-traditional approach to lithography. [He] has worked without aprinter for many years, performing all the technical operations himself.“ ... “I always think the same thing, holding onto the lever pressing the stoneand slowly turning the handle setting the roller in motion. I imagine I am turn-ing the handle of an old village well, slowly raising a heavy bucket hangingfrom a rusty chain and filled to the brim. It is as if I am part of this primitive

instrument. My hands are a continuation of the handle and I am a living engine, the power of which depends on how I am feeling

and the result of my work. Although such work might seem arduous and monotonous, it gives me a chance to think.” - Self-Portrait.

(M.K. Publishers) Self-Portrait: Mikhail Karasik.[In English and Russian.] Exhibition catalogue. The State RussianMuseum. The Ludwig Museum in the Russian Museum. Saint Petersburg. 2003. 96p. 13.25" x 8.5". Illustrated in colorwith black and white descriptions throughout. Illustrated paper over board covers with title on front. One in a limit-ed edition of 300 copies, signed by Mikhail Karasik. Fine. $65.00M.K. Publishers is the personal publishing house initiated in 1987 by Mikhail Karasik, an artist, pioneer, ideologist and dedicated pro-moter of the genre of artists’ books in Russia. It produces limited edition book and book-objects. Karasik has published numerousbooks and catalogues on artists' books and Russian avant'garde art of the early 20th century. He has authored more than 30 articleson artists’ books and modern art. Under his own imprint, M.K. & Kharmsizdat, Mikhail Karasik initiated a series of avant-garde fes-tivals in St. Petersburg, including the Danil Kharms festivals (1995-1998, 2005). Patronizing artists from St. Petersburg, Moscow,Nizhny Novgorod and Lvov, M.K. Publishers has brought Russian artists’ books to international art fairs regularly since 1997.

(M.K. Publishing) Arabian Eros. Artist's book by Mikhail Karasik. St. Petersburg. 1998. n.p. (24p.) 19.5" x 13". Nine full-page original color lithographs. Green titled wrappers. In a striped multi-colored dropback box with black cloth spine.One of 17 copies signed by the artist. Fine. $2900.00In a series of original glowing lithographs, Mikhail Karasik puts his artistic vision to play: The Yashmak; Morning; Voluptuousness;The Source; Midday; Caresses; Evening; Dream and Moon. Beautiful images with a salute to Matisse!

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No. 83.

(M.K. Publishing) Ecclesiastes 2000. Artist's book by Mikhail Karasik. St. Petersburg. 2002. 24p. 17.25" x 11.75".Unstitched double leaves. Text in English silkscreened printed; text in Russian made by reed pen and printed in lith-ograph using green paint. Six single page colored lithographs. Wrappers of colored lithograph. Plexiglass cover andblack slipcase. One of 15 copies, signed by the artist. Fine. $2000.00“ ... he that increaseth knowledge increaseth sorrow.“Than I saw that wisdom excelleth folly, as far as light excelleth darkness. The wise man’s eyes are in his head: but the fool walkethin darkness: and I myself perceived also that one event happeneth to them all ...” - Eccl. 2.13.14.The answers of the artist interpreting passages from Ecclesiastes: “There is a time to collect stones and a time to scatter stones. Atime to build a house of stone and a time to build a house from sand. Talent conquers time; mediocrity conquers talent - being strongand more resistant than the latter. “The disappointed man is afflicted with deafness; the offended man is affected by pride; the fool-

ish man, by laziness; the frightened man, by blindness.” - Ecclesiates 2000.

(M.K. Publishing) Acts. Dedicated to Bloom. Tableaux after JamesJoyce's Ulysses. Artist's book by Mikhail Karasik. Translated intoEnglish by Kenneth MacInnes. St. Petersburg. 2003. 36p. 20" x 13.5".English text silkscreen printed. 15 colored lithographs featuring turn-of-the-century erotic postcards. Frontispiece of monochrome litho-graph. Brown board cover with black title and decorative border onthe front. Pink paper covered slipcase. One in an edition of 12 copies,signed by the artist. Fine. $3000.00“Dedicated to Bloom employs old eroticpostcards, which would not initiallyappear to bear any direct relation to theartist’s own life. In this way, however,Mikhail Karasik recalls the secre td reams of his tender years andindulges in his own reminiscences of‘another, distant life - childhood.’“Bloom takes a pack of postcards fromthe bureau. He studies his collection ofpornographic postcards. He probablyremembers when he was a boy. In theevening, on the seashore, he watched agirl in white stocking sitting acro s sfrom him. ... Life passes so quickly. Allthat remains are a few smudged pic-tures. Yet for some reason these pic-tures - the silliest naïve, useless ones -always seem the most important.” - Self

Portrait.

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(M.K. Publishers) Board of Honor. Artist's book by Mikhail Karasik. St. Petersburg. 2004. 16.75" x 13". 15 manipulatedcolor images of various public and private figures on canvas. A contents page is bound in giving the names of the var-ious people; on the verso Karasik discusses the concept of this book and his reasons for using these particular images.Illustrated boards with gray spine; metal studs for binding. In a gray slipcase with a white metal oval plate on front;titled and dated in black on the spine. One in an edition of 25 numbered and signed copies. Fine. $1500.00Images of Stalin, Brezhnev, Karasik's grandfather, parents and himself, El Lissitzky, Danil Kharms, Marc Chagall, Kazimir Malevichand Boris Pasternak, among others. Karasik talks about his 'imaginary portrait gallery', and how he replaced older images with newernames. He writes: "All that now remains of these people - talented and untalented, good and bad, kind and cruel - whom I eitherlooked up to or disliked with all the hatred of a child, are photographs in family albums, old books, encyclopaedias and calendars.... They all now belong to history. All that remains are shadows and photographs.“... Part of them only exist in my mind and memory. Yet isn't a memory all that is needed by those who are no longer with us?" -Karasik. [Cover - above left: images of Chagall and Pasternak - center and right.]

(Nora Lee McGillivray) The Artist’s Own Celestial Charts to Guide the Reader in Search of the Elusive & Changing Center.Text was written by Nora Lee McGillivray, who designed and executed the book. [Minneapolis. Minnesota. 2004.]8.375” x 8.375”. The images were drawn to transparency by the artist, etched into polymer plates by the Sun and, final-ly, printed intaglio on BFK Rives de Lin Moulin du Gué paper. Text printed in Papyrus font. The center page is ofCanford gold; other colors are handpainted with watercolor. The book is sewn onto tapes with kettle stitch and cov-ered with Cave Indigo paper, handmade by Amanda Degener and Bridget O’Malley. A golden orb shines from the cen-ter of the front cover. The ephemeral fly leaves are Mitzutamazen lace. An edition of 20 initialed copies. with 3 A/Pcopies. Fine. $625.00These images were inspired by the artistry and science of ancient celestial maps.

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87.

No. 87.

Inscribed by Wolpe for John Ryder

88. (Merrion Press)Wolperiana. An Illustrated Guide to Berthold L. Wolpe. With variousObservations by Charles Mozley. Introduced by E.M. Hatt. London. 1960. n.p. 8” x 4.75”.Set in Hyperion and ‘Monotype’ Albertus, both designed by B.L. Wolpe. Twenty-threefull page caricatures of Wolpe in black and white. Printed on Basingwerk Parchmentwith binding by James Burn. Title and illustration of Wolpe on both front and backboards, title in gilt on spine. T.e.g. First edition limited to 335 numbered copies, with thisbeing No. 44 of 150 copies signed by Charles Mozley. Frontispiece photograph of Wolpehas been signed and inscribed for John Ryder by Berthold Wolpe. Fine. $85.00

Two elegant books by Harriet Bart

89. (Mnemonic Press) 13 ÷ 14.Poem by Wallace Stevens. Artist's

book by Harriet Bart. [Minneapolis. MN. 2004.] 64p. 14" x 10".Designed and printed in collaboration with Philip Gallo at TheHermetic Press. Handset type printed in Delphin I and II, withTrump Mediaeval used for display, on Magnani Pescia. Figuresand poem printed on rectos, stanza numbers on versos. The thir-teen figures scanned and converted onto polymer plates, fromwhich they were then printed. Book printed in black, gunmetalblue and a fugitive gray. Bound with black goatskin spine andboards covered in iridescent blue/black cloth with a blackbirdfoil-stamped in matte black. Slipcase of grey cloth. One in an edition of 50 copiessigned by the artist. Fine. $1400.00“13÷14 is a book of startling contrasts and exquisite beauty. It is the confluence of a poem anda puzzle, bringing together the fourteen polygonal forms of The Loculus of Archimedes andthe poetic vision of the Wallace Stevens poem, Thirteen Ways Of Looking At A Blackbird. Thebook pairs disparate found objects, images, and texts to create unique contexts and give newmeanings to everyday objects. Bart has inventively used the fourteen shapes that comprise theancient puzzle to create dynamic silhouette figures for each of the thirteen stanzas of thepoem.” - Prospectus.

(Mnemonic Press) Punica Granatum. A Conceptual Work by Harriet Bart. [Text byvarious authors.] Minneapolis MN. 2005. Thirteen spreads.14.5" x 10.5". Designedand printed in collaboration with Philip Gallo at the Hermetic Press. Text printed inhandset Torino on Magnani Pescia with Greek text created electronically to match the foundry Torino. Text printed inthree colors throughout in muted tonalities. Title page and colophon are handled in an allusive typographic style, emu-lating that of the engravings. Bound by Jill Jevne in the Coptic manner with textured apricot cloth over board and thespine of each page reinforced with a silk hinge. Open sewn spine. A ribbon, serving as a marker, is adorned with tworuby pomegranate seeds. Housed in a clamshell box, with the monogram ‘PG’ on its spine. One in an edition of 35copies, all press numbered and signed by the artist. Fine. $2400.00"Punica Granatum was inspired by Harriet Bart's travels through Israel in 2000 & 2001. The profusion of pomegranate trees, and themany images of them inscribed on ancient stone fragments, fired her interest in this fruit of the gods. In 2002 Bart cast a series ofpomegranates in bronze. That work led to the creation of this book."In Punica Granatum the pomegranate is presented as the fruit of love & seduction. Excerpts from classical & contemporary sourcesare threaded together to form a new text, which speaks, as it were, in the manner of a Symposium and extols the mythic powers ofthe pomegranate. The text itself is then ingeniously fitted around embossed images of Aphrodite and a nineteenth century botanicalengraving of a pomegranate." - Colophon.

(Lois Morrison) Changelings. Artist's book by Lois Morrison. [New Jersey.] 2001. Three-layered accordion fold book.2..75" x 2.75". Collage on back with 'words'! Printed with a Gocco printer, gone back into with Pigma pens and water-colors. Paper is Crossepoint Synergy from Gally Lower and Utrecht drawing. The cover is paper over board. The textis hand lettered and all is handcut and assembled. An edition of 25 copies, signed by Lois Morrison. Fine. $195.00

(Lois Morrison) Spring in the Cabin. Written and illustrated by Lois Morrison. [New Jersey.] 2001. Three-layered accor-dion fold book. 3" x 2.875". Booklet printed on Sekishu Natural; insects on unknown paper stored in the cabin. Coverof booklet and box on Nideggen. Gocco printed and gone back into with watercolor and ink, hand cut. A collection ofloose ‘insects’ in the base of the box. Box with slide on lid, illustrated with the cabin and surroundings. One in an edi-tion of 25 copies, signed by Lois Morrison. Fine $95.00

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90.

91.

92.

No. 88.

No. 89.

93. (Lois Morrison) Geryon’s Country. Artist's bookby Lois Morrison. [New Jersey.] 2005. Tunnel bookformat. 9" x 5.5". Color copied from crayon draw-ings. Gocco-printed and color penciled onto digitalcolor Supreme Glossy recycled, Arches text woveand Fabriano Tiziano Lava Red. Typeface is FontLister. Together with the colophon in a red folder atthe back of the book are three handcut and mov-able grommeted figures of two Geryons and a dog.These figures can be placed between the layers ofthe book to form an interactive scene. Laid in a pat-terned tan cloth wrapper lined in deep red with at h ree-button closure. One in an edition of 25copies, signed by Lois Morrison. Fine. $750.00Inspired by the Greek myth wherein Hercules is caughtstealing Geryon's herd of red cattle and kills him as oneof his labors. "Geryon is described as being red, incredi-bly strong and having six arms and six legs" - from thetext. Lois Morrison has again created a clever contempo-rary visual book inspired by a classic text.

(Officina Bodoni) Le Cimetiere Marin: The Graveyard by the Sea. From the French of Paul Valéry with an English versetranslation by C. Day Lewis. Martin Secker & Warburg. London. Printed at the Officina Bodoni. Verona. 1946. 12 leaves.9" x 6". Set in Arrighi Vicenza, printed on Magnani mouldmade paper. In marbled paper wraps; title label on the frontcover in black. One of 500 copies signed by C. Day Lewis. [Schmoller: 74] Slight spotting to edges and label, else verygood. $250.00

Five splendid Wall Hangings by calligrapher Jan Owen plus a ‘Garden Library’

(Jan Owen) Garden Library. Mixed media sculptural book by Jan Owen. [Bangor. Maine.] 1996. 8" x 11" x 3". Open 'book'on board covered with paper of reproduced text and old botanical illustration. The covers of the 'book' itself are cov-ered in decorated paste paper of various colors with paste-ons of xeroxed text relating to books and gardens. Thinstrips of xeroxed decorated papers and and strips of white paper with text form a pop-up display from the center ofthe book. Laid in an archival box with paper title label, giving the edition number, as well as a large illustrated paste-on. One in an edition of 10 copies, signed by Jan Owen on the base of the inside back cover of the book. Fine. $250.00

(Jan Owen) December Hours. Unique calligraphic book/panels by Jan Owen. [2001.] 4 sections to the folded book. 13”x 17”. Open - 50” x 17”. Acrylic on paste paper, woven Tyvek, gold leaf; all backed with Tyvek. Outer boards decorat-ed with pale blue wash; decorated semi-circular title label on front board, together with cord for hanging. Blue pat-terned cloth board folder with blue cord ties; paper title label. Unique work signed by Jan Owen. Fine. $850.00Texts by Walt Whitman, Henry David Thoreau, Jean Joubert, Emily Dickinson, and John Tagliabue.

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94.

95.

96.

No. 93.

Jan Owenat work.No. 95.

97. (Jan Owen) Love's Not Time's Fool. Sonnets by Shakespeare. Set of three uniquecalligraphic hanging book panels by Jan Owen. [Bangor. Maine.] 2003. 20" x 12.5".Open - each 20" x 44". Acrylic, ink and gold leaf on paper with woven Tyvek deco-ration. Written in brown, black, gray and blue inks. Each panel with a differentcolor background: the first in salmon tones, the second in shades of yellow, and thethird in tan/brown. Each panel with a paper title label and white cord for hanging.Laid in a rose colored cloth portfolio case lined with rose decorated paper and fas-tened with white cords. Paper title label on front and spine. Unique panels signedby Jan Owen. Fine. $3000.00

Twenty-nine sonnets by William Shakespeare. The three panels form a complete overall design, although they can be viewedseparately, with the colors deepening from the first through the second to the last panel.

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No. 96.

No. 96

- detail.

No. 97.

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Item No 98.

Detail below.Item No 99. Detail below.

Item No 100.

Detail below.

(Jan Owen) Seek Words. Unique calligraphic panel by Jan Owen.[Bangor, Maine.] 2005. Single panel hanging accordionfold book. 21" x 10.75". Open - 42" x 21". Painted in shades of purple, blue, orange and black, with black and browncalligraphy. Acrylic, sumi ink and gold leaf on paper with woven Tyvek which has writing in some places. Thick whitecord for hanging. Orange-brown cloth covered portfolio case with paper title label on front and small title label onspine; string ties. Text by various authors. Unique piece signed by Jan Owen. Fine. $975.00

Authors include Lu Ji, Helen Keller, A. Sullivan, Eudora Welty and James Kilpatrick.

(Jan Owen) Rhyme & Rhythm. Unique calligraphic panel by Jan Owen. [Bangor. Maine.] 2005. Hanging accordion foldbook. Closed - 14" x 10.5". Open - 14" x 55". Acrylic on paper, painted woven Tyvek and two half CDs as decoration.All backed with plum color painted Tyvek. Painted tan/blue/black-plum; orange background painted with black andbrown inks. Decorated paper boards with colored paper title label and white hanging cord. Laid in a patternedgray/black cloth portfolio case lined with hand decorated tan/gray/black paper. Paper title label with black cord clo-sures; lined with hand decorated paper. Unique signed work. Fine. $1000.00Owen writes: "[This work] began as a quiet book of blue and black paper but I was chopping up a copper paper and together, theycame to life. The brush marks in the copper paper made me think how exciting and vital our writing and our words can be - no mat-ter if written or stored on CD. Yet, as Dana Gioia's quote says, 'Reading is never more intimate than with script. The hand of the poetreaches out to greet the reader.’” Text includes words by Boris Pasternak, Lu Chi, Dana Gioia, Virginia Woolf, Iris Murdoch, JosephConrad, John Tagliabue, and Walt Whitman.

(Jan Owen) There is a Field. Unique calligraphic panel by Jan Owen. [Bangor. Maine.] 2005. Hanging accordion foldbook. Closed - 19.5" x 11.25". Open - 19.5" x 42". Acrylic on paper with gold leaf and gold painted woven Tyvek as dec-oration. All backed with Tyvek. Painted in blues and green with blue and green inks. Boards and back of panel paint-ed light green. The front board has a colored paper title label and white hanging cord. Laid in a textured green clothportfolio case lined with hand decorated blue paper. Paper title label white cord closures. Unique signed work. Fine.

$1500.00The visual image and the words on this panel evoke the seasons of spring and summer and the beauty of nature. Texts by EmilyDickinson, Rumi, Proust, Joseph Conrad, Elmer Diktonius Jay, John Tagliabue, Juan Ramon Jimenez and Robert Frost.Owen writes: "There is a Field began in the spring with the silvery greens of new grass and trees that glitter in the longer days. Thisamazing newness also reminds [me] of the cycle, of what is to come. The challenge is sometimes to just be in that field. The block oftext going from light to darker is to be like a carpet, a blanket to lie on and be present."

(Pacific Editions) The Mappist. Story by Barry Lopez. Images by Charles Hobson. [San Francisco.] 2005. Concertinabinding attached to the back cover. 11.25" x 10". Printed letterpress on BFK Rives with transparent sheets with pigmentprints and a monotype with hand coloring reproduced as a pigment print. Original US Geological Survey maps areused for the concertina binding and selected pages. Bound in boards covered with 1911 map of Bogotá. Slipcase cov-ered in wood grain paper to suggest the map cabinet which plays a pivotal role in the story. A metal label holder actsas a label on spine of slipcase. Corrugated card outer cover. An edition of 48 copies, signed by Lopez and Hobson. Fine.

