Priscilla Juvelis – Rare BooksCatalogue 73 – Contemporary Book Arts

New Arrivals

1. Bishop, Bonnie. Artemis. Mistress of the Animals. [Athens,ME]: 2017. $2,500Artist’s book, unique, double-sided accordion format with central pop-up,signed by the author / artist in the inside back page of the book, on variousmetallic and colored papers most all printed with monotypes by the artist.Page size: 9-¼ x 4-¾ x 1-3/8 inches; 20 pages (front and back with centerpop-up). Housed in stiff metallic silver paper with Velcro closings. Boundby the artist: accordion-fold with front in black and silver papers withmonoprints creating various colors and textures to create each animal aswell as Artemis, reverse in black, gold metallic, copper metallic, white, gray,and brown papers, again with monoprints to form each animal. The imageson the silver side reflect the words of the poem, “She who rides the whitestag with her wolves running beside her is armed with the arrows of justiceshould anyone come to harm those she loves.” The poem is hand-letteredin black on the back panel on a half-moon of blue - silver paper printed bymonotype. The title is hand-lettered in black and silver on the front panel,again a half-moon is printed by monotype in silver and blue. The end panelsare architectural: a rectangle with triangular top as if a Greek temple. Thecentral “pop-up” figure is of Artemis riding a white stag is accompanied bya pop-up figure of a white wolf in preceding page spread. The figure ofArtemis is a stiffened silver mesh gilt; her wolves are in white and grey onpreceding and succeeding pages, all on a black ground. The page spreadsare separated by silver tree trunks printed by monotype. The reverse of theaccordion fold depicts the animals she protects in a snowy night landscapeunder a silver moon: deer, lynx, fox, rabbit, bear, owl, raccoon and coyote.The pages are set off by brown and gold gilt tree trunks. All is accomplishedby collaging the various monoprints on paper to form the images and pages.Artemis, the Greek goddess of hunting and wild animals and the naturalenvironment as well as chastity and childbirth, was represented by thesymbol of the moon. The daughter of Zeus and Leto, she was the twin sisterof Apollo, the sun god. The artist has created an evocative narrative inpicture and word. Always mysterious (as befitting a goddess of the night)she had her own acolytes, separate from brother, the sun god, Apollo. Asbenefactress of the environment, her entourage always included untamedanimals whose form she sometimes assumed. The artist / author creates theperfect atmosphere for this protectress of the natural world. This votive (inthe form of a small icon) conveys that sense of a divine mystery. (11288)

Movable Book

2. Flying Fish Press. Morrison, Lois. Recuerdo for Ste.Ostrich. Berkeley, CA: Flying Fish Press, 2017. $1,175Artist’s book, one of 50 copies, all on a variety of papers including papermade at Papeterie Saint-Armand, each copy hand-numbered. The book iswritten and illustrated by Lois Morrison, in the form of a Mexican triptych.The three-fold box opens to diorama illustrating the story of Ste. Ostrich

visiting Mexico and dispensing her gift of sand. Thereis a 2 x ½ inch lever on the right side of the triptych that,when pulled, moves Ste. Ostrich up and down as shedispenses her gift of sand. The inside panel doorscontain texts: on the left how Ste. Ostrich was urgedby the Virgin Mary to visit Mexico; on the right themartyrdom of Ste. Ostrich. The center of the triptychis a three-dimensional image of Ste. Ostrich (in col-ored papers) dispensing her gift of sand in a black andwhite landscape with Mexican farm workers. Thebottom third features a thin cord pull which reveals a drawer on which isprinted the colophon, with tray compartments for a small ladle and also abucket of sand. The polychrome ex-voto painting on the front of triptych isby Elizabeth Collins. The book and artifacts were made assembled at FlyingFish Press. The book design and paper engineering are by Julie Chen. Thisis not the first collaboration between Lois Morrison and Julie Chen on thesubject of Ste. Ostrich. This object with text combines the best of both

artists: a sense of wit and imagination (magical?) and impeccable crafts-manship. The reader / viewer understands that Ste. Ostrich was cast intoan empty swimming pool by “evil ones” and when she dove for the bottomin an effort to bury her head “as was her habit” she died from a broken neckas there was no sand. Perhaps the moral of this story is to not ignore realityby burying one’s head in the sand. (11284)

3. Grunewald, Louise. Canyon Time. Durango, CO: 2017.$1,100

Artist’s book, one of two copies only, on handmade paper with bits of micaembedded in each sheet, by Tom Leech (Palace Press, Santa Fe), signedand dated by the author / artist, Louise Grunewald. With 6 solar prints by Ms.Grunewald with 6 of her hand-lettered text pages, text of her poemaccomplished in graphite. Page size: 8-9/16 x 11-¼ inches; 14pp; 6 of whichare solar prints and 6 hand-lettered text pages plus title page and colophon.Bound by the artist / author: Red Walnut Cave Paper with gold gilt highlighton front panel, hand-sewn hinge binding technique (after Donald Glaister),housed in Terra Cotta Cave Paper (no longer available) slipcase with verydark brown leather tab and Velcro close. The solar prints are based onabstract rock formations and the text comes from the artist / author’s owntravels. Text is flush right on each verso, more difficult to accomplish but