$2100.00The concertina binding, when looked at from its edge, takes on its own topography of mountains and valleys. The book can beopened from the inside back cover to display a three-page wide image of USGS maps with topographic symbols. Images of handsemulating gestures of a mapmaker at work have been reproduced as digital pigment prints on transparent film. When opened theimages of hands at work drawing a map adds visual impact to the text. Lopez’s story tells of the protagonist's lifelong quest to finda reclusive master mapmaker, who has inspired his own career as a geographer and urban planner.

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98.

99.

100.

101.

No. 101.

(Papermaking) From Fiber to Paper. Text and samples by Dianne L. Reeves. Houston. Texas. 1991. n.p. 7" x 9.5".Designed and printed by W. Thomas Taylor in Austin, Texas. Printed in Nideggan mouldmade paper, with title pagecalligraphy by Jeff Jeffries. Stab-sewn binding made from Ogura natural Japanese handmade paper by BookLab inAustin. An edition of 200 copies. Fine. $200.0030 different samples of paper made from various natural fibers such as hibiscus, banana, ginger & gladiolus leaves, cornhusks, ricestraw and blue jeans. Information and basic recipes are given for the making of the papers, as well as detailed specifications for themaking of the 30 different samples shown. Reeves states: "... this book should serve as a guide for all persons interested in the processof ... handmade paper from natural fibers."

103. (Pear Tree Press) Voluntary Poverty.F rom a talk by Gandhi at theGuildhouse, London, England onSeptember 23, 1931. This edition printedfor The Green Leaf Press. New Zealandby The Pear Tree Press, New Zealand.2000. Illustrated by Tara McLeod withwoodcuts depicting Gandhi’s last pos-sessions. 4 leaves. 6.25” x 8.5”. Printedon cream Everg reen aspen, with tancover wrappers of Evergreen butternutcord. Edition of 150 numbered copies.Fine. $35.00

104. (Perishable Press) Reflections on aCardboard Box. By Paul Auster. Drawings

[by] Henrik Dressler. [Wisconsin.] 2004. 28p. 9.75" x 7". Drawings in color. Printed in Gill Sans Bold from MichaelBixler's Monotype machine and hand re-set to manage minutiae. The darker text paper is from Twinrocker, the lighterfrom St. Armand. The cover is Sugikawa. Tan silk spine with black illustration across it. Black stamp on front board.An edition of 150 copies. Fine. $725.00"This book began on Epiphany 2002 with a fan letter to the author prompted by "The Book of Illusions" and concludes on the WinterSolstice, 2004.

(Press on Scroll Road) Bookselling by Colin Franklin: A memoir from 1980. [Carrollton. Ohio.] 1999. 23p. 7.5” x 5.5”. BobBaris designed and composed the book in De Roos types. Printed by Baris and Patric Holland in an iron handpress ondeckle-edge Twinrocker paper. Green cloth boards with paper title label on front and spine. Gray endpapers. One inan edition of 145 copies. Fine. $60.00

(Press on Scroll Road) Some Rules of the Game. Essays on Garden Design by Sir Francis Bacon, Henry Mitchell andRoger Swain. [Carrollton. Ohio. 2004.] 48p. 11" x 8". Printed from handset Cloister Lightface type in two colors ondampened Twinrocker handmade paper in an iron handpress. Small green engraving by Abigail Rorer. Bound byPriscilla Spitler in green cloth boards with paper title label on spine. One in an edition of 54 numbered copies. Fine. Abeautifully printed book. $240.00

(Press on Scroll Road) The Farm. A Poem by Wendell Berry. With a foreword by David Kline & wood engravings byWesley Bates. [Carrollton, Ohio. 2005.] n.p. 11" x 7". Three black and white full page wood engravings. Bound in rustJapanese textured silk, with paper title label on spine. One in an edition of 50 numbered copies. Fine. $190.00

108. (Purple Goldfish Press) Tale of the LastStar. By Jodi Hoover. [Baltimore. 2004.] 8French-fold leaves (glued together in part).10” x 5”. Pages screenprinted, with collages,and some hand painted elements on RivesBFK Newspring Gray in the printmakingdepartment at the Maryland Institute Collegeof Art. Typeface is Amery. Open spine bind-ing with two Tyvek painted strips and boardscovered with Tyvik, painted a shimmeringturquoise, with a recessed painted title labelon front. An edition of 12 copies, signed byJodi Hoover. Fine. $250.00This is the delightful first book of the PurpleGoldfish Press. .

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102.

105.

106.

107.

No. 103.

No. 108.

“walking hand in hand across the most beautiful bridge in the world”

(Red Angel Press) The Bridge. Three poems by Hart Cranefrom his collection, The Bridge. Illustrated and designed byRonald Keller. New York. 2004. 12.5” x 7.5”. Printed inAmerican Garamond 648 type on Saunders Waterfordpaper. To illustrate the first two poems three relief printimages of the bridge’s stone arches and steel suspensioncables are printed in six colors in a style reminiscent ofearly 20th century poster graphics. The prints are printedon Sekishu. The third poem is printed on four hingedleaves that extend to 42 inches when opened and create apop-up design of the cables and supports. Cover designedto represent abstractly the bridge’s suspension cables. Anedition of 100 copies signed by Keller. Fine. $900.00The last poem, To Brooklyn Bridge, has a typographic layout toform the bridge’s roadway and is bordered by a depiction of the suspension cable (the poet’s ‘choiring strings!’) that rise up from thepages when opened.“Much of Crane’s poetry in this collection was written while Crane lived in Brooklyn Heights, certainly within sight of the BrooklynBridge. Critics contend, however, that his early conception of a bridge was metaphorical, not specific. It was at this time that Cranefell in love and work on The Bridge intensified. In 1924 he wrote [to] Waldo Frank, ‘... the ecstasy of walking hand in hand across themost beautiful bridge in the world, the cables enclosing us ...’. The specificity of the Brooklyn Bridge seems to take hold now, but is

symbolic of his new lover, not just a paean to a monumental structure.” - Prospectus.

(Red Angel)War: From "Walden" by Henry David Thoreau. 2006. n.p. 9" x 9". Texthandset in Plantin and printed on Nideggen paper. Two full page two-color reliefprints and one double-page two-color spread printed on Sekishu. Concept andediting of the book by Betty Keller; the design and prints by Ronald Keller. Browncloth over board, with the word "WAR' spread over both boards in darker brown.One in an edition of 100 copies, signed by Ronald Keller. Fine. $425.00“Among the ideas we planned ... was a book about war. We envisioned presenting one ormore excerpts from the rich store of literature emphasizing the horrors, the heroism, and thesheer folly of war through the ages. While reviewing which of this material best suited ourpurpose, we decided on a section from Henry David Thoreau's Walden as perfectly fitting ourinterest. This piece, from the chapter ‘Brute Neighbors’, is a metaphorical and satirical obser-vation of red ants battling black ones in the author's woodlots. References to historical battles... powerfully and succinctly suggest the absurdity of man's bellicose activities. This passageby Thoreau has been referred to as ‘The War of the Ants.’ We have titled it simply, War." -

Prospectus.

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109.

110.

No. 109

No. 110.

A photographic walk through Middletown

111. (Red Charming) Walking Middletown. Artist’s photographic book by Emily K. Larned.Brooklyn, New York. 2002. 3.25” x 3.25”. Color photocopies of 24 Polaroids. Imagesmounted on Black Mulberry-covered 2-ply museum board, and hinged with the sameMulberry. The front title and back colophon are printed letterpress on handmade brownSt. Marmand paper. The blue sleeve is also printed letterpress in two colors on handmadeblue Khadi paper. One in an edition of 50 numbered and signed copies. Fine. $200.00Polaroid images taken in 1998 show various close-ups of one of the 14 Middletowns in the USA. (Ithappens to be Connecticut, but the sad shabbiness of the sagging porches, peeling paint, innocuousarchitecture, abandoned factories, and gutted cars could be anywhere.)The book opens in different directions, so that unfolded to 18” x 36” on a flat surface it takes the shape

of a town’s geography with its many blocks and dead-ends.

112. (Red Charming) Galois Fields. Text & design by Emily K. Larned. [Brooklyn. NewYork. 2004.] 13 unique silkscreens created especially for this book, utilizing the concept ofGroup Theory. 32p. 9” x 9”. Researched, written, designed, illustrated, silkscreened, type-set, printed letterpress, and hand bound by Emily K. Larned. Paragraphs on Galois’ lifeare set in Garamond Bold, printed in black, and illuminated by Dutch Initial caps printedin dusky gold. Details of the Theory are set in Stephenson Blake Grotesque no.10 andprinted in deep magenta, in long lines at the bottom of the page. On every doublepagespread is a full-bleed pattern of fleurs-de-lys, silkscreened in white, which radically trans-forms into 12 different mathematical patterns with each turn of the page. Silkscreenedmagenta and white paper over board, titlestamped in 22 karat gold on front. An edition of55 numbered and signed copies. Fine. $850.00“Before he was 21 years old, the 19th century Frenchmathematician Evariste Galois failed classes and expe-rienced his father’s suicide, published a revolutionarytreatise and was expelled from school, joined theNational Guard and threatened the life of the king,narrowly escaped cholera and died in a duel. He alsodiscovered the mathematical concept of Group Theory,

which has served as a model for the solution to the Rubik’s Cube and the World WarII Enigma Code, as well as a crucial background theorem for Einstein’s General Theoryof Relativity.“Galois Fields tells both these stories: the life lived as well as the life of the ideas, liv-ing on, even now, 172 years after the death of young Galois. It is a romance of ideals &ideas told in 3 ways: through a stunning biography, a fascinating exploration of Group

Theory’s many applications and implications, [and the book itself.]”- Emily K. Larned.

Fine drawing, fine draughtmanship - a unique work of note

(Red Howler Press) Los Galanos. Unique hand drawn and written book by David M. Moyer. [Muncy, Pennsylvania.]2005. 30p. 6.875" x 4.5". 20 black ink drawings with text arranged to form a pattern with the drawings, which were done

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113.

No. 111.

No. 112.

No. 113 -

Binding - right:Double-page

spread - far

right.

on Hahnemühle calligraphy paper. Bound in brown leather with gilt title on front cover. In a brown cloth dropbackbox. Fine. $1500.00“Los Galanos is a collection of drawings that portrays the knight's knight, or shield bearer, in a variety of armorial configurations. Thesquire was truly an important thread in the fabric of feudal military society. There are many men that could be noted as examples ofthis rank during and even beyond the medieaval era. Sancho Panza stands as the most memorable of latter day examples." -Introduction. Unusual - never simple - intricate and complex.

(Red Howler Press) Meditations. Text and Wood Engravings by David Moyer. 2005. n.p. 9" x 7". 10 wood engravingsprinted from maple blocks, with hand lettered shaped calligraphic text, each page different. All on Velke Losing hand-made Czech paper. Beige wrappers over card cover with handwritten black title on front; half open sewn spine show-ing the signatures. One in an edition of 10 copies, signed by David Moyer. Fine. $695.00Each of the ten texts contains a meditation on the nature of various aspects of thought - doubt, perception, intellectual ability, truesupport and process integration among them.

Deb Rindl - Paper Architect & Artist

(Deb Rindl) Night Flyer. Artist's book by Deb Rindl. [London.] 2002.8.5" x 2.375". Printed laserjet. Opens into a fanlike shape, with graycloth covered endboards. One endboard with orange/red round paperdecorative inset. Gray cloth slipcase with paper title label on spine.One in an edition of 30 copies, initialed by Rindl. Fine. $92.50Rindl writes: "I am always struck by a certain beauty in the symmetry of palin-dromes. In this Ancient Roman example, I found the poetic quality of theEnglish translation particularly evocative. It conveyed to me notions of beingcleansed and reborn, which I feel I must be prepared for to move on in life, eventhough sometimes this can be painful."

(Deb Rindl) Elementary Thoughts. Artist's book by Deb Rindl. [London. 2002.] 4.25" x 3". Accordion fold bound intoblue cloth boards. Papers in three colors - cream, beige and light tan. Monoprint illustrations glued on with two-colorinkjet text printed to form a pattern on the printed pages. In a dark blue cloth board slipcase with small illustration.One in an edition of 20 initialed copies. Fine. $80.00

Rindl writes: " A celebration of the four elements, incorporating text and monoprinting."

(Deb Rindl) Ill-Fitted. Artist's book by Deb Rindl. [London. 2003.] 5.5" x 5.5".Pages are slightly askew. Black card accordion fold pages with center ofpages cut-out and containing red accordion fold pages with white inkjetprinted text reflecting on the artist's life. Small paper title label on front. Redcard slipcase. Edition of 15 initialed copies. Fine. $110.00Rindl writes: "This piece arose from a friend's passing remark that both our lives wereso out of sync that they did not fit us any more. Therefore on the surface things looklike they get together but, on closer inspection, everything is slightly askew."

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114.

115.

116.

117.

No. 114.

No. 115.

No. 117.

An artist’s response to the ongoing conflict in Afghanistan

(Deb Rindl) Recipe for Disaster. Artist's book by Deb Rindl. [London. 2002.] 10.5" x 17" at the widest points. Photo-copied and printed inkjet. 'Bomb' folded and made from photocopy paper with some text. Perspex frame. Laid in ashaped grey board box. One in an edition of 35 initialed copies. Fine. [Three illustrations above.] $325.00Rindl writes: " This bookwork [was] a response to the recent and ongoing conflict in Afghanistan. From the perspex container in theshape of a stealth bomber come forth a bomb and two smaller bomblets. The bomblets are constructed of 'pages' spelling out"Collateral Damage' whilst the main bomb contains the nub of the message in its text. The whole piece is carried in a gray card boxreminiscent of an attractive sweet box, just as the cluster bombs which have been spread around Afghanistan are designed to resem-

ble toys, to appeal to children and encourage them to be picked up. The results, of course, are disastrous."

119. (Deb Rindl) To Be or Not to Be. Artist's book by Deb Rindl. [London. 2003.] 6" x 6". Foldedand cut-out structure of white paper, with cut portions of red and dark blue: text printed onwhite and red paper. Laid flat in a grey card box with paper title label on top. One in an editionof 25 initialed copies. Fine. [Illustrated left.] $75.00Rindl writes: "This piece was made in response to a difficult time I was going through, where I was trying toillustrate the feeling of being cut off from the rest of the world. At times the barriers between myself and theoutside world seemed insurmountable."

120. (Deb Rindl) Capital Connections. Artist's book by Deb Rindl. London. 2004. 4.25" x2.5" x approx. 6". Designed and printed laserjet by Deb Rindl. Names of undergroundtube stations printed on edges of pages, which have two punched holes with bluethreads through the holes to hold the book together. Some text on the back. Accordionfold between blue endboards with paper title label on front board. Laid in a blue card-board box - 10" x 5" x 3". One in an edition of 30 initialed copies. Fine. $92.50Rindl writes: "A journey along the Thames as it makes its way through London, going east to west

or west to east as you prefer. The capital is in the space beyond." [Illustrated left.]

A group of great books from a truly creative hand

121. (sailorBOYpress) Cloister.Artist’s book by Jeffrey Morin. [1993.] 20p. 8.5"x 6". Set in Craw Clarendon on various papers. 6 pop-ups in paper and metalbetween pages. String, collage and fabric on several pages. Buff handmadepaper wrappers. One in an edition of 30 copies. Fine. $250.00A poetic and contemplative text about the countryside where Morin had decided to sitea school of craft. His idea never materialized, but this book is a worthwhile momento ofan attempt at a concrete artistic endeavor.

122. (sailorBOYpress) The Jester’s Shadow Being excerpts from the Journals &Letters of Lester Raymer. Artist’s book by Jeffrey Morin. [Georgia. 1995.] n.p.9.75" x 6.25". Printed on paper from China, with type from Quaker City Typefoundry. Engravings made from original drawings and text from LesterRaymer’s journals and letters. Buff paper board with a single white paint markas decoration. An edition of 50 copies. Fine. $275.00Morin met Lester Raymer in 1986 at Bethany College, and says that he was interested inhim as a regional legend whose work must be seen on multiple levels. Collage, paint,and string add to the tactile feel of this book, which is dedicated to the life and work ofLester Raymer. Sensitive and successful. [Illustrated top of p. 47.]

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118.

No. 121.

(sailorBOYpress) T-Pallidum. Visual collaboration between Jeffrey Morinand Ron Buffington. [Stevens Point. Wisconsin. 1996.] Accordion fold. 8.25"x 8.25". Buffington’s visual images are placed on the left side of the spread,and Morin’s type constructions are on the right side of the spread. Variouspapers. The words that stimulated the images are listed in order at the endof the book. Buff color boards with title and decoration on front. One in anedition of 45 numbered copies. Fine. $300.00Ron Buffington is a Tennessee painter; he was attracted to the scientific photographythat accompanied such articles. Morin writes: "This project was interesting for tworeasons: I taught Ron how to translate his painting into relief prints, and I couldexplore the nature of letterforms separate from text or readability. It was also my last

book while in Tennessee and my first book in Wisconsin."

A very beautiful homage to theAlphabet

124. (sailorBOYpress) Sacred Space. Bookand components to build a model for achapel devoted to the alphabet by Jeff

Morin. Quotes in text by various people - Galileo Galilei, William Bunce (former director of the Kohler Art Library),Thomas Merton, and William E. Barrett. Stevens Point. Wisconsin. [2003.] 17 leaves. Book -14.25" x 6.25". Box - 16" x12". Most of the various color papers for this book were made at Caren Heft’s Root River Mill. Wood type in differentcolors is used as page decorations, as well as on the front cover. Open spine sewn with brown cord, brown cloth cov-ered boards with title and design on front board. Endpapers of handmade paper from Nepal. The box lid is the basefor the chapel; brass holes in the base allow the rods to fit exactly; printed type collage becomes the floor pattern.Letters indicate which wall is placed in a particular set of holes. The model has six walls, a roof, and the base. Copperrod skeletons with Okawara rice paper skin are covered witha casting resin after the technical drawings are transferredusing an inkjet printer. The roof is copper-leafed davey board,and it also forms the tray in which the book rests. Box paint-ed with copper leaf. An edition of 35 copies, signed by StevenFerlauto and Jeffrey W. Morin. Fine. $1750.00"What it should look like is a modern chapel with stainedglass walls of the alphabet under a copper roof." - Morin.Already in the collections of The Library of Congress; RochesterInstitute of Technology; The Bruce Peel Special Collections Library,University of Alberta,Canada; The JackG i n s b e rg Collection,J o h a n n e s b u rg, SouthAfrica; The Arthur &Mata Jaffe Collection,Florida Atlantic Univ-e r s i t y, Boca Raton;Harvard, Graphic ArtsCollection; WheatonCollege Library, Nor-ton, MA, and HofstraUniversity Library,Hempstead, NY.

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123.

No. 122.

No. 123.

No. 124.

Martyr, Mercury and Rooster - A contemporary trilogy on the theme of ‘Ars Moriendi’A new interpretation of 15th century texts now seen through modern eyes.

“In fifteenth century Europe, the level of literacy had been on the decline. ‘Ars Moriendi’ are picture manuals for one’spreparation to meet death. On one level they are intended to ease the transition and prepare one’s family for the com-ing loss. On another level, these manuals are a form of propaganda, advising the soon-to-be-departed to give heavilyto the Church to guarantee a better place in Heaven or at least a seat further from the flames of Hell.” - Colophon,Rooster.

Martyr, Mercury, and Rooster. [A series of three books on the subject of 'ars moriendi'.] A collaborative project betweenCaren Heft and Jeffrey Morin. [The text is taken from various sources, stated in the books.] The Arcadian Press & ThesailorBOYpress. [Stevens Point, Wisconsin. 2004/2005.] n.p. 11.75” x 9”. Various colored and textured Root Mill cotton,Larroque and Hahnemuhle papers. Hahnemuhle paper was gelatin sized with pigment added in. With onlays ofmetal, string,tape, plastic, pins, mica, beads and paper. Illustrations and decorations in various colors; type used aspart of the design. All books printed in 14 pt Cochin Light. Bound with open sewn spine and five cream bands acrossthe spine which end inside the front cover; the middle band is larger than the two on either side of it. Pale blue/greentextured cloth dropback box with small mica square inlaid on the front. An edition of 50 copies. Fine. $2250.00

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1. Shahida - The factual story of the first Palestinian female suicide bomber.2. The Dancing Cats of Mercury - Mercury and its destructive effect on the lives of fish, animals

and humans.3. Sibongile and the Murderous Rooster - tells of the spreading of HIV in Southern Africa through

the means of a fable."The way the project worked, we decided on scale, paper, and page count first. We spent last summerhand-sizing many papers with gelatin and pigment, and then moved on to text. The first and last booksare our own individual attempts at sticking to the format while the middle book is a project that wentback and forth between the two of us until it was completed." - Letter from Jeff Morin."The collaboration between two printers, ... came out of Walter Hamady's 1983 letteress class." -Colophon, Martyr.This series of books dealing with contemporary ways in which people 'prepare' to meet death in vari-ous forms in different societies is a moving treatise, without sentimentality..It is thought-provoking andimportant as a document on the state of man and our civilization to-day. We believe it should be read

and shown to as wide an audience as possible.In the collections of The Library of Congress; Rochester Institute of Technology; The Bruce Peel Special CollectionsLibrary, University of Alberta, Canada; the Jack Ginsberg Collection, Johannesburg, South Africa; Wheaton CollegeLibrary, Norton, MA; Smith College, Northampton, MA; Scripps College Library, Claremont, CA, and WellesleyCollege Library, MA.

World War II remembered in a series of letters home

(sailorBOYpress) My darling, My reason. Text from letters by Roger D.N. Design and construction by Jeffrey Morin.[Stevens Point, Wisconsin.] 2006. 7" x 10". Letterpress printed in 20th Century Light, which was purposely chosen notto emulate script or typewriter, both formats of the original letters. Gelatin-sized Hahnemuhle watercolor paper in bluewith gray. Black and white and sepia reproductions of photographs of sailors from the World War II period, as well astwo photo postcards from the same time. Illustrations, postage stamps of the period and some cut-outs throughout.All photographs placed with black photographic album corners, reinforcing the idea of an album. Bound in brownmottled paper endboards with postage stamp on the right hand side of front board. Four signatures with open sewnspine. Brown cloth dropback box with airmail stamp of the period on side of lid. An edition of 48 copies. New. $750.00Morin writes: "Every project starts with a type of predicted vision but they never become what was envisioned.""The photographs, with the exception of two obvious photo postcards, have never been published and are part of my large collection of such images ofsailors. They are editioned using an archival inkjet process on Kodak Ultima paper."Morin also states in the Colophon: "The letters came to me in an anonymous way with no knowledge of the author or the relationship with his wife.This book has evolved over time from the original intention of a photo album to that of a book which presents the possible thoughts of Roger D.N. who

wrote to his wife faithfully while a sailor during World War II. Misspelling and grammatical oddities remain from the original letters."

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126.

No. 125 -

Three details.

No. 125.-Detail.

No. 126.

Introducing the work of Ilse Schreiber-Noll - in the great German Expressionist tradition

Ilse Schreiber-Noll, born in Germany, studied at the University of Marburg, Germany, then came to the United States and studied atPurchase College, SUNY, receiving her M.F.A. there in 1989. Her work has mostly dealt with the concerns of society and the fight forpeace and social justice with emphasis on the tragedy of war. Her ideas are expressed in woodcuts, paintings, and painted books.She is known for her collaboration with contemporary poets with whom she produced limited edition Artists’ Books. She has alsodone extensive work for the theater usually dealing with plays of German playwrights such as Bertolt Brecht and Frank Wedekind.She also works in close collaboration with playwright, director, and translator Eric Bentley. Poets and musicians with whom she hascollaborated include Galway Kinnell, as well as Joseph Brodsky, Octavio Paz, Dennis Brutus, John Cage, and Margaret Leng Tan. Herwork has been widely exhibited and published and may be found in major collections in the United States and Europe.Schreiber-Noll writes: “I began making Artist Books in 1987. For several years I mainly collaborated with contemporary poets.Together we made limited edition Artist’s Books usually in editions of 5-15 copies. I wanted to interpret the poets’ work but gobeyond mere illustration. I became the binder, printer and artist and with this was able to integrate all parts of the book in harmony.“In the last four years I also started to make One-of-a-kind books which became objects of expression deviating from the more con-ventional approach of my edition books. Here I want to transform the surface of the paper by applying mixed media technique.Heavy textures, collages and color become the womb of invisible letters. Only a title indicates my idea and the viewer is invited toadd his or her own memories, which become the unwritten words or the melodies.In addition to making limited edition books and one of a kind books I have for many years collaborated on small editions of illus-trated books with critic, playwright and translator Eric Bentley. These books deal with the works of Bertolt Brecht, Frank Wedekind,Hanns Eisler, Goethe, and Hugo Wolff.”

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No. 141.

First collaboration

(Ilse Schreiber-Noll) Hamba Kahle Solomon Malangu. Poem by Dennis Brutus. Printed and illustrated by Ilse Schreiber-Noll. 1987. Color woodcuts. n.p. 22" x 15". French fold. Printed on black Arches Cover paper. The poem is cut out ofthe woodblock and is printed in white ink over a populated green and brown landscape, which is continuous over 18pages. In a dropback box covered with dark brown handmade paste paper. Small woodcut inlaid into the front cover.One in an edition of 10 copies signed by the poet and artist. Fine. $2250.00

Dennis Brutus was born in Zimbabwe in 1924 to South African parents. He attended university in South Africa. Political campaignsled to his being banned from all political and social activity. When held captive on Robben Island, near Cape Town, South Africa, hespent time breaking stones with Nelson Mandela. After leaving South Africa, he made his home in England until 1983, when he wonthe right to stay in the United States as a political refugee. He is an Emeritus Professor at the University of Pittsburgh, and has alsotaught at NorthwesternUniversity, Swarthmore College, the University of Denver, as well as other major universities. He was therecipient of the Langston Hughes Award in 1987 (the first non-African American to receive that award) and he was also honored withthe first Paul Robeson Award in 1989 for “artistic excellence, political consciousness and integrity.” Brutus’ first collection of poetry,Sirens, Knuckles and Boots (1962) was published in Nigeria while he was in prison. Although his work is protest poetry, there is a matu-rity and restraint in his poems that prevent them for ever becoming self-pitying.Schreiber-Noll writes: “I encountered the poetry of Dennis Brutus the first time in 1987. ... I read the poem “Hamba Kahle SolomonMahlangu” in a magazine and was so moved that I decided to contact the poet, who was teaching at the University of Pittsburgh. Thatis how my first collaboration with a contemporary poet started.

(Ilse Schreiber-Noll) Homage to Friedrich Holderlin. Poetry by Friedrich Hölderlin, Robert Kelly, Justus Noll, NathanielTarn. [In German and English. German poems translated by Richard Sieburth.] Illustrated by Ilse Schreiber-Noll.Woodcuts and Monoprints. n.p. 19.75" x 13.75". Printed letterpress in Baskerville and Universe on Domestic Etchingpaper. Laid in a cloth dropback box. An edition of 20 copies, signed by the poets, artist and translator. Fine. $2500.00

A tribute to Friedrich Hölderlin (1770-1843). The text includes two poems by Hölderlin and three tributes by modern poets, this beingthe first printing of these works. The book opens with Hölderlin's last poem, "Die Aussicht" (The Prospect), and is followed by

"Hölderlin", a tributepoem by Justus Noll, aGerman musician andw r i t e r. The poem byNathaniel Tarn is basedon a theme from aHölderlin poem. Thework by Robert Kelly is a"sound hearing" of aHölderlin poem. Thefinal poem, Columbus, istaken from a manuscriptof Hölderlin. Thechanges he made overyears in his manuscripta re re p resented withchanges in type.

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128.

No. 127.

No. 128.

No. 128.

129. (Ilse Schreiber-Noll) "1972". [In English and Russian.] A poem by Joseph Brodsky. Printedand illustrated by Ilse Schreiber-Noll. 1989. Six color woodcuts. 23.5' x 15.5". Printed on whiteArches Cover paper. The artist wrote out the English translation by hand while Ardis Press sup-plied the Cyrillic type for the original Russian. The two manuscripts were then engraved andprinted in black and red, respectively. The two versions appear side by side. The unbound sheetsare laid in a brown linen covered dropback box lined with a monoprint.The book also contains ahandwritten poem by Ilse Schreiber-Noll "For a Fraction of Time", which she wrote after Brodsky'sdeath in 1996 and added to the book in his memory. One in an edition of 8 copies, signed by thepoet and the artist. Fine. $2750.00Schreiber-Noll wites: “My first meeting with Joseph Brodsky was in a small coffee shop on Hudson Street inthe West Village in the late 80’s. I did not know then who he was and found out only several months later. I

had read his poetry and written to him whether or not I [could] illustrate his poem “1972” and produce a limited edition. After get-ting to know my work he agreed. ... Joseph died in January 1996. I mourn his early death.”

(Ilse Schreiber-Noll) Reading John Cage. By Octavio Paz and White on Blanco by John Cage, translated by EliotWeinberger. Printed and illustrated by Ilse Schreiber-Noll. [In Spanish and English.] 1989. Woodcuts and monoprints.22" x 15". Printed in Baskerville. John Cage hand wrote the mesostic for this book, which then was reproduced fromthe original manuscript by photo offset. Printed in Baskerville on Rives Lightweight paper. Some pages are stained inyellow-orange. Housed in a sepia linen dropback box with two small woodcuts inlaid in the front cover. An edition of14 copies, signed by the poets, artist and translator. Fine. $3000.00In this book all participants join voices in a complex bilingual counterpoint of mutual admiration. Octavio Paz's poem Reading JohnCage is responded to by Cage, himself, in verses titledWhite on Blanco. Cage terms his handwritten poem a "mesostic", a form whichpermits reading down through the center of the verse as well as left to right. Eliot Weinberger completes the triad with his own"mesostic" on Paz and Cage.Schreiber-Noll writes: “I had listened to the early piano pieces of John Cage and read his books. At the same time I found OctavioPaz’s poem dedicated to John Cage. I thought that I would like to make a book, which [would] be a mutual admiration of [two] greatartists for each other, Paz and Cage. After getting permission to use Paz’s poem I contacted John Cage asking him if he would writesomething dedicated to Octavio Paz. [He agreed to re-write White on White which he had written for Paz’s 80th birthday,] but Octavionever responded to it. Maybe he will this time, we thought. And he did when I met him at his home in Mexico City to bring him hisbook and to sign the others. He seemed to be pleased.”

The collaboration between the artist and Galway Kinnell

Schreiber-Noll writes: “Since 1995 I [have] stopped working with any otherpoets but Galway Kinnell. My first meeting with Galway Kinnell camet h rough both of our involvement with the Apartheid movement. ...Galway’s poetry has over the years greatly influenced my work and even ifoften invisible has become the voice which speaks underneath the surfacesof my paintings and prints together with the voices of Pal Celan, Rilke,Brecht and Ingeborg Bachmann and other great poets.

131. (Ilse Schreiber-Noll) When One Has Lived a Long Time Alone.Poem by Galway Kinnell. Printed and illustrated by Ilse Schreiber-Noll. 1995. 18" x 13.25". Handwritten introduction by the poet.Baskerville type on Mulberry paper. Kinnell's poem is printed insilver ink over monoprints of a rural landscape in brown, black,midnight blue, and ochre, which is continuous over nineteen pages.

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130.

No. 129.

No. 129.

No. 131.

The formal Baskerville type stands out crisply against loose brushwork. Book wrapped in a woodcut cover of darkgreen, blue and brown. Housed in a natural linen covered dropback box. One in an edition of 8 copies, signed by thepoet and artist. Fine. $2500.00

(Ilse Schreiber-Noll) Im Tal der Totem. [Valley of Death.] Unique artist's book by Ilse Schreiber-Noll. 1998. 9.5" x 6.75".Six double-page handcolored woodcuts of flowers and figures. Title and woodcut covering both back and frontboards. Signed and dated by the artist. Fine. $300.00

(Ilse Schreiber-Noll) How Could She Not. For Jane Kenyon (1947-1995). A Poem by Galway Kinnell. Printed and illus-trated by Ilse Schreiber-Noll. 1998. Three woodcuts, two in color.. n.p. 11.75" x 8.75". The titles, reproduced by photo-engraving, were handwritten by the poet. Printed in Garamond on Rives paper. One of 12 copies in a special wraparound board cover in an edition of 50 copies, signed by the poet and artist. Fine. Without cover - $175.00:

With cover - $200.00

(Ilse Schreiber-Noll) Die Erste Elegie - The FirstElegy. [German and English.] By Rainer MariaRilke. English translation by Galway Kinnell andHannah Liebmann, with six color woodcuts by IlseSchreiber-Noll. Music by Dary John Mizelle. 2001.22" x 13". The English translation was printed onthe letterpress and the original German was cutout of linoleum. The music score was handwrittenby the composer and reproduced by photoengrav-ing. Loose in wrappers. Cloth dropback box. O n ein an edition of 10 copies, signed by translator,artist and composer. Fine. $2500.00

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132.

133.

134.

No. 131.

No. 132. No. 133.

No. 134.

(Ilse Schreiber-Noll) When the Towers Fell. A poem by Galway Kinnell. Concept, illustration, design and binding byIlse Schreiber-Noll. 2005. 30" x 20". Woodcuts on paper and cheesecloth and mixed media on paper. In two parts. Thehandwritten manuscript, which contains the first stanza and seven lines of the eleventh stanza of the poem, was writ-ten by Galway Kinnell for this project in January 2005 and was reproduced, slightly enlarged, from the original. Theentire poem was printed letterpress in a wrappered book. The excerpts in the second part of the book were cut fromlinoleum. Housed in a cloth dropback box. One in an edition of 8 copies, signed by the poet and the artist in both parts.Fine. [Two double-page spreads above and one below left.] $2950.00

“Galway and I have collaborated on five artist’s books ... Our lastcollaboration is a poem Galway Kinnell wrote in response to 9/11entitled When the Towers fell. It took me two years to complete thefinal version of this book. My first attempt failed. I disregarded thefirst version since I felt that the destruction and horrors and thesenseless war in Iraq, a consequence of 9/11 cannot be conveyedon beautiful white paper. The surface had to be destroyed tobecome the reflection of the despair and destruction.”This book to me became not only a memory of 9/11 but also sym-bolizes the uselessness of war, and with this becomes a call forpeace.”Gallway Kinnell was born in Providence, Rhode Island, and stud-ied at Princeton and the University of Rochester. He was influ-enced by and participated in the civil rights movement, and muchof his work deals with social issues, as well as with the spiritualdimensions of poetry. Kinnell is the Erich Remarque Professor ofCreative Writing at New York University and a Chancellor of theAmerican Academy of Poets.In the collections of The Library of Congress Rare Book Division, DartmouthCollege Library and the Arthur & Mata Jaffe Collection, Florida AtlanticUniversity, Boca Raton.

(Ilse Schreiber-Noll) Der Mensch in den Flüssen [The Man in the River.] Artist's book by Ilse Schreiber-Noll. 1998. 12" x8.75". 11 double spread painted images, plus painted cover boards. Woodcuts inorange, brown, black, green and blue on painted thin card. Handwritten title on bothfront board and title page. No. 2 of 2 uniquesigned variants. Fine. $650.00

137. (Ilse Schreiber-Noll) The Night. Uniqueartist's book by Ilse Schreiber-Noll. 2002. 5doublepage spreads. 10" x 7.5". Mixed mediacollage and drawings on paper. Constellationsof the stars in silver with other color and thename written in silver. Dark blue paintedboards, with silver handwritten title on front.Dated and signed by the artist on the backcover. Fine. $850.00Rilke - “Oh, and the night, the night, when wind fullof cosmic space ...”

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135.

136.

No. 136.No. 137.

A cry for peace

(Ilse Schreiber-Noll) History Destroyed [Tausend Jahre eines Volkes getöted -Thousands of years of history of a countrydestroyed.] Unique artist's book by Ilse Schreiber-Noll. 10 paper leaves and 4 gauze leaves. 20" x 14". Mixed media andcollage on paper with some handwritten text. Linen leaves with a poem and/or holes. Heavily painted board coverswith black cloth spine. German title in red on front board. Laid in a linen-covered box with a separate lid; title in blackon top lid. A unique signed book in a series of 10 books entitled Verloren in Sand und Asche (Lost in sand and ashes.) Fine.[Binding and two pages illustrated above.] $5250.00"The books "History Destroyed" and "Die Blumen Vergehen" belong to a larger project entitled "Only History Remains" on which I havebeen working since 2000. The focus lies [in] the devastation and environmental destruction inflicted upon countries through war,which I try to show in paintings, artist's books and installations."The heavy textures and collages of the surfaces of my paintings and book symbolize burned soil, decayed forests and lands, andspeak of the pain of the people, which once inhabited them and now have been lost in the ashes."This work is dedicated to those who have died and [is] a reminder for us who are alive and a call for a joint effort to help and con-tribute to a more peaceful world." - Schreiber-Noll.

(Ilse Schreiber-Noll) Die Blumen vergehen. [The erosion of the flowers.] Unique artist's book by Ilse Schreiber-Noll.[Tarrytown. New York.] 2005. 10 leaves plus cover. 14.5" x 10.5". Box - 16" x 12". Mixed media and drawings on paper.Sand and ink paintings with leaf collage on paper, gauze fabric pages. Exposed reinforced binding with tape. Title oncover in ink. Box with separate lid; paper title label on front. Unique variant in a series of up to 10 books entitled"Verloren in Sand und Asche' [Lost in sand and ashes.] Signed inside box 'I S N '05.' Fine. $1750.00"The heavy textures and collages of the surfaces of my paintings and book symbolize burned soil, decayed forests and lands, andspeak of the pain of the people, which once inhabited them and now have been lost in the ashes."This work is dedicated to those who have died and [is] a reminder for us who are alive and a call for a joint effort to help and con-tribute to a more peaceful world." - Schreiber-Noll.

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138.

139.

No. 139.

140. (Ilse Schreiber-Noll) Orpheus, Eurydice, Hermes. By Rainer Maria Rilke.[German and English.] English translation by Galway Kinnell, with 5 encausticwoodcuts by Ilse Schreiber-Noll. 2005. 20" x 14". Dropback box. One in an editionof 5 copies signed by poet-translator and artist. Fine. $1750.00

141. (Ilse Schreiber-Noll) I Mourn for You. Unique artist's book by Ilse Schreiber-Noll. [2005-6.] 14.25" x 10". Two books in a maroon cloth box with a separate lid,which has a small black inset illustration of a branch. The first book has a wrap-pered handpainted titled cover, with three leaves: the first leaf with a verse fromWalt Whitman, the next a transparent painted gauze, and last a full-page blackand white woodcut of a weeping woman, signed and dated by Schreiber-Noll.The second book, with the same title consists of 13 double page woodcut spreadsin hand colored black, brown, orange and red, against painted card pages.Painted gauze endpages. Black and brown woodcuts over board covers withmaroon spine. Title in white ink on front. Woodcuts on inside of cover boards.Signed by Ilse Schreiber-Noll and dated '05-06'. Fine. $2000.00This moving work was produced as a memorial to the people who died as a results of warsin the first years of this century. [See illustration p. 50.]

Carol Schwartzott

C a rol Schwartzott holds an MA i nA n t h ropology and Fine Art from theUniversity of Buffalo and her profession-al portfolio lists many honors andexhibits. Her bookworks created over thelast twelve years are in many museums,libraries and private collections. Theseinclude the Joseph Cornell Center of the Smithsonian Institution; The National Gallery of Art, Washington, DC; Yale University;Harvard University; The Arthur and Mata Jaffe Collection, Florida Atlantic University, Boca Raton; Toronto Metro Library, SpecialAcquisitions; and the Victoria and Albert Museum, London. She is the recipient of a New York State Fellowship for the Arts, and anArts International/NEA Grant.

142. (Carol Schwartzott)

Kimono/Kisode: A D e c o r a t i v eStudy of the Kimono. A r t i s t ’ sbook by Carol Schwartzott.[2001.] Designed and bound byC a rol Schwartzott. 6 double-fold-out spreads. 9.75" x 5.5".Printed by Blacks CornerL e t t e r p ress in Monotype GillSans Light cast by Bixler Press& Letterfoundry. A rc h i v a lb o a rds and JapaneseChiyogami papers with a pianohinge binding design by HeidiKyle. Seven wooden rods heldtogether with strips of variousmulti-colored Japanese papers

form the binding. Title on front board. Heavy board slipcase covered in various Japanese papers with paper title labelon spine. An edition of 125 signed and numbered copies. Created for and supported by the Library Fellows of theNational Museum of Women in the Arts, Washington DC. Fine. $425.00Each fold-out spread has a cut-out in a kimono shape which allows the different Japanese papers lining the back sections of the fold-out to show. Text on the history of the kimono is on the back of the first fold of each section. Informative, colorful and tactile.

(Carol Schwartzott) Ola Mola: The Kuna of San Blas. Artist's book by Carol Schwartzott. [Freeville. New York. 2004.]Accordion fold. 5.25” x 7.25”. Designed and bound by Carol Schwartzott. Printed at Blacks Corner Letterpress in black,gray and red on Zerkall Text. Type faces used are Miro, by P22 Type, Skia and Geometric 231. Five stitched folios con-tain four double pages, and include text and fourteen black and white illustrations. The folios are connected with four

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143.

No. 141.

No. 140.

No. 142.

double fold pages. Each black folddisplays a colorful, 5 layer, cut-paperillustration. The black Japanese clothbinding contains an insert of an actu-al Mola sample - appliquéd clothwith embro i d e r y. Matching blackslipcase with red paper title label onspine. One in an edition of 50 signedcopies. Fine. $250.00“Ola Mola introduces the history, geogra-phy, religion, customs and aesthetic ofthe Kuna Indians of the San BlasArchipelago, a group of some 300 islandsoff the coast of Panama. The Mola, a sim-ple female garment, is fashioned out oftwo stitched and appliqued cloth layersfront and back, with an addition of sleeves and yoke. This fabric panel will often contain historical designs representing the identityof Kuna women in sociological and ethnological ways. My book is an attempt to follow the scholarly study of the garment, from theearliest 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.

The fine art of Fish Illustration

(Carol Schwartzott) Beyond Ichthyology: The Fine Art of Fish Illustration. Selected Artistic Adventures with references tofamous explorations and illustrations [by] Carol Schwartzott. [Freeville. New York.] 2005. 16 collages. [n.p.] 15.25" x11.5". Design, collages and binding by Carol Schwartzott. Printed in black and blue on Rives BFK in Optima, Zapfinoand Gill Sans by Brad Benedict at Blacks Corner Letterpress. Six pamphlets, spine-stitched with a spacer of hand-dyedJapanese paper. The collages are individually built with additions of scanned images of fish that have been altered withcolored pencil, archival markers, and paint. Bound in brown Japanese bookcloth with layers and decorated paper titlelabel with handstitching. Japanese hand-dyed endpapers. Laid in a matching brown cloth dropback box, lined withhandmarbled and dyed rag paper and a brown silk ribbon for easy removal of book. One in an edition of 10 copiesthus, signed by Carol Schwartzott. Laid in are 3 sheets of paper - explaining concept, a physical description, andsources of reference. New. $2500.00Schwartzott writes: "The book represents almost a year's work ... from the original research to the design of typography and art, print-ing and binding." References are given to show the source of each of the 18 different kinds of fish used in the collages.

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No. 143.

No. 144.

"[This book] is based on the premise of the natural history texts that accompanied the great age of exploration and discovery. Drawnby naturalists/scientists, or sometimes an accompanying artist, these visual accounts recorded species that were too delicate andunable to survive the long voyage home."... The idea of a book that would connect the past to the present without replicating slowly evolved, and soon my fish would con-nect thoughts that reflected science, history, philosophy, and literature. Words were reduced to a minimum to create pages that couldprovide interesting typography and art. ..."The collages contain a history of their own, for if you look carefully you will find among them many different papers snippets ofother books. Housed in color related boxes, my papers are piles of color and noise, layers that contain complexities of pattern andcombinations that I would never select had I to sit down and manipulate single sheets. ... Very often the 'Happy Accident' that JosephCornell often referred to happens ... and things magically appear. ... ''' - Schwartzott.

(Carol Schwartzott) A Brief History of Knitting. Artist's book by Carol Schwartzott. {Freeville, New York. 2006.] 38p.4.25" x 3.75" x 2". Color Laser printed on acid-free paper. 12 illustrations and three actual samples of knitting. 12 shortknitting needles at spine with various colored papers to hold them in place form the binding. Laid in a cloth dropbackbox lined with matching colored paper. Box cloths are in soft green, chartreuse, copper and violet. One in a new edi-tion of 50 signed copies. Fine. $95.00Editioned originally in 1999, A Brief History of Knitting, uses the same piano hinge construction, but adds more color to the entire book.

Illustrated with original graphics by Sean Scully

(Sean Scully) Heart of Darkness. By Joseph Conrad. With etchings by Sean Scully. Limited Editions Club. New York.[1992.] 121p. 12.125" x 10.125". Four full page etchings that bleed off the edges, and four half-page etchings, on all cot-

ton paper specially made in Pescia, Italy, at Cartiere Enrico Magnani. Setin Fournier at Golgonooza Letter Foundry by Dan Carr and Julia Ferrari.Text printed on Lana Royale at Wild Carrot Letterpress. Bound in blackNigerian oasis goatskin with 22-karat gold title on spine and front boardby Kim O’Donnell at Garthegaat Bindery and Carol Joyce at AcademyBooks and Bindery. Black linen dropback box with leather title label onspine; lined in gray. No. 243 in an edition of 300 copies, signed by SeanScully. Prospectus laid in. [The American Livre de Peintre: 48.] Fine.

$4000.00Sean Scully was born in Dublin in 1945. The family moved to London in 1949, andlived in a poor area still scarred by ruins from the war. This marked Scully’s attitudeto artworld styles and pressures; he stated "I don’t get nervous about whether or notsomeone’s going to like me ... Nobody asked me to be an artist.” He moved to NewYork city in 1975 and became a U.S. citizen in 1983. Scully came of age during the heyday of "stripe painting", and he adopted this modeand stuck with it. Supportive critics praise the artist for his ever-inventive explo-rations of a specific tradition: ..."Scully has had numerous one-man exhibitions in galleries in Europe and the UnitedStates. He was the subject of a retrospective at the Whitechapel Art Gallery inLondon, as well as the Phillips Collection, Washington DC, and is the recipient ofmany fellowships from various foundations and the National Endowment for theArts. His works are in major institutional and private collections internationally.

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No. 146.

Introducing the work of Brian Borchardt

(Seven Hills Press) Book. [Various quotes compiled by] Brian Borchardt.[Wisconsin. 2003.] n.p. 6.5" x 6.25". Printed primarily in Garamond on orange-red, light gray and dark mottled gray colors of Root River Mill abaca paper.Using wood type, letters of the word 'BOOK' are printed in silver across eachof the pages. Bound with deep red handmade paper over boards with opensewn spine and small silver decoration on front board. One in an edition of 25copies, signed by Brian Borchardt. Fine. $95.00Quotes relating to books by Cicero, Jean-Paul Sartre, Charles Lamb, Vincent Van Gogh,Carter Burden, Herman Melville, Jorge Luis Borges, Fran Lebowitz, Robertson Davies,Silvestre de Sacy, Caroline Gordon, William Ellery Channing. The first publication ofSeven Hills Press.

(Seven Hills Press) Two Saints: The Martyrdom of St. Sergius & St Bacchus.[Wisconsin. 2004.] Illustrated. n.p. 9" x6". Printed primarily in Garamond onpaper made of cotton, abaca, and iris leaves from the garden. Cover wrappers dyed withblack walnut stain and with a small red figure on the front cover. Open sewn signatures. Anedition of 35 copies, signed by Brian Borchardt. Fine. $125.00

(Seven Hills Press) 7: the seven deadly sins. [Artist's book by] Brian Borchardt. [Text from var-ious sources.] [Wisconsin.] 2005. Linocuts by Brian Borchardt. n.p. 6" x 4.25". Printed main-ly in Cheltenham, with woodtype letters in silver and gold. Illustrations include linocutsand collages, one with gold and silver sewn stitches. Papers are a mixture of Abriano Uno,Gutenberg, Hahnemuhle Ingres, and Canson Mi Tientes. All were pigmented and gelatin-sized with the help of Caren Heft and Jeff Morin. Cover wrappers are of Fabriano Ingres.One in an edition of 35 copies, signed by Brian Borchardt. Fine. $125.00"[The concept of] The Seven Deadly Sins reached the height of acceptance in the Middle Ages, but theyfell out of favor during the 18th century Age of Enlightenment. Today, most people find it difficult toname even a few of the Sins, let alone all seven." - Colophon.

(Seven Hills Press) Word Play. Artist's book by Brian Borchardt. Fond du Lac, Wisconsin. 2005. n.p. 10" x 5.75". Papersare a mixture of Indian Village handmade watercolor paper, papers made by the printer of raffia and cotton rag, andpages from an 1825 letterpress-printed book. The Indian Village cover stock has been gelatin-sized and pigmented invarious colors. Papers are not all the same size. Body type is Cheltenham; larger fonts are culled from the Lydian and20th Century families. Illustrations, collages, metal and plastic onlays, wood type overlays on some pages. Laid in anoblong white card envelope-type folder which ties with string. One in an edition of 32 copies. Fine. $295.00“Word Play” is a look at the nature of words illustrated by random phrases and random images, some containing type and letterforms.The reader should not spend a great deal of time trying to establish a relationship between the words and the images, although thatrelationship does exist - albeit loosely - in the imagination of the printer." - Colophon.

(Seven Hills Press) Beyond the Great Stone: The Story of Jonathan and David. Extracts from the Book of Samuel: interpreta-tion by Brain Borchardt. [Fond du Lac. Wisconsin. 2006.] n.p. 7.25” x 7.7”. Printed letterpress on a Vandercook SP15test press. All text handset in Cochin Light and Futura Extra Bold Italic on Hahnemule watercolor stock, which hasbeen gelatin-sized and pigmented by the printed. Gray Fabriano Roma endpapers. Mottled tan paper over board, withwhite open sewn spine, showing four signatures. Neat brown wavy three-line pattern on front board. In dark browncard stock envelope type folder. One in an edition of 40 numbered copies. New. $350.00

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No. 151.No. 149. No. 150.

152. (Douglas Shafer) Signatura-Rerum. Unique manu-script book by Douglas Shafer. [Portland. OR] 2000. 10"x 8.125”. Six handwritten and decorated pages, usingwatercolor, pencil, ink and gold leaf on Fabriano water-color paper. All page edges decorated with a border ofbrown finished with a black line. Bound by Shafer inbinder’s boards with exposed sewn spine painted goldusing acrylic, pencil, ink and gold leaf on paper. T.e.g.Slipcase. Fine. $2000.00From the text: “Yes, I know that we are only empty forms ofmatter, empty ~ yet sublime for we have invented God ~ oursoul.” - Stéphane Mallarmé.”

153. (Shirley Sharoff) Les Amazones. [The Amazons.]Artist's book by Shirley Sharoff. Text by FrançoiseSéloron. [Paris. 2005.] Four color engravings of differ-ent sizes placed in descending size by Shirley Sharoff:two in blue, one in orange and one in red. 16.375" x 6.5".

Loose in portfolio with one illustrated sheet. The wraparound cover has a cut-out of an Amazon with a spear andshield. Wraparound fits into a black card cover with a slit allowing a portion of an Amazon in red to show throughon the front cover. The portfolio fits into the back folded cover which contains an English translation of the text TheAmazons are Amongst Us. Typography by Jean-Jacques Sergent. Printed on Rives white. The engravings are on differ-

ent sizes of paper with text on the reverse. Gray dropback boxwith red paper lining and black title on front inside cover. Anedition of 25 copies, plus 3 H.C. copies, signed by Sharoff andSéloron. Fine. [Illustrated left.] $600.00Sharoff writes: "When breast cancer struck, Françoise Séloron, author ofThe Amazons, discovered that she too was an Amazon. In fact, throughher lifestyle, she recounts, she had always been an Amazon, a clandes-tine Amazon. Françoise is an old friend who I met during my early daysin Paris in the '60s. Her combative attitude towards her illness soimpressed me that when she told me that she was doing research on theAmazons, I decided that cooperating on an artist's book would be myway of helping to keep up her morale and of pulling something positiveout of the negative. The text, adapted from her book, The Amazon of ‘48’deals with the myth created by the ancient Greeks who celebrated thestrength and independence of this tribe of women yet set them apart asbeing warlike and 'unfeminine'. The four etchings in descending sizegive form to the book, and integrated the Amazons into our contempo-rary world where they - like all of us - are bombarded by labels, images,advertising, pictograms, tourist signs, warnings, instructions and grafit-ti."This book relates the legendary Amazons of the past - women who hada breast removed to that they could improve their archery and javelin

throwing skills - to the women of the present who have a breast removed for medical reasons.

(Reynolds Stone) A Year of Birds. Poems by Iris Murdoch. Engravings by Reynolds Stone. Chatto & Windus: TheHogarth Press. London. 1984. (Originally published in 1978.) n.p. 6.75” x 5.25”. Green paper boards. Illustrated dustjacket. Fine. $40.00“Originally conceived as a calendar, the collection consists of one poem for every month of the year, each illustrated with a woodengraving.” - Dust jacket.

Lynn Sures

Lynn Sures lectures and demonstrates at international symposia, gives workshops, and has curated several national exhibitions ofpaper and artists’ books. Her work is in many collections including the US Department of State and Yale University. In 2006 she wasan "American Artist Abroad" in Colombo, Sri Lanka, for the US Art in Embassies Program. In 2005 Lynn created a large-scale pulppainting for “Paper Now-2005” in Kyoto, Japan. She is an Associate Professor at the Corcoran College of Art & Design in Washington,DC, and a visiting lecturer at the University of the Arts in Philadelphia. In 2005 she was Visiting Artist in Residence at ColumbiaCollege Chicago Center for Book and Paper Arts. Fiberarts Magazine featured VARIATIONS on the Dialectic between Mingus andPithecanthropus Erectus, in An Art Form Learns to Fly by Debra Riley Parr, 2005. The Penland Book of Handmade Books featured If IHad Nine Lives and Water-Wheel Book in 2004. Her books were recently included in The Bibliotheca Alexandrina 2nd International Biennial for the Artist’s Book, Alexandria, Egypand Plane and Form Invitational exhibition, Minnesota Center for Book Arts, Minneapolis. Recent solo exhibitions: 2005 Body ArtArte Contemporanea Cortona, Fortezza Medicea Girifalco di Cortona, Italy, and 2004 Architecture, Sandler Hudson Gallery, Atlanta.

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No. 152.

Inspired by the musicianCharlie Mingus

(Lynn Sures) VARIATIONS onthe dialectic between Mingus andP i t h e c a n t h ropus ere c t u s ” .Conceived by Lynn Sures & RickPotts. Text by Rick Potts.[Wheaton, Maryland.] 2000-2005. Two-sided accordion foldbook. The woodcuts on thereverse are with color.10.5”x7.5”x.5"; opens to 58.5”.Lynn Sures designed the book;d rew and carved the wood-blocks from basswood (Japaneseshina) panels; made the paper,pulp paintings & watermarks atthe Pyramid Atlantic Art Center,of Silver Spring, Maryland; and bound the edition with assistance from Maria Burke & Jill Christian. Lynn also workedon the text design with Terrence Chouinard and designed the wrapper with assistance from Shawn Sheehy. HaroldKyle produced the photopolymer plates at his Boxcar Press of Syracuse, New York. Printing by Terrence Chouinard.All text and images are letterpress printed, all paper is handmade. Accordion fold with 16 pages of abaca, pulp-paint-ed paper. Eight consecutive pages are printed with woodcuts and polymer-plate text, eight are printed with woodcutsalone. Three pamphlets of abaca and hemp papers are sewn into the accordion; each contains two polymer-plateimages and one essay, plus a watermark image. The title and colophon are printed on the front and back of the wrap-per, which is a single folded sheet of abaca paper with a woodcut and polymer-plate text. An edition of 55 copies,signed by Sures on both the back of the wrapper and the side of the front cover. Fine. $800.00Inspiring this book is the musical work entitled “Pithecanthropus erectus” written and performed by twentieth-century musicianCharles Mingus. Mingus speaks in the album liner notes about the stages of evolutionary development and the self-awareness ofhumans. Book artist Lynn Sures and paleoanthropologist Rick Potts use images and words to weave Mingus’ musical tale togetherwith the poignant factual story of early hominid P. erectus. The dialectic between Mingus and P. erectus addresses fragility, the powerof creation, the hand played by chance, and the blank slate of the future.

(Tern Press) The Witness. Selected poems by Miklos Radnoti [and others.] Translated fromthe Hungarian by Thomas Orszag-Land. Woodcuts by Nicholas Parry.[Market Drayton.Shrop-shire.]1977. Black & white woodcuts by Nicholas Parry. n.p. 9.5” x 6.125”. Printedin Centaur on Charles 1st paper. Green cloth spine. Gray boards with illustration and titleon front. An edition of 90 copies, signed by Mary and Nicholas Parry and the translator.Fine. $110.00“Miklos Radnoti (1909--1944) fell victim to Hitler’s ’final solution’ shortly before the close of theSecond World War. These last poems, recording the victim's view of the storm in a universal appealto humanity, have made him a beloved national figure. Read in chronological order, this selection fol-lows the author to his clearly anticipated death. The work tells the story of a man stripped of all thesecurity and comfort of civilized existence, caught up in history’s inhuman march to destruction, whomaintained his personal dignity and concern for the future. A notebook, containing his final and mostmoving poems, found ... on his body, had been going around from hand to hand, giving encourage-ment to fellow prisoners.“ Born in Budapest and educated at Szeged University, he was prevented from pursuing an academiccareer because of his religion and openly declared views. He was forced to make a meagre living by sell-ing what are recognized today as brilliant translations from classical Greek and Latin, as well as fromEnglish, French and German poetry. The final ten poems were found by chance in the communal grave oftwenty-two Hungarian prisoners executed because they were also Jewish. These poems are treasured assome of the most flawless modern additions to their country’s rich poetic heritage.” - From the Forward.

(Tern Press) A Country Boy. Seven short stories by Ronald Blythe. Illustrated by Nicholas Parry.[Market Drayton. Shropshire. 2004.] 93p. 6” x 7.75”. Printed in Caslon with wood engravingson Whatman paper. Light green cloth spine, with boards of dark green background against redand white flowers. Light green endpapers. One in an edition of 65 copies signed by Nicholasand Mary Parry, as well as by Ronald Blythe on the title page. Fine. $175.00Ronald Blythe is a very well-known British writer whose stories are often broadcast on the radio. The sto-ries were first published by Chatto and Windus, The Hogarth Press, and Harcourt Brace Jovanovich.

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No. 156.

No. 157.

A remarkable and unique group of over 50 original drawings, illustrating a classic text

158. (Tern Press) August 1914: Reynard the Fox or The GhostHeath Run 1918. [Poems by] John Masefield. Illustrated byNicholas Parry. [Market Drayton. Shropshire. May 2005.] Firsttitle page portrait of John Masefield plus 55 full page black andwhite illustrations. 174p. 11" x 9.75". Set in Caslon type onMagnani paper with pencil illustrations reproduced by NorthShropshire Print. Brown cloth covers, with paper title label onspine and front. Tan endpapers. An edition of 40 copies, signedby Nicholas Parry and Mary Parry. Fine.Together with: Over 50 original graphite drawings by NicholasParry used in the book. Drawings on card. Includes original offirst title page illustration of John Masefield. All in a tan clothdropback box with toning leather title label on spine. Fine. [All illustrations on this page - No. 158.] $7000.00John Edward Masefield was born in 1878 and died in 1967. His idyllic

early childhood was vital to his later work. His prolific writing career encompassed some 50 volumes of verse, over 20 novels and 8plays. He became British Poet Laureate in 1930 and received the Order of Merit in 1935. August 1914 is a moving poem of the FirstWorld War. Reynold the Fox is a verse-tale set in the rural world of Masefield's childhood.

A rare look at the artist’s work of over fifty original drawings viewed side by side with the text.

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(Tern Press) Twenty Poems of Elizabethans. [Poems by] Ivor Gurney.Selected with an Introduction by R.K.R. Thornton. Prints by NicholasParry. [Market Drayton, Shropshire. July 2005.] Eight full-page litho-graphs. 37[1]p. 10.75" x 9". Set in Poliphilus on Magnani paper withsingle color lithographs printed from the stone. Flecked cream paperspine with red title; cream paper sides overprinted with red typeforming a decorative pattern over both covers. Rust endpapers. Onein an edition of 30 copies, signed by Nicholas Parry. New. $195.00"Ivor Gurney's powerful and idiosyncratic poetry is one of the major literaryrediscoveries of the late twentieth century. Its character owes much to theElizabethans, whose influence opened up new possibilities for his work, bothmusic and poetry." - From the Introduction. [Illustrated right.]

( Tern Press) B r i e fComments From theOld English Herbals.Selected & translat-ed by Bill Griffiths.Illustrated by MaryParry. [Market Dray-ton. Shro p s h i re . ]2005. n.p. 11.25" x 8".Handprinted onWhatman paper.Illustrations handwatercolored. Bound in half light green binders' cloth with naturalflecked paper over board sides. Paper title label on spine and frontcover. One of 25 copies, signed by the Parrys. New. [Two illustra-

tions above right.] $375.00This selection of brief comments from the Old English Herbals may serveas a pleasant reminder of how practical and whimsical (and visually aware)the Anglo Saxons were in their science." - Introduction.

(Tern Press) Matheu: The Taaris of the Feeld. [By] John Wycliffe.[Market Drayton.] 2005. n.p. 11.25" x 8". Handprinted. Etchedlinocuts printed in black and hand colored with watercolor byNicholas Parry. Bound in cream cloth with a pattern of beige flow-ers. Paper title label on spine and front. One of 25 copies, signed bythe Parrys. New. [Illustrated right.] $375.00

(Larry 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 Thomas) Ewe See. Artist's book by Larry B. Thomas. [Athens. GA. 2004.] Accordion fold. 7.5" x 4". Five xerox-ed pages in shades of brown and tan with amusing framed inset images of a face - sometimes partly or fully coveredby a brown bag. One lifts to show an infant in a high-chair. Two textured gray boards form covers; cords sewn throughtop board, cord to hold book, two brown oval buttons, and painted toy eye with small metal plate of a sheep form dec-oration to front board. Unique book signed and dated by the artist. Fine. The images are, of course, of Larry B.Thomas! $375.00

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No. 162 - double-page pop-up spread. No. 163 - detail of front cover. No. 163 - illustration.

Leonard Seastone and his Tideline Press

Founded in 1972 with a name that plays on the Seastone name as well as the space between earth and sea that is always changing.So Tideline Press books visually change within themselves as well in relation to each other. While mostly letterpress, handpulled off-set-lithography, Xerography, and non-silver photographic methods are also employed. All are handbound. The press has receivedseveral Type Directors Club Awards, an AIGA 50 Best Books Award, a several New York State Council on the Arts Grants.Leonard Seastone lectures and gives demonstrations on handpress printing, the history of paper, the book arts and graphic arts inworkshops at universities, colleges, libraries and historical societies across the USA. In addition to his occupation as proprietor andprinter of The Tideline Press, Seastone often collaborates with artists and other publishers. His career has included professorships invisual arts and graphic design at several universities.Seastone earned a B.A. from FDU in 1974 and an M.F.A in 1988 at theState University of New York, Purchase. He has won numerousawards and grants from the Printing Industries of Metropolitan New York, Inc., the New York State Council on the Arts (to TheTideline Press); the Type Director’s Club (TDC), and the Book Show Award of the American Institute of Graphic Arts (AIGA).The following list of Tideline books will add a further interesting dimension to work featured in our catalogue.

164. (Tideline Press) Wyoming Circuit. [Poems by] WilliamS t a ff o rd. 1980. A c c o rdion fold. 8" x 5". Designed andVandercook printed in handset Garamond and Carolus, withdampened Barcham Green handmade paper. Brown and graypaper boards with relief title on front board. One in an editionof 125 copies, signed by William Stafford. Fine. $200.00

165. (Tideline Press) Second Nature. 7 Poems by WendyBishop. Tannersville, N.Y. [1980.] n.p. 8" x 6.5". Designed andhandpress printed by Leonard Seastone utilizing Delphin.Printed on Amatruda text and bound in red Fabriano Coversewn wrappers with a white paper title label. Title in relief ontitle page. In a total edition of 75 copies, this is one of 70 thus,signed by Wendy Bishop. Fine. $65.00

(Tideline Press) The Paste Papers of the Golden Hind Press. By James H. Fraser. The Fairleigh Dickinson UniversityLibrary. Florham-Madison Campus and The Tideline Press. 1983. 17p. plus pages with tipped-in examples of theFairview papers. This copy with 25 different size examples of paste papers. 12.5” x 6.5". Printed in Butti & Novarese'sNova Augustea handset with Trump's Mediaeval, dampened, handmade Fabriano Pace paper. Fairview paste papersmade by Delight Lewis in the 1930s. Spine with paper title label and four strips of vellum forming a decorative designfor the cover. This edition designed, printed and bound by Leonard E. Seastone at The Tideline Press. One of threeprinter’s proofs bound in paper with additional examples of paste papers, created in small, experimental quantities,not incorporated in the regular edition. Signed by Seastone. Handwritten comments on several sheets. Fine. $650.00The paste paper, as well as the mouldmade cover paper, has survived since the closing of the Golden Hind Press in 1955. Limitationof the edition was based upon the amount of Fairview paper extant.

(Tideline Press) Gooseberry Creek. [By] Leonard Seastone. With four Platinotypes by David A. Hanson. 1987. Foldedand cut-out structure. 7.75" x 4.25". Printed at the Center for Editions, S.U.N.Y. Purchase, by Leonard Seastone. Textand color prints by Seastone. The binding and maroon covered portfolio by Jack Fitterer. Lined with color block illus-trations by Leonard Seastone. IIllustrated paper title label and Japanese type closures to portfolio. One in an edition of65 copies, signed by Leonard Seastone and David A. Hanson. Fine. $350.00

(Tideline Press) The Bottle Hill Studio Pottery of Arthur W. Rushmore and Delight Rushmore Lewis. By James H. Fraser.2003. Seventeen duotones of the pottery, as well as tip-ins of two Golden Hind Press broadsides reproduced only forthis edition, and reproductions of Bottle Hill Pottery pots and documents tipped-in as well as bound-in. 34(2)p. 12.25"x 9.5". Designed, printed and bound by Leonard Seastone. Handprinted on handmade, dampened, vintage FabrianoPace paper utilizing a Vandercook 215 press. Monotype Bembo cast by Michael Bixler and Weiss Initials handset at TheTideline Press. Duotone printing by The Stinehour Press. Maroon cloth spine with brown paper title label; matchingbrown paper boards. Together with: A brown paper envelope on a free back endpaper holding an eight page small booklet Pottery by DelightRushmore, The Rushmore Pottery at the Fortuny Shop, 1934. [6.25" x 4.5"] Three black and white photographs and text.Handset in Weiss Antiqua at the Golden Hind Press, Madison, N.J. Photographs by Ingemann Sekaer, printed by TheHarbor Press, New York. An edition of 75 copies, signed by the potter, Delight Rushmore Lewis, in the week of her90th birthday.. Fine. $325.00This book is the first in a series on Book Arts and Art by Tideline-Phaedrus."Founded in 1916 and still in operation today, Bottle Hill Pottery is the oldest, continuously operating studio pottery in New Jerseyand one of the oldest in the United States.

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"This illustrated history outlines yet another chapter in the larger creative undertaking of the Rushmore family which has includedthe Golden Hind Press, its paste paper production - the "Fairview Papers," and other contributions to the decorative and printing artsin the mid-twentieth century." - Prospectus.

(Tideline Press) Good Movies. AFilm Noir in Book Form byLeonard Seastone. 1988. n.p. 21"x 14.5". A black and white visu-al book with some minor textincorporated in the images.Printed by the artist on aflatbed Mailänder press at theCenter for Editions, Division ofVisual Arts, State University ofNew York at Purchase. Redleather spine with silver title;blue gray and black paper overboard covers with title on front.Aan edition of 30 copies, signedby the artist. Fine. $1000.00Good Movies is a montage, a visual rewriting of the Kodak manual How To Make Good Movies.

(Tideline Press) White Tulips. Ninety-nine haiku by Ronald Baatz. 2003. n.p. 5.25" x 4". Double title page fold-out.Single and fold-out pages alternate throughout the book. Designed, handset in Elizabeth and Carolus type, printed ondampened, vintage Barcham Green Hayle paper, and bound by Leonard Seastone. Cream wrappers with blue title onspine and three cream strips of ribbon as a feature of the binding. One in an edition of 30 copies, signed by RonaldBaatz and Leonard Seastone. Fine. $250.00"As these haiku unfold and move through the seasons so has the making of this book" - Colophon. An elegant and beautifully print-ed book.

A tribute to the hat!

(Tideline Press) The Hat. A Book of Woodcuts by Seymour Chwast & The Tideline Press. [2004.] Accordion fold. 11"x 7". The woodcuts are handpulled on a Vandercook No. 4 and a SP-25. The woodtype is from the collection at TheCenter for Editions, The School of Art & Design, Purchase College, S.U.N.Y. Color woodcuts throughout. Dust jacketwith an original woodcut illustration of a large hat covering both the back and front wrappers. An edition of 100copies, signed by Seymour Chwast and Leonard Seastone. Fine. $750.00

"The hat is control.. 'Keep your hat on!' we remark, to those becoming temperamentally [un]stable. ... "So the hat is the very safety valve of human society, mediating between the orderly conformity of the outer world and the flamboy-ant self-expression of the hair. ... Lincoln's stovepipe delivered the Gettysburg Address. ..."The power of hats cannot be overstated. Hats wiped out the beavers and several species of birds. Making hats drove men mad. CocoChanel posed for a photograph without a hat, and soon after, the world wars began."So it's time to celebrate the hat, emblem of identity and dignity, control and power, magic and love. In fact, it's irresistible - hats offto hats!" - Cecelia Holland in the Introduction.

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No. 169.

No. 171.

(Tideline Press) In a Clay Pig's Eye. [By] Ronald Baatz. Seastone Editions. 2005. n.p. 6.5" x 4.75". Design of the book, aswell as the black and white relief prints, by Leonard Seastone of the Tideline Press. Computer set in Garamond LIghtCondensed. Titling handset in Metropolis Bold and letterpress printed on a Vandercook number 4. Wrappers with titlein black on spine, and red title with black and white relief print on the front. Blue endpapers. An edition of 100 copies,signed by Ronald Baatz and Leonard Seastone. Fine. Short Haiku-like poems. $100.00

(Tideline Press) X=2n: Book Three - Take One. Concept and design by Leonard Seastone. 2005. 25 color plates.+ 4 xerox-ed pages showing how the colors were printed. n.p. 7.5" x 5.25". The worksheets and prints were conceived and print-ed in 1987. The book was completed in June 2005. Green or beige wrappers with title in toning colors. One in an edi-tion of 25 copies signed by Leonard Seastone. Fine. $150.00"X equals Two to the Nth Power is the formula that determines how many possible colors (X) can be produced by overprinting a setnumber (N) of different colored inks." "[It] introduced chance operations and happenstance which encouraged greater improvisation in the printing performance.” -Colophon.

(Tideline Press) Chinese Music. [Poems by] Eliot Weinberger. 2005. Title page color illustration. 9.25" x 6". Designed,illustrated, handset in Elizabeth and Weiss Initials I and printed by Leonard Seastone on a Vandercook andWashington handpress. French fold Uda Thin washi interleaved with brown Moriki between each sheet. Bound withopen stab binding over linen spine and handmade paper over Moriki on the boards, with brown lettered title on thefront. One of 30 Special hardbound copies in a total edition of 105 copies, signed by Eliot Weinberger. Fine. $250.00The poems were written in 1970 and 1975. This publication is made possible in part with public funds from the New York StateCouncil on the Arts. An elegant and beautifully printed book.

(Tideline Press) Chinese Music. [Poems by] Eliot Weinberger. 2005. Title page color illustration. 9.25" x 6". Designed,illustrated, handset in Elizabeth and Weiss Initials I and printed by Leonard Seastone on a Vandercook andWashington handpress. Printed on Okawara washi. Brown endpapers. Bound with open stab binding over linen spineand handmade paper over Moriki wrappers, with brown lettered title on the front. One of 75 wrappered copies in atotal edition of 105 copies, signed by Eliot Weinberger. Fine. $150.00

(The Typophiles) The Vision of Theodore: The Hermit of Teneriffe. New York. 2005. Published in collaboration with TheJohnsonians with an Afterword by Robert DeMaria, Jr. 25p. 9" x 6". Printed in Bulmer, a faithful 1923 recutting byMorris Benton of the American Type Founders Company of the type first cut by William Martin. Designed, composedand printed at the Pembroke Press in Bethesda, Maryland. Printed on Saunders Deep Blue Laid and on Gutenbergfrom Hahnemuhle. Blue wrappers with title on front. In a total edition of 600 copies, this is one of 350 copies onSaunders Deep Blue Laid from the St. Cuthbert's Mill at Wells, Sussex, England. New. $15.00

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

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No. 177.

“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 feeling.

(Laura Wait) Road Signs. Artist's unique book by Laura Wait. [Colorado. 2002.] n.p. 10" x 5.75". Mixed media paintingwith handwritten text in black and gold. Painted Mylar endsheets. Binding with leather spine and exposed sewing incolored linen thread with a non-adhesive structure. Wood boards are covered with acrylic paint and varnished. Blackcloth slipcase with paper title label. Unique signed book. Fine. $3000.00Wait writes: "I have always been fascinated by the geometric road signs along the highway. They dot the road as a counterpoint tothe vast landscape of the west."I began this book in 1996 by cutting five linoleum blocks to use as stamps in the book. Four of these were used in the Open Road edi-tion of 1997. The mixed media painting followed to complete the imagery of unknown roads, often traveled at night. The bookremained incomplete for several years. "In 2002, words of travel, many borrowed from the Open Road edition, were added in manuscript. The cover painting was made inthe same sequence as the pages, with the road signs as major graphic elements.”

(Laura Wait) In the Garden. Text, illustrations and binding byLaura Wait. Akimbo Arts Press. [Steamboat Springs.Colorado.] 2004. 24 leaves.15.25" x 11.5". Six full spreadwoodcuts, with a seventh at the back endpaper which is arepetition of one of the illustrations in the book. These varyin the edition, so there are six different black/tan endpapers.Handcoloring allows the copies to be slightly different vari-ants. Printed in wood type on pages with a collotype back-ground and then toned with acrylic washes. Green leatherspine with gold stamped title. Boards are wood covered inrubbings from the woodcut blocks. Black cloth dropbackbox lined with dark green Japanese paper, and with papertitle label. One in an edition of 50 copies signed by the artist.Fine. $1750.00

(Laura Wait) The Goddess in the Garden, #1. A PalimpsestAlphabet of World Symbols. Artist's book by Laura Wait.[Steamboat Springs. 2005.] 10.125” x 5.75” x 1.75”. Endleaves and various pages throughout book are painted mylar.Stencils used to create letter forms. Multimedia painting on BKF Rives paper using acrylic, paste, Akua color, ink, andoffprints of woodcuts from In the Garden. Layers of handwriting using a ruling pen and traditional pointed pen. Greenstained mahogany wood board cover. Copper “X” inset into front cover. Text sewn on thick linen cords with greenlinen thread laced through boards. Copper triangles on inside of board to cover ends of laced in cords. Black clothdropback box lined with padded black velvet; paper title label on spine. Unique variant signed by Laura Wait on thetitle page. Fine. [Illustrations top of p. 68.] $3750.00

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180.

No. 178.

No. 179.

Wait writes: “The text is a partial dictionary of garden and world symbols. This version of the text, selected from a larger listing I havecompiled, is used in four books, The Goddess in the Garden , 1-3, and The Other Goddess in the Garden. Each book is bound with a uniquecover, in wood, painted wood, or copper.The text is written in layers, so that there are repetitions of entries throughout the book. Theentire text is in black ink in a traditional layout used to link the pages together. The development of the dictionary started with thefour ‘Soul Gardens’ in 1997, to the ‘Cosmic Garden’ in 1998, then the ‘Formal and Botanic Gardens’ in 2000. This was followed bythe edition ‘In the Garden’, an Adam and Eve story in 2004, and is completed with this series”.

(Laura Wait) Bricks and Trains. Artist's book by Laura Wait. Akimbo Arts. [Steamboat Springs.] 2005. n.p. 14.625" x10.75". Mixed media. Acrylic paint and ink. Two monoprints and manuscript pages colored with paste paintings. Sixetchings on Japanese Udaban paper, inspired by drawings Wait made when she lived in England in the late 1970s..Sewn on a concertina with brown linen thread. Bound by the artist in black calf embossed with specially made wood-cut of brick pattern. Black cloth dropback box with paper title label on spine made by Priscilla Spitler. One in a vari-ant edition of 7 signed copies. Fine. $2750.00Although the books are similar, they all have slight individual variations. The monoprints are unique to each book, although theyhave related imagery. This book was started in 2001 and completed in 2005.The original manuscript is by Laura Wait, a memoir of time spent in London, England, when she was studying bookbinding. Themanuscript is handwritten on pages painted with paste and acrylic, with brick motifs applied with a specially made brayer.Wait writes: "The book began about five years ago when I woke up from a dream ..... I often dream about going back [to England]and living in broken up buildings with rafters coming down and piles of brick everywhere. ..."About three years ago, I started working on imagery. I made the monoprints in a week spent with a printmaker friend, CindyHansen, who showed me some new techniques which I incorporated into these prints. I also made six etchings of street scenes. ... Iused to sit on the street and try to draw views in 180 degree vistas. This is how they acquire the slightly weird perspective. I try anddraw what you see in the peripheral view. The plates and prints sat for several years, as I wondered how to pull these together."In 2003 I made a bunch of paste paper using the brick cut pattern brayers I made for the monoprints. ... At about this time I also start-

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No. 180 - binding and double-page spread.

No. 181 - binding and double-page spread.

ed using handwriting in books, as a way of incorporating the hand and more personality into the book."Finally this past summer, I decided to finish the book. I edited the text even further and noticed how many references there are tobricks and trains, thus the title. I decided to use handwriting on paste papers, so I made more. ..."Finally I made endpapers in terra cotta, browns, and black, all the colors of bricks. Early on, about 2002, I had decided to make thecover with embossed bricks, and had made a test woodcut to see if this worked. I made a large woodcut of bricks, and ran the leatherthrough the etching press. I enhanced the color with a little acrylic and paste, also to protect the cover."

(Laura Wait) Abstract Illegible #1. Unique variant artist's book by Laura Wait. Akimbo Arts. [Steamboat Springs.] 2005.11.125" x 6.5" x 1.5". Pages of mixed media: acrylic paint, ink, stencils and paste on Arches Cover paper and mylar.Handwritten words are employed as imagery, with textual reference, but not necessarily legible. The abstract shapesare similar to the word shapes. Bound in medieval stylered painted cedar wood boards, sewn on linen cords with col-ored linen cords. Colored anodized aluminum letters on both covers are drawn from stenciled letters used inside thebook. Black cloth dropback box lined with blue padded velvet and paper title label on spine. Signed by Laura Wait onthe title page. Fine. $3500.00Wait writes: "The mylar pages were the inspiration for this book. They sat in the cupboard of partially made items for several years.I have been working with words and shapes in combination for the past few years, and decided to make a book with abstract shapesthroughout the book, combined with illegible writing. The writing is used as a layer of abstraction, not as an explanation for the paint-ing. The book is slightly crude, and the cover is meant to be a continuation of that characteristic, but in contrast decorated with metalletters which are based on the stencils used to create the mylar.

(Laura Wait) Four: Book II. Fire, Water, Air, Earth. Or 'The Elements.' Unique variant artist's book by Laura Wait. 2005.n.p. 15" x 11". Beginning with several intaglio printings, monoprints were printed in several layers, using Akua-color.The pages were then organized according to promising relationships. Painting with acrylic ink, paste, and paint fol-lowed. Images in the prints were obscured or enhanced, and additional writing was added to finish the pages. Boundby the artist in black Harmatan goatskin tooled in gold and blind, with leather onlays. The design of the cover wasinspired by the book pages. Black dropback box with paper title label on spine. A unique book in a series of five, withpainted pages and leather binding, signed by the artist. New. $5750.00This book explores symbols of four, such as fire, earth, air, and water.

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183.

No. 182 - binding.

No. 182 -interior.

No. 183 -binding.

No. 183 - double-page spread.

184. (Laura Wait) X: letter of dan -ger, sex, and the unknown. Artist'sbook by Laura Wait. A k i m b oArts.[Steamboat Springs.] 2006.12 painted leaves. 15" x 7.75".Collographs and paste stencilsused to create shapes through-out the book. Multimedia paint-ing on BFK Rives paper usingacrylic, paste, Akua color, ink ontop of offprints of woodcuts andtext from In the Garden. Layersof handwriting using a rulingpen and traditional pointed pen.Bound in brown leather withgold and color tooling. The

designs are based on the 'x' forms throughout the books. Handsewn endbands, brown Cave paper endpapers, withleather joints. Black cloth dropback box made by artist, lined in light brown Kurzuyu paper. No. III in a series of sevenunique books, numbered Volume I-VII, signed by the artist. Fine. $4000.00Wait states: "An investigation into the uses, development, and meaning of the letter X throughout history.”"The introductory text reads "X", the 24th letter of the English alphabet. The West Greek letter sound "ksi" became "x" in words ofGreek origin when used by the Etruscans. "X" was the last letter of the Latin Alphabet from about 750 BC to about 100 AD when "y"and "z" were added. "X" became an English letter used for words with "ks" sounds at the end - like 'mix' and 'ox'. "X" is usually onlyfound at the beginning of words of foreign origin like xerography."The inner text reads: "Descartes introduced the use of "x", "y" and "z" for unknown variables in geometric equations. Röntgen discov-ered electromagnetic radiation and named it "x-ray" for the unknown substance. Words of common usage are used through the booksas text and repetitive pattern writing. These include: X-ray, Xena, Planet X, Xtreme, Xgames, X box, Mac OSX, Xenon, Xmas, X rated,X men, X marks the spot, XX dos Equis, xoxox, Xtra large." - Wait.

(walking bird press) Down the Rabbit Hole. Text by Lewis Carroll from Alice in Wonderland.. Tunnel book designed byTara Bryan. [Newfoundland.] 2005. 5.75" x 5.75". Open - 17" x 5.75". Text is letterpress printed on boards with die-cutholes. The die-cut holes become smaller towards the end of the tunnel, creating a great visual impression of fallingthrough space. The sides are Kiritsubo paper with linocut pattern in colors ranging from lemon to deep purple. Coverwrapper of bamboo paper with green cord. Wood handle is attached with yellow linen thread. One in an edition of 40signed and numbered copies. Fine. $250.00The viewer holds the book by the handle and pulls the string labeled 'pull me' so that the bottom drops, simulating the surprise offalling down the hole.This book was made to celebrate the centenary of Lewis Carroll's birth. It has won two awards - the Craft Council of Newfoundlandand Labrador's annual award for Innovation and Design, and Best in Show at Bright Hill Center's Fourth North American Juried BookArts Exhibit in Treadwell, NY.

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185.

No. 184.

No. 185 -closed. No. 185 - open.

At last - after two years of perseverance -a new work of great creativity

and a major contribution to the art of the book

{ Wayzgoose Press) D o rothy Lamour’s life as a phrase book. By NoëlleJanaczewska. Introduction by the author. Katoomba. Australia. 2006. Boundas a concertina, the book consists of 11 triple-gate pages, folded to approx.17” x 12”; opened each page measurs approx. 24” x 17”.This typographic ren-dition of Noëlle Janaczewska’s play was conceived, designed and illustratedwith multi-colored linocuts by Mike Hudson. Hand set in a variety of typesby Jadwiga Jarvis. The book was printed in numerous colors with furtherilluminations by hand on some pages making each copy in the editionunique. Hand printed letterpress on Magnani Incisioni 220 gsm on a Westernproof press, the book is contained in a brightly patterned cloth-covered boxwith the title printed on a recessed label and a purple ribbon tie. An editionof 30 numbered copies, signed by the poet, Jarvis and Hudson. Numbers I-Vare not for sale. Of the remaining 25 copies, three are in designer bindings.Fine. $3800.00“Noëlle Janaczewska is an award-winning Sydney based playwright whose workhas been staged locally and internationally, as well as broadcast on radio. Herplay, Dorothy Lamour’s life as a phrase book, is the third in a series of monologuesinspired by Hollywood heroines of the 1930s, 1940s and 1950s,and was written fora solo performer. In it, the 'glamour girl’ made famous by her ‘road movies’ inwhich she co-starred with Bing Crosby and Bob Hope, finds herself in a poeminstead of a movie and marooned in a dingy Sydney hotel. However, asJanaczewska’s characters do not conform to the romantic air-head type assignedto them in their films, Dorothy’s miscasting leads to much reflection and soul-searching.“In order to maintain the spirit of a performance, we have given the book a the-atrical setting; the hotel room, which appears on every one of the 11 gate-foldpages, is its ‘stage’. Onto this stage various scenarios (suggested by the text, butnot a literal depiction thereof) are introduced. We aimed for the contradictions,confusions and contrasts, for the elusive and enigmatic, the tangential andbizarre. The ‘props’ range between curious and surreal, and include a chessboard,a maze, a giant pineapple, a clapperboard, and an overweight Ronald McDonald.(Oh yes, there is also Dorothy’s trademark hibiscus.) The introduction andcolophon pages feature the same room/stage, but on these the set is empty andshown as if unlit, alluding to the characteristic hiatus of a theatrical presentationboth before curtain-up and after the final curtain.” - Prospectus.[An exhausted Jadwiga and the open book - right; a page - below; box - upperright.]

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187. (Wayzgoose Press) Private Impressions (No. 5-8).Plus I n t ro d u c t i o n. Written by Mike Hudson &Jadwiga Jarvis. Katoomba. NSW Australia. 2000-2001 n.p. 11.75" x 8.25". Each 20 page monographwas written by Mike Hudson & Jadwiga Jarvis.Illustrated with appropriate examples of printingfrom the periods under discussion, hand set &printed letterpress in several colors on MohawkSuperfine 148 gsm. and stitched into stiff printedwrappers. One in edition of 60 signed and num-bered copies. Fine. $450.00 Introduction by Mike Hudson & Jadwiga Jarvis. No. 5: 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 manuscript style 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 of the compro-mise 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 of the creative poten-tials of authorship throughout the 20th century. The value of Stanley Morison’s & Beatrice Warde’s sobering influence is examinedand 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.

Two very special unique pop-up books in vibrant colors

(Debra Weier) Pagoda. Unique visual artist’s book by Debra Weier. [Princeton Junction. NJ 2005.] Title page plus 14double-page spreads. 12.85” x 10”. Unique pop-up artist’s book designed and constructed by Debra Weier. Green, gray,khaki and brown pages with brown wrappers. Pop-ups of many colors, often incorporating etchings. Laid in a stronggreen cloth drop-back box with brown and green paper title label at the spine base. Signed and dated in yellow byWeier on a back free endpaper. Fine. $2200.00Debra Weier’s unique pop-up sculptural books are difficult to obtain as she makes so few - and they get better and better!

(Debra Weier) Human Evolution. Unique visual artist’s book by Debra Weier. [Princeton Junction. NJ 2005.] Title pageplus 14 double-page spreads. 12.85” x 10”. Unique pop-up artist’s book designed and constructed by Debra Weier. Red,orange, yellow. green, blue and purple pages with red wrappers. Pop-ups of many colors. Laid in a strong orange clothdropback box with small collage of blue circle and yellow string at the spine base. Fine. $2400.00

190. (Windowpane Press) The Seasons. Designed and conceived byBonnie Thompson Norman. [Seattle. 2003.] 5” x3 .75”. Set of four hard-cover handbound booklets, letterpress printed in black, in a printedgold card folder. Each booklet is covered in a different color paper overboard with different decorations indicating a season. Each has a singledouble- page opening with a quotation relating to the relevant season.An edition of not more than 100 copies; one of 50 for sale. Fine. $45.00A collaborative project produced in a class taught by Bonnie ThompsonNorman. [Illustrated left.]

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189.

No. 187.

No. 189.No. 188.

A major collaboration by two brothers - an artist and a poet

(Harold & Peter Wortsman) it-t=i. Texts [Poetry by] Peter Wortsman. Etchings [by] Harold Wortsman. [New York.]2004. Portfolio format. 16” x 20”. With handtooled aluminum intaglio plates. Edition printed at K. Caraccio Studio.Plates proofed at Goloborotko’s Studio. Typography is handset and printed by Leonard Seastone at the Tideline Pressutilizing Monotype Univers cast by Ed Rayher at the Swamp Press. Printed on Rives de Lin, and Moulin du Gue paper.Laid in a brushed stainless steel box and wrapped in a linen burlap envelope. An edition of 30 numbered and signedcopies. Fine. $3250.00The aluminum plates are a thinner and softer aluminum, which permits Wortsman to use not only conventional etching tools, butalso a stone, chisel and knife, actually gouging out chunks of the plate like a piece of sculpture. The plates are then proofed and print-ed on a normal etching press. Harold Wortsman is a printmaker and sculptor based in New York. His work can be found in publicand private collections in the US and Europe, including The New York Public Library Print Collection, the Zimmerli Art MuseumPrint Archive at Rutgers University, Smith College, and Brandeis University. Peter Wortsman is the recipient of the Beard’s Fun ShortStory Award and fellowships from the Fulbright and Thomas J. Watson Foundations. He has published fiction, drama, and transla-tion. His work has appeared in journals and anthologies in the U.S. and Europe. It-t=I is a collaboration between two brothers, withthe ten etchings created in response to the ten prose poems. From the beginning this was conceived as a single work, a dialoguebetween word and image. The poems explore the ‘personality’ of the inanimate and the insensate that underlies each I. The etchingsexplore the same themes but in visual terms of color, texture and form. In the collection of the Library of Congress. This work was specially mentioned at the ABC Conference at WellesleyCollege in June of 2005. (See the jenny-press, Item #60)

(Richard Zauft) Threatening Heaven. Twelve Poems in German andEnglish. By Rainer Maria Rilke. Introduction and Translations byRobert Bly. Design and Printing by Richard Zauft. Printed at InnererKlang Press. Boston. 2004. n.p. 10" x 6.75". Designed, illustrated, letter-press printed, and bound by hand by Richard Zauft in 2004 during asabbatical leave granted by the University of Wisconsin-Milwaukee.The monotype illustration and Gothic letters were executed speciallyfor this book. Printed on Johannot in Diotima and Palatino. Covers arebrown handmade 'leather' paper; white spine with title in black. Thetext is attached to both the back and front covers, allowing it to beviewed in two double-page spreads. A double-page spread of themonoprint is viewed when the two signatures of the book are closedoutwards. A numbered and signed edition of 50 copies. Fine. $150.00"Thanks to Robert Bly for providing these translations, writing an introduction,

and waiting twenty years for me to receive my first sabbatical to complete thisproject." - Richard Zauft in the Colophon. An usual and successful structure to abeautiful and elegant production, with the Rilke poetry movingly translated byRobert Bly. Highly recommended!

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192.

No. 191.

No. 192.

A GALLERY OF FINE BOOKBINDING

193. (James Brockman) Leon Underwood: His Wood-engravings. Withan introduction by George Tute. Wakefield. 1986. 13.25" x 10.5". Withthe frontispiece 'Yucatecas.' Title-page in red and black. Printed oneside only on Barcham Green Sandwich paper. Bound by JamesBrockman in his own abstract design of full black leather, onlays ofblack, white and grey leathers, tooling in gilt on the front cover; titlein gilt on spine. Housed in a dropback box lined in black felt. No. 6of 12 special copies thus in an edition of 200. Fine. $2000.00Leon Underwood (1890-1977), an important but perhaps the least knownartist-engraver of the 1920's, was a teacher to artists such as Blair Hughes-Stanton, Henry Moore and Gertrude Hermes. In his introduction, GeorgeTute, Chairman of the Society of Wood Engravers, 1984-86, examinesUnderwood’s influence on British engraving. Influenced by paleolithic,African and Pre-Columbian Art, the artist displays technical brilliance withhis own distinctive imagery in this selection of his best work . James Brockman, Fellow of Designer Bookbindfers and Past President of thesociety, bound 12 copies of this book to his own design. See Item #33 for interior woodcut illustration.

Margaret Chandler

Margaret Chandler studied at The Camberwell School of Art, London, where she obtained her Diploma in Fine Binding and BookRestoration after initial studies at the Birmingham School of Art and the Stanhope Institute, London. She was elected a Fellow ofDesigner Bookbinders in 1984, and she has had extensive teaching experience in various art schools in the United Kingdom. Herwork has been exhibited widely in the U.K., as well as in France, Belgium, The Netherlands, Switzerland, Ireland, Denmark, Canada,Australia and the U.S.A. Her work is in the collections of the Victoria and Albert Museum, London; The Keatley Trust, England; theLilley Library at the University of Indiana; Nymiten University, Holland; and other public and private collections internationally.Ms. Chandler writes: “My last binding was in 1999 & I gave up teaching the following year due to health problems ...”“My first bookbinding experience was at Art School ... Years later I was in a 2nd hand/antiquarian book shop, looking for a particu-lar copy of a second hand book & came across a Victorian leather bound book with a gilt spine. It was so lovely I bought that instead& then thought I would like to learn how to repair books - little realising what I was in for, after many years of repairing and rebind-ing, I wanted to do my own thing. I never really enjoyed & felt trapped with a style that was expected of me; I began teaching mod-ern & traditional binding which I enjoyed. This gave me the freedom to buy my own books & experiment.“Although my sketches & designs have been destroyed, I still have most of my slides. The Wind in the Willows was bound in 1985. ...the original sketches were reflections in water then ‘computerized’ as I remember all computer images were squares ...”

A Special copy signed by both Grahame and Shepard

(Margaret Chandler) The Wind in the Willows. By Kenneth Grahame. Illustrated by Ernest H. Shepard. Methuen & Co.Ltd. London. [1931.] First edition illustrated by Shepard. 312 p. 9” x 7.25”. Text illustrations throughout. Folding map. "This Edition on Hand-made Paper, published in 1931, is limited to 200 numbered and signed copies, of which this isNo. 140". Signed by both Grahame and Shepard on recto of title page. Unique binding by Margaret Chandler. (1985.)Stamped "MC" on inside rear suede doublure. Full green morocco binding with a multi-colored inlaid design on the

front cover which allows the long gray and darkgreen strip inlays to continue across the spine andback board. Dark green suede doublures. Graycloth dropback box with long leather title label onspine; lined in gray felt. $8500.00

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194.

No. 193.

No. 194.No. 194.

Interesting examples of the bookbinder’s art from the new generation of bookbinders

Mark Cockram studied Art and Design at Lincolnshire College of Art and Design (1981–83) and Bookbinding (1988-89). He receiveda Diploma with Merit in Fine Bookbinding and Conservation, Guildford College of Technology (William Matthews Memorial Award)1990–92. Studio Livre, Tokyo 1994, BA (Hons) Book Arts and Crafts, graduated 2001. In 1992 he opened his own studio in Lincoln.He has been exhibiting nationally and internationally since 1991, with work represented in public and private collections in the UK,Europe, USA and Japan. He was elected a Fellow of the Designer Bookbinders in 2001.Cockram has also taught at various colleges, institutions and studios in the U.K. and internationally. He works with the completebook, developing different working styles and manipulation of materials for each project. Current works concentrate on exploringthe concept of the 'Total Book', the interaction of the book, environment and end user.We have pleasure in listing a selection of the work of this creative bookbinder, giving a good idea of Cockram’s technical and creativeskills.

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A contemporary binding on a Poe classic

(Mark Cockram) The Raven. [By] Edgar Allan Poe.Engravings by George Tute.The Folio Society. [London.1995.] n.p. 4.5” x 3.25”. Set in Monotype Bulmer and pro-duced offset on Japanese laid paper. Unique binding byMark Cockram in 2001. Full leather, using a lady’s glove;with inlays and onlays of emulsifiedleather dust, withadditional hand stitching to form a design in natural,black, red, and yellow. Leather jointed mottled grey endpa-pers with leather spine inlet, and cream suede panel inlaywith stitching on back and front doublures. All leathersand papers hand colored and dyed by binder. Book laid inblack and natural suede tray, with ribbon for ease ofremoval from frame. Display frame forms a unique wallhanging if desiered. An oak frame with a window mountin leather, with the tray and book fitting in from the back.Binder’s stamp at back of book. Fine. $2000.00A wonderful binding, with a clever framework which extends thescope of the binding and allows the book to be viewed withouthandling.

195.

A composite of workby Mark Cockram.

No. 195.

(Mark Cockram) Ten nudes. Mono Prints by Mark Cockram. [Studio 5. London. 2001.] n.p. 9.625” x 5.75”. Illustrationsare offset from a soft plate using a technique so that no two prints are identical. Bound by Mark Cockram in 2001.White, grey and black paper over board with black leather spine. Endpapers of patterned black, grey and white paper.Paper board decoration based on the original binding. Light grey cloth dropback box with black side trim and linedwith black suede. Paper title label on spine. Limited edition of 10 variants signed by Mark Cockram on the title page.Fine. $1050.00A/P in a limited edition of 10 variants signed by Mark Cockram on the title page. [Illustrated right above.] $975.00This is a series of 10 variants based on a single theme. The paper used in the binding shows sections of hands, feet, or legs, which fol-low the theme of the book.

197. (Mark Cockram) T h eBest of Beardsley. Collectedand edited by R.A. Walker.Spring Books. [Feltham.Middlesex.] This editionfirst published 1956; fourthimpression 1967. n.p. 10.5" x8.25". Unique binding b yMark Cockram. Bound in2004 in full black leatherwith relief tooling, gold leaf,scrim and egg shell.Secondary sewing with fulllinen board attachment,leather jointed paintedgauze endpages. First andlast free endpapers with yel-low and black Beard s l e ydesign. All edges red. Laid

in a yellow cloth dropback box with black leatherette spine, relief title and eggshell design on spine: lined with rosesuede and an inset design of eggshells. Signed in blind on the back cover. Fine. $1200.00

(Mark Cockram) Duplicity: Coleridge and a Cup of Tea: Ten studies of duality. Text and imagery derived from Coleridge'sThe Rose and Minuit-Cinq. Unique artist's book by Mark Cockram. [London.] 2004. n.p. 10.25" x 7.25". Box - 16" x 12.5"x 2.5". All text and images soft plate offset typeset. Printed by the binder, with red and yellow added to some images.Sewn with a link stitch with secondary sewing and full linen board attachment. Gray leather binding with large greyand white illustrated paper panel across front and back boards. Laid in a found hinged black box with glass top, linedwith yellow and black floral paper; with a slanted slot for the book to slide in and preserved roses in the lid and base.Box with small metal holder on top for hanging. Titled, signed and dated on the back of the box frame. Fine. $3000.00

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196.

198.

No. 196 - Bindings - above right:Illustration - above left.

No. 197.

No. 197 -Illustration

The text is derived from Samuel Taylor Coleridge's poem 'The Rose', with imagesand additional text from Minuit-Cinq reproduced and offset printed with addition-al manipulation."When many people think of a rose they think of a red rose, often used as a sym-bol of love and fidelity. However, should we think of a yellow rose, often thoughtof as a symbol of infidelity, lust or jealousy, Coleridge's words take on a differentmeaning. "The idea behind the work is to explore the word, image and subject witha different agenda that looks from a different angle." - Cockram.

(Mark Cockram) A Series. An artist's book by Mark Cockram. [London.]2005. 9" x 8.75". A fixed multiple board binding in a dropback blue clothbox with black leather spine and red leather title label. Materials used areleather, antique and 1930s printed text, antique pressed flowers and a col-lage. Fine. $1000.00"A series of questions and answers that may have a reason." - Cockram.

(Mark Cockram) The Eroded Steps. [Il Vluoto Dei Passi.] In English andItalian. [By] Giuseppe Penone. Aegis Publishing and Henry MooreSculpture Trust. 1989. 66p. 11.5" x 10" (at it's widest point). A uniquebinding by Mark Cockram. Bound in 2005, this fixed board binding withleather jointed endpapers, secondary sewing, and full linen board attach-ment, is made with leather, leather dust, pewter, papier maché, and gessoover paper maché. Front board in shaded cream to brown, with blacktrim; the back board is sculptural with white, black and sil-ver metal onlays with black leather spine. Grey endpages,edges painted grey. Laid in a black leatherette dropback boxlined with black suedette and a sculptural shape on therighthand side of the base to hold the book firmly and toextend the sculptural feel. White paper title label at base ofspine. Fine. $2500.00The sculptured outline and profile, with the metal indicating theindustrial and worked gesso over the papier maché panel giveswarmth and texture to a fascinating and suitable binding on a bookabout a sculptural project.

(Mark Cockram) Sir Patrick Spens & other Ballads.Engravings by Jane Lydbury. The Folio Society. [London.1994.] Five full-page black and white wood engravings.32p. Book - 4.25" x 3". With irregular shaped binding - 6..75"x 5.25". Set in Monotype Joanna and printed by MandarinOffset on Japanese Laid paper. Unique binding by MarkCockram. 2005. Book bound in navy leather with all edgesn a v y. Both boards incorporated with cut-out irre g u l a rshaped antique paper and book cloth boards with all edges innavy. Construction technique is with link stitch with secondary

sewing and full linen boardattachment, leather jointedendpapers. Endpapers ofdecorated blue and blackpaper, with the same paperon the side of one board aswell as laid into the box sothat the book can fit incomfortably. A fixed boardbinding. Blue cloth drop-back box, navy leatherspine with simple gilt tool-ing,white title label in giltlettering.Fine. $1800.00A subtle binding coupled withshapes that echo the sails of aship. The antique paper lends

tone and texture. [Illustrated top of page. 78.]

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No. 200.

No. 200.

(Stephen Conway) The Pied Piper of Hamelin. [By] Robert Browning. Engravings by John Lawrence. The Folio Society.[n.p.1992.] n.p. 4.25” x 6.25”. Set in Monotype Blado and printed on Fabriano Ingres Laid Paper. One of 2 similar bind-ings by Stephen Conway done in 2001 and signed on back free endpaper. Simplified binding. Natural calf spine andbrown toned parchment boards. Edges colored and waxed. Small circular inlays on upper and lower boards of black

letter text, maroon fur andgold calf. Hand painted end-papers sewn in. Tan clothd ropback box with bro w ncloth trim, lined with tan felt;brown paper title label. Fine.

$750.00This binding is an amalgamation oftwo ideas. The first is based on the text,including gold (greed) and fur (rats),arranged in a single line of small circlesre p resenting the piper. The secondrelates to interest in found objects, oncediscarded, and used again to createobjects of beauty. Inspired by the phi-

losophy and collage work of Kurt Schwitters, Conway used discarded book parts and materials to form the basis of the binding and the design.

An exquisite turn-of-the-century binding

(Embroidered Bookbinding) Lyrics from the Dramatists of the Elizabethan Age. Edited by A.H. Bullen. Printed at theChiswick Press. London. 1901. 301p. 6.5" x 4".Embroidered on both back and front covers with centrallarge flower design surrounded by flowers and foliage,and spine with four flowers in separate squares. Heavilyembroidered in metal thread and various colored silks onsilk satin fabric, with tiny paillettes sewn on as back-ground design. Edges gilt. In a new gold silk dropbackbox with paper title label on spine. Silk on top of spinejust starting to go and some paillettes missing; neverthe-less in extremely good condition for such a fragile bind-ing. $2,200.00This richly embroidered binding is a fine example of its kindwith the colors still glowing and jewel-like, particularly on thespine and back. Dr. Marianne Tidcombe informs us that thisbinding is similar to entry No. 15 (England) in the 1894 TregaskisInternational Bookbinding Exhibition catalogue, and one wouldtherefore assume that they were both worked by Mrs. Brownlowof Cambridge.

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No. 203.

Jenni Grey - Designer Bookbinder

Jenni Grey started took her first bookbinding classes in 1979, followinging on with a BAdegree in Illustration and Graphic Design in 1984, and an MA in Sequential Design in1991. She was elected a Fellow of Designer Bookbinders in 1989, and served as Presidentfrom 1996-98. She teaches Book Arts (part-time to degree level students at the Universityof Brighton UK). Grey’s bindings are in many private and public collections,among themare The Library of Congress in Washington DC; The British Library and The NationalPoetry Library in London; The Royal Library in The Hague; and The BibliothecaWittockiana in Brussels. Jenni Grey’s work was included in the traveling exhibitionDesigner Bookbinders in North America.Grey writes: “Since I started bookbinding the scope of the medium has fascinated me,not only does it provide an excuse to read, but the structures, forms and materials thatcan be employed in bookbinding practice seem limitless. Working in a way that is sym-pathetic to the design and any illustrations of the content adds a particular creative chal-lenge that I find inspiring. Successfully bringing together all the elements of the bookand ideas for the binding into a visually complete object is very rewarding!”

(Jenni Grey) In the Margins of a Shakespeare. [Edited and introduction by]George Mackay Brown. Wood-engravings by Llewellyn Thomas. The Old StilePress. Nr. Monmouth. 1991. All engravings printed from the wood. 49p. 12.25" x 6.75". Printed in red and black inGaramond on a special making of Zerkall mouldmade paper. No. 172 of the regular edition of 220 copies in a total edi-tion of 246. Signed in pencil by George Mackay Brown and Llewellyn Thomas.

Unique binding by Jenni Grey dated 1996 and signed by her on the back free endpaper. Bound in leather with dyedvellum bands and onlaid etched brass panels. Red leather with grey marbling effect on spine; black leather boards.Broad strips of mottled leather across front and back boards as well as spine. Textured gold colored rectangles in eachcorner, on the mottled leather, complete the design. Rust paper doublures and endpapers, with doublures having foursmall rectangular mottled strips reflecting the binding design. Laid in large dark brown/black dropback wooden boxlined with black velvet, lid with large rectangle of matching mottled leather trimmed with small gilt studs. Black rib-bon for book removal. Fine. $3500.00 This is the first publication of the text, and was completed in preparation for the seventieth birthday of George Mackay Brown on17th October 1991. "This text focuses on the importance of sub-characters and sub-texts to the central theme of a narrative. The mainelements of the design have been pushed to the edges of the book and, although not physically part of the binding, hint at concealedstructures." - Grey. A wonderful binding.

(Jenni Grey) William Shakespeare Sonnets. The Falcon Press Limited. London. MCMXLVIII. (1948.) Printed in Hollandby Drukkerij M. Lindenbaum & Co. 83p. 7.5" x 5.5". Unique binding by Jenni Grey, signed and dated 1999. Bound ina structure devised by the binder with leather spine and veneered boards. Front and back brown wooden boards edgedwith yellow and black wood inlaid design; spine of black leather edged with small brass pins and cream leather mid-section. Inlaid design echoed on doublure which has black leather at spine edges embellished with gold and relieftooled circles. Black endpapers. Laid in matching brown wooden box with lift-off lid design showing sections of theyellow and black inlay. Box lined with black velvet and containing a black ribbon to help remove book. Text with someslight spotting; binding fine. [Illustrated top of p.80.] $3950.00

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Jenni atwork.

No. 204 - Box andBinding.

(Jenni Grey) The Ballad of Reading Goal. [By] Oscar Wilde. Wood engravings by Garrick Palmer. The Old Stile Press.[Llandogo, Gwent. Wales.1994.] 45p. 10.75" x 7". Box - 11.675"x 8.125" x 2". Garrick Palmer’s wood engravings wereprinted from the wood. Printed in Baskerville on Zerkall mouldmade. An edition of 225 copies, numbered and signedby Garrick Palmer. Unique binding by Jenni Grey in macassar ebony. Boards sewn onto a black leather spine for flex-ibility and strength. Design divided into panels, the central more fluid forms being restrained by the darker linearmarkings at the sides. The wooden boards are attached to the spine leather, and the leather bands across the spine areboth decorative and structural as the copper studs attaching them to the boards provide extra stability. Doublures ofthe same wood and black leather. Laid in a matching wooden black velvet-lined box with lifting strip and a separatelid. The box lid reflects the design of the binding and is also lined with black velvet. Fine. $4000.00

Grey writes that the macassar ebony, chosen for its strong markings and dark colour, had qualities that were ideal for the design, butwere also sympathetic to the illustrations in the book. ... "The visual contrast between the element [of color and form] is intended to reflect on themes provoked by the poem, questioningwhich has more effect - physical deprivation through imprisonment or mental torture."

(Jenni Grey) I remember ... By John Crombie. Kickshaws Press. Paris. 1991. n.p. 7.5" x 7.5". Box - 9" x 9" x 3.75". Handsetin Trieste, Bodoni, Chambord, Garamont and Helvetica. Handprinted by the author. No. 52 in an edition of 135 num-bered copies. Unique binding signed by Jenni Grey in 2004. Embroidered and sewn on grey and gold organza overblack leather, with machine stitching and black glass beads. Endsheets of pale grey organza and machine stitching.Laid in a walnut veneer box with trays for book and two layers of objects. Box and trays made with the assistance ofAnthony Belfield. Brass hinges. Fine. $4500.00

"Shakespeare addresses two main characters in thesonnets, the fair young man and the dark lady, hisaffections wavering between them. This emotionalstruggle is reflected in the inlaid design of light anddark woods." - Grey.

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No. 206.

"The collection of binding and objects evoke the fragmented memories of time andplace suggested in the text." - Grey.An article about the binding was published in The New Bookbinder, Volume 24. Thebinding colophon lists various loose objects in the two lower trays - such as coins,fountain pen, propelling pencil, ring, thimble, pearl necklace, glasses, key, etc. Thelast tray includes a cigarette case with a white folded handkerchief, 100 Franc noteand torn fragments of a color photograph, as well as photographs. A wonderfulpresentation.

(Jenni Grey) Il Cantico delle Creature. di Francesco di Assisi. Italy. 2001. 9.5"x 6". Box - 11.5" x 8" x 2.75". No. 417 in an edition of 1200 copies. Uniquebinding by Jenni Grey signed and dated 2004 on the Colophon page. Bound in black suede embroidered with various threads and glass beads.All edges flecked with tan paint. Ribbon page marker with tassel.Veneered wooden box with inlaid embroidered panel echoing the designof the binding, lined with black suede and ribbon for ease of book removal. Brass hinges. Fine. $3500.00The design has lines of sewing that flow out from, and back to, a central point on the spine. The intention is not to interpret the can-ticle but to symbolise how little we really know about our world and our existence.This poem was written out in a calligraphic hand in 165 different dialects and languages for this facsimile edition specially publishedfor a Bookbinding Competition held in Italy. Translations in over 100 different languages (three in English). Illustrated in Vol. II,p.35, of the catalogue Maestri Rilegatoni Per Il “Cantico delle Creature” (2002), which is included with the purchase of this item.

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No. 208.

Peter R. Jones - Designer Bookbinder

Jones graduated from Bristol University in 1973. After various periods of employment, he is now a carpenter, bookbinder and visit-ing lecturer in bookbinding at the Roehampton Institute, London, and the University of Brighton.He started bookbinding classes at Brighton Polytechnic in 1986 and was awarded his Certificate with Overall Commendation in 1991,elected a Licentiate of Designer Bookbinders in 1991 and Fellow of Designer Bookbinders in 1995. He has exhibited widely in theUnited Kingdom, Europe and North America and has had work commissioned and collected by private collectors and corporate bod-ies in the U.K., Europe and the U.S.A. His awards include twice winning the Silver Medal in the Designer Bookbinders AnnualCompetition. At present he is President of Designer Bookbinders.

209. (Peter R. Jones) The Serpent. Poem by Peter Abbs.Etched aquatint by Lynne Gibson. The Snake River Press.Brighton. 1992. 4p, plus original wrappers. 17.5" x 12.5" x1.5". No. 13 in an edition of 20 copies, signed by the poetand artist. Unique binding by Jones in 1994. Single sec-tion sewn onto wooden stub strip screwed to spine ofbinding. Lattice boards of sandblasted and stained pineover beaten and heat colored copper. Brass hinges.Doublures of scored, hand stained hide. Stained boardslipcase. Signed on edge of endpaper. Fine. $3500.00

This stunning binding, with its rich brown wooden strips creating a great contrast to the textured and colored beatencopper, was previously exhibited at the British Library and the Crafts Council, London. It took the Silver Medal forbest book and the DB Open Choice prize in the 1994 Designer Bookbinders annual competition and was one of Jones’submissions when he was granted Fellowship of Designer Bookbinders. It was illustrated in color on the back coverof The New Bookbinder, Vol. 15 (1995).

210. (Peter R. Jones) Lens of Crystal. Poems by Robin Skelton.Images by Sara Philpott. The Old Stile Press. [Monmouthshire.Wales. 1996.] Images printed directly from etched and cut linoblocks. n.p. 11" x 8". Printed in red with black and white linoblocks. Hand-set Bembo for the poems, with the Introduction andAppendix computer set, on a special making of mould-madeZerkall. Binding by Peter R. Jones, 2001; signed and dated onlower edge of last endpaper. The binding is a variation of thetongue-in-slot technique with the leather joint forming part of thetongue. The spine is sculpted black goatskin, while both boardshave raised horizontal bands forming an arc at the fore-edge of theupper board and finished in graphite over paper and mill board.Black paper covered slipcase. No. 180 in an edition of 250 copies,signed by the author and artist. Fine. $1500.00Note: This is the binder’s reference copy, extra to an edition of ten similarbindings commissioned by the Old Stile Press. A classically elegant anddeceptively simple looking binding, which has been executed superbly.Skelton writes that "My own method of paying homage [to Celtic cultures]

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has been to reproduce in English, as closely as Iam able, the beautiful and ingenious verse formsof medieval Wales - to look at life through thatparticular lens of crystal." There is also anAppendix, giving the various metrical formulae ofthe different poems. The poetry itself is beautiful,moving in its simplicity and sparse elegance,treating universal subjects which are of interest toall poetry readers.

(Peter R. Jones) If I must be at all ... by JaanKaplinski/Days of Grace by Doris Kare v a .Published on the occasion of the exhibition“Scripta Manent II. International Exhibitionof Bookbinding and Calligraphy” in 2000.Organized by the Estonian Association ofDesigner Bookbinders. Published in 1998.122p. 116p. 12.5" x 9.5". Unique dos-a-dosbinding by Peter R. Jones of both volumesusing a modification of the tongue-in-slottechnique. The spines are covered in blackgoatskin sculpted over leather bands applied to the hollow. The outer boards are in vellum with full thickness blackleather onlaid strips. The tongues lie in rebates formed in the board edges and are held under Ebony strips. Brass boltswith chemically blackened dome nuts complete the attachments. The board fore-edges are similarly finished withebony strips and dome nuts. Inner board edges are trimmed in black leather. Endpapers of black Fabriano. Doubluresof black Mingei, and all edges black ink. Drop-back box covered in black buckram with a lining of sculpted black feltpads to support the binding; recessed paper title label on spine. No. 70 in an edition of 200 copies. Fine. $4950.00The binding was completed in 2000 and is signed and dated in pencil on the tail edge of the last endpaper of each volume. This bookwas exhibited at Scripta Manent II, Estonia, 2000; Leighton House, London, 2001; and the John Rylands Library, Manchester, 2001.Jaan Kaplinski is a well-known Estonian poet. essayist and writer, whose work has been translated into many languages, includingEnglish. He has lectured widely in Europe and North America. "His poetry is lyrical and philosophical with strong mystical overtones ... One of its main themes is a deep longing for a harmonyboth in ourselves, between ourselves and people from other cultures ...” - Biography.Doris Kareva is a distinguished Estonian poet, who is also the General Secretary of the Estonian Committee of UNESCO. ... Herpoems are exceptionally fragile and sensitive, full of compassion, purity and beauty. ... The central theme of her poetry is the fragili-ty of life in our unstable world and the tensions and unexpectedness in human relations. ... Her poems are translated into Russian,English, French, German, Finnish, Swedish, Norwegian, Hungarian, Slowenian, etc." - Biography.

Charles Meunier

Charles Meunier was born in Paris in 1865. He began his apprenticeship with Gustave Bénard at the age of eleven. Five years later,after working briefly for Jules Dumont and Maillard, he joined Marius-Michel’s workshop, but soon became impatient with the dailyroutine of producing traditional bindings. In 1885, before he was fully proficient in all the technical aspects of book cover production,Meunier established his own studio.Contemporary criticism on Meunier was mixed. He was thought to be innovative and instinctive, with great reserves of energy andundeniable artistic talent. Drawing on both traditional and modern techniques and forms of decoration, Meunier mixed classicalpunches - such as quatrefoils, florettes and dentils - almostindiscriminately with newly fashionable incised and modeledleather panels. He particularly excelled at the art of cuir-ciselé,a medieval bookbinding decorative technique which wasrevived by young binders in France at the turn of the century.He also became a well known publisher, both of journals andbooks. He died in 1940.

(Charles Meunier) La Belle Impéria. By Honore deBalzac. Conte Imagé, Gravé et Enluminé par AlbertRobida. Imprimé pour Charles Meunier, 1913. 14” x11.75”. Halftitle, frontispiece, title. Printed in red andblack throughout. Hand colored etched frontispiece. 11colored text illustrations and 1 tailpiece; etched histori-ated borders printed in bistre, as a surround to all pagesby Albert Robida. One unused original watercolor and three states of all illustrations and borders bound in.

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No. 211.

No. 212. Title page and interior decorated page.

The original Prospectus in French and description of the book in English laid in. No. 8 of only twelve copies on imperial Japanese Vellum, with Robida’s etchings in three states and an originalwatercolor added, in an elaborate binding designed and executed by Charles Meunier for whom the edition was print-ed; panels on the covers are brilliant examples of the cuir-ciselé technique as revived by Meunier.Unique binding signed in the leather by Charles Meunier. 1913.Cuir-ciselé consists of cutting designs into damp leather, rather than tooling or blocking them, and bringing them intorelief by depressing the background, resulting in a striking sculptural effect. A cuir-ciselé binding of brown crushed levant morocco over thick boards, on both sides gilt and colored cuir-ciselépanels of Impéria and of a hooded monk, surrounded by naturalistic thistles, gothic tracery with a cardinal’s hat sus-pended over the latter, raised double bands on back; a light brown inlay in centre, inside gilt border. Doublures andendleaves of patterned reds/green/purple silk damask, second pair of gilt marbled endleaves, original printed wrap-pers bound in. All edges gilt. Half morocco chemise, gold spine title, brown marbled paper sides; lined with purpleleather. Brown marbled paper board slipcase with brown leather trim. Fine. $11000.00Balzac’s story of the beautiful courtesan who ‘attended’ and created much mischief at the Council of Constance, from the “ContesDrolatiques”, was a favorite with illustrators of the 19th and the early 20th century. An exuberant and luxurious example of bindingand book illustration during the last years of the ‘Belle Époque’.

J. Franklin Mowery -A unique binding

on one of only three copies printed on vellum

213. (J. Franklin Mowery) Laws and Acts of the GeneralAssembly for Their Majesties Province of New York. [A facsim-ile edition.] The Grolier Club of New-York. MMDCCCX-CIV. Printed and Sold by William Bradford...1694: Togetherwith an Historical Introduction, Notes on the Laws, andAppendices, by Robert Ludlow Fowler, Counselor-at-Law.NY, 1894. (12), clxiii, (1) pages; (4), 84, 3, (1), 4, (6), 11, (2)pages. 11.5" x 7.75". Three headpieces and a plate showingWilliam Bradford's tomb etched by Max Rosenthal. Printedat the De Vinne Press. Charles R. Hildeburn provides a bib-liographical note on the first edition. One of only 3 copieson vellum in a total edition of 315 copies.Unique binding by J. Franklin Mowery bound under thesupervision of Prof. Kurt Loudenberg in 1975. Black

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No. 213.

goatskin with blind tooled borders and gilded titles on front and spine to reflect the legal nature of the contents. Sewnon four raised bands. Edges gilt tooled with turnovers also gilt tooled. Brass and leather clasps, which were made tokeep the book closed to prevent the climate-sensitive vellum from curling. Laid in a tan linen dropback box withgoatskin spine. Spine with blind tooled design and gilt title. Box lined with padded gold color silk and goatskin atspine. Fine. A superb binding on a vellum printing. $5800.00

(J. Franklin Mowery) Le Soir D’Austerlitz. Comédieen cinq actes. [In French.] [By] Sacha Guitry.Représentée pour la Premire Fois. Paris. 1941. Thisedition 1947. Pochoir illustrations throughout by

Dreux-Barry.. 192(1)p. 9.75" x 7.5". No. 86 in a totaledition of 750 copies: this is one of 700 on VelinGrevecœur du Marais paper. Unique binding by J. Franklin Mowery, with his stamp ‘JFM 1975’ on the lower backdoublure. Bound in green leather with simple relief tooled design on both covers. Inlaid brown and beige title labelwith gilt lettering on spine; gilt title on front. Gold tooled lines all round edges and spine of book. Red sewn head andtail bands. Green cloth dropback box lined with padded cream silk. Fine. $1850.00First performed in Paris, 1941. The occupying German army not having accepted its title, Le Soir D’Austerlitz becameVive Le Empereur. To-day, however, it resumes its original title.

(Don Rash) Heaven on Earth: Explorations into the Wilderness Set Forth by John Muir. Wood engravings by Charles D.Jones. Press Intermezzo. Austin. Texas. 1998. Printed by Randolph Bertin of Press Intermezzo. 141p. 8" x 6.25". Printedon Hahnemühle. Unique binding by Don Rash. Full deer vellum binding sewn of five vellum slips. Handmade paperendsheets with tea-dyed pastedowns and flyleaves. Tea-dyed alum goat inner joints. Head colored with acrylics.Handsewn silk endbands. Title stamped in red and black on dyed handmade paper, cut and applied over locations ofthe sewing stations. Blind tooled in a grid pattern on front and back boards. Housed in a linen clamshell box lined withbrown suede and with a stamped handmade paper label. Vellum made by Jesse Myer at his family's tannery in NewYork state. One in an edition of 30 un-numbered copies. This copy has been signed in pencil specially for us by theprinter, Randolph Bertin. Signedalso by Don Rash. Fine. $1250.00

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No. 215.

A handsome Riviere binding on a beautifully illustrated text

216. (Riviere) The Latin Year. [A collection ofHymns for the Seasons of the Church selectedf rom Mediaeval and modern authors.]Compiled by the Rev. W. J. Loftie. BasilMontagu Pickering. London. 1873. Withillustrations by Robert Bateman. 343p. 7" x4.75". Printed at the Chiswick Press. Blackand white reproductions of early woodcutst h roughout. Bound by Riviere in bro w nleather; gold-tooled; double rectangle andlozenge of curved interlaced strapworkwith pointillé and vines; title in centralpanel on front and back covers; title withina darker brown leather panel on floriated spine; turn-ins ruled ingilt; a.e.g. Binder's stamp on front turn-in. Fine. $1250.00

217. (David Sellars) Monsieur Dorlan: Relieur. Extract from ‘ANarrow Street’ by Elliot Paul. Incline Press. [Oldham.] 1995. 8p. 6.5"

x 4.5". 125 numbered copies printed on handmade paper from Griffin Mill , hand set in Verona and printed by GrahamMoss at the Incline Press; plus a further impressionwithout limit on acid free paper for the use of thebindery at PAPERSAFE. Dedicated to ‘those whothink binding should be hurried.’ This handmadepaper copy has been bound by David Sellars andsigned and dated by him in pencil on theColophon page.Tan leather spine with black/tanbroad stripes of leather alternating with darkertextured stripes across both boards. Doublures andf.f.e. of toning decorated paper. Bound book andwrappered copy of machine set issue together inFabriano slipcase with title on spine. Fine. $1150.00

Philip Smith

One of the world’s foremost bookbinders working today,Smith began as an art student in 1949, being channeled into the bookbinding class ostensibly to make customized sketch books. Hewas selected by Roger Powell on his resulting examination binding for entry to the Royal College of Art in 1951. Since about 1959,when he developed the techniques of feathered onlays with backparing, called ‘maril’, he has consistently explored the potential ofthe physical form of the book as an alternative art medium. Publications include numerous articles and catalogue introductions, as

well as New Directions in Bookbinding, 1974, and The Book: Art &Object, 1982. He has added several new terms to the vocabularyof bookbinding and has been awarded patents for new inven-tions, both visual and functional, as well as making innovationsin structural and visual design now applied by an ever growingnumber of bookbinders. A past Director of the V & A Museum,Elizabeth Esteve-Coll, has written about Smith’s work: "As exhi-bition pieces they have a monumentality and visual impact thatforces an original view of what binding is about."Smith, a past president of Designer Bookbinders, initiated itsredevelopment and expansion in the late 1960s, and was an inau-gural editor of The New Bookbinder, serving on the editorial boardfor 15 years. He was awarded an MBE in the Queen’s New YearHonours List a few years ago. His bindings are represented inmany public and private collections throughout the world; hehas won numerous international gold and silver medals for hisinnovative and inventive work.“Philip Smith reigns, as artist and theorist, technicianand philosopher!! ...[he] is the Blake among binders” -Colin Franklin writes in The Book Club of CaliforniaQuarterly Newsletter, Spring 2006.

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No. 216.

No. 217.

No. 218.

Two early bindings from the 1960s

(Philip Smith) The Bible of The World. Edited by RobertO. Ballou. In collaboration with Friedrich Spiegelberg… and with the assistance and advice of Horace L.Friess … The Viking Press. New York. 1939. Routledge& Kegan Paul Ltd. Seventh Printing June 1959.Copyright 1939 by Robert O. Ballou. xxi, 1415p,includes Index. 9.25" x 6.25". Unique designer bindingby Philip Smith in dark green leather with multi- col-ored and gold inlaid design in which a figure can beseen continuing across the front, spine and backboards. Gilt title on spine. Gold tooling on front coverhighlights an intricate design of small figures showingthrough in leather. Red paper doublures with goldtooled pattern round the borders on both back andfront doublures. Gold stamp logo device ’19 PS 62’ ontop of rear doublure. Blue, red and gold sewn head-bands. All edges gilt. New black cloth covered drop-back box lined with black suede, black leather gilt titlelabel on spine. Fine. $8500.00

(Philip Smith) Book of Common Prayer and Administration of the Sacraments … of The Church of England. Together with ThePsalter or Psalms of David … At the University Press, Cambridge. Society for Promoting Christian Knowledge. London.[n.d.] 629p, plus Tables. 5.85" x 3.75". Unique designer binding by Philip Smith in black leather with many coloredinlays, including gold, with tooling in gilt and relief, to a design across front, spine and back boards. Gilt title on spine.Doublures of blue leather with gold tooling design. Relief stamp of ‘C.P. Smith 1968’ on outside fore-edge of backboard. Red and gold sewn headbands. All edges gilt. New black slubbed cloth covered dropback box lined with blacksuede, black leather gilt title label on spine. Fine. $5500.00The title page in this copy has been reset with an imprint by Philip Smith; the title printed on this leaf in gilt using the same size andstyle of typeface as in the gilt title on spine of binding. A marvelous example of the art of Philip Smith as expressed in an early binding.

(Philip Smith) The Lord of the Rings. By J. R. R. Tolkien. George Allen and Unwin Ltd. London. This India paper edi-tion of the three books in one volume first published 1969. 1193p. 9” x 6”.Unique binding by Philip Smith. Signed

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No. 220.

“C. Philip Smith designed 1979, made 1980. March 1980" on the inside front cover. Bound in tan morocco with frontand back cover designs of keyhole shape using maril technique as well as inlaid leathers. Eye design on front boardcontaining a section of abalone shell. Endpapers and box cover of a yellow marbled paper by Smith. All edges gilt.Handsewn head and tail bands of toning silk. Purple felt-lined suede box with hand-decorated paper over boardwrap-around cover held by two studs. Plus folder containing two maps laid at the bottom of the box. Fine. $16000.00Full description of binding pasted in on a back free endpaper; includes the words "made specially for Mr. Cecil Behrmann during1979-80, and at his request the design refers to the Lothlorien episode.” Signed and dated by Smith in ink on this sheet.

(Laura Wait - Bookbinder) Stone Eye. Poems by Richard Taylor. Larkspur Press. Monterey, Kentucky. 2001. Woodengravings by Wesley Bates. 76p. 9.25" x 6". Design, composition and printing by Deborah Kessler, Leslie Shane andGray Zeitz. Handset in Gill’s Joanna type and printed on a hand-fed C & P. Unique simplified binding by Laura Wait,2001. Full tan leather with toning spine; gilt title. Tooling in gold and color. Hand painted grass design. Endpapers ofdecorated paste paper by the binder. Signed and dated in pencil by the binder at the bottom of the colophon page. Laidin a black cloth dropback box with tan paper title label on spine. An edition of 655 copies, signed by Taylor and Bates.Fine. $1500.00From the Midwest Chapter of the Guild of Bookworkers regional exhibit of the same name - Stone Eye. Wait writes: "There were somany references in the poetry to grass and growing things that I chose the interlocking leaves for the design to be reminiscent of afield and lying in the grass."

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No. 221.