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with a pleasing result that carefully considers the center margins and solarprints on each recto. The colors of the solar prints are muted; the ink is Akua,a soy-based water soluble ink. The black is carbon black mixed with phthaloblue, the terracotta is burnt sienna, quinacridone magenta and touch of

yellow ochre pluswhite with touchof yellow ochre.The light color wasprinted last as re-lief. The artist’ssensitive handlingof the colors leadsthe viewer deepinto the magic ofthe canyon. Thetext and images

are admirably sympathetic and the reader / viewer is directed on anostensibly outward journey only to find the journey is also inner directed andvery personal. Earth tones and soft grey combine to increase the intimacyof this artist’s book. The author / artist urges the reader / viewer to “Slowdown. Pause. Observe” - to wonderful effect. (11283)

4. Krause, Dorothy. Ladies of the Night. Ft. Lauderdale, FL:2017. $750Artist’s book, one of 10 copies, all on Roland paper, signed by thephotographer / artist / author on the last page. Page size: 57 inches long by11.5 inches wide; accordion-fold to make 6 pages on each side for a totalof 12 pages. Bound: accordion-fold book is housed in 10 x 12 x½-inch aluminum box, coverprinted with white and gloss inkon LEF-300 flatbed printer, titlein black with collaged image ofwoman from book. The bookitself is highlighted by Ms.Krause’s exceptional photo-graphs of twin performance art-ists, Abigail and Emily Taylor.Ms. Krause’s text is printed inred; the women wear black tops with black and white striped arm warmers;black and white checked birds are collaged with the images of these blondwomen. The text is stunningly depressing: prostitution is estimated togenerate $14 billion a year, more than drugs and guns combined...death rateis 6 times that of the general population and more than double that of fishingworkers, the highest fatality profession...be-tween 70,000-80,000 peopleare arrested each year for prostitution costing taxpayers approximately$200 million.” The color images of the Taylor sisters, in black and whitestriped clothing (prostitutes not their customers are usually incarcerated)are compelling and beautiful. Despite this, the book still transmits anunfortunate dark reality for far too many women (11296)

5. Krause, Dorothy. WarZone A Traveling Board Game withNo Winners. Ft. Lauderdale, FL: 2017. $600

Artist’s book, one of 10 copies, text and imagesdesigned as a board game with Spinner Boardprinted on stiff board, signed and numbered bythe artist / author, Dorothy Krause, on the insideback sheet. Size: 10-3/8 x 12-7/8 x 1-½; instruc-tions, game board, spinner board and game pieces

housed in clear plastic suit-case with title in red and whiteletters with black boarders;inside lid of suitcase with im-age of first atomic bomb blastunderlaying a printed defini-tion of war - “armed conflict,

prosecuted with military forces aiming to enforce the political will of thevictor upon the defeated” and information on human aggression fromprehistory to present. The Game Board resembles a checkerboard withsquares which give instructions such as “no weapons found: look again” and“tour of duty extended: start over” and “peace negotiations begun: pray forsuccess.” The red and black checker-like pieces are “us” and “them.” “Thegame never ends ... there are no winners, only losers. The WARZONEgame boards and suitcase were printed at Roland DGA on the LEF-300, aflatbed printer with white and gloss inks. Unfortunately, the anti-warsentiments expressed herein have never been more needed nor truer.Combining satiric wit with somber reflection, the short text is powerful.(11294)

6. Maurer, Paul. Skyscrapers. Serafina, NM: 2017. $1,250Artist’s book, one of 6 copies, all on various papers, containing block printsin black and colored water-based inks, with building names hand-lettered inblack Sumi ink with metal pen and the date of construction completion,signed by the artist on the colophon, Paul Maurer. Page size:6-¼ x 12-¾inches; 14pp. Boundby the artist, PaulMaurer: leporello stylein block-printed wrap-pers with row of sky-scrapers in black withtop border of stardingbats and bottomborder of cars movingalong street in front ofskyscrapers, all over-printed with blue grid;blue paper collaged to end of front and back turn-ins, interior images onwrapper in black and white with gold background; dingbats of stars andthree-rings on white ground at top and bottom of turn-ins, housed in greenstiff cover fold-over case with black and white block print of Bank of Chinawith gold border on front. One of the block prints has been repeated onglassine as the opening page (Empire State Building) as has the title pageimage of tower with “SKYSCRAPER” in white surrounded by aqua andpink and yellow border. Each page is hinged with the same aqua papercollaged as on the turn-ins with four different dingbats printed lengthwise onthe aqua paper. The multi-color “sunrise” border appears on all the blockprints. Other buildings included are: Woolworth Building, Chrysler Building,World Trade Center, Lipstick Building, Fountain Place, Landmark Tower,DG Bank Headquarters, Trump Tower, and Price Tower. These iconicstructures are set against a turquoise blue sky with “sunrise” or “sunset”colored highlights with horizonal white lines - perfectly setting off the blackand white verticals of the buildings. The buildings shimmer and hold theviewer’s gaze. This is a fresh look at familiar images. (11299)

7. Maurer, Paul. Daley, Robert. The Cruel Sport, An Excerpt.Serafina, NM: 2017. $2,500Artist’s book, one of three copies only, all on various papers, signed by theartist, on the hand-written colophon. Page size: 9-½ x 9-7/8 inches; 22pp; +colophon and self-wrappers. Bound: hand sewn by the artist with red thread,turquoise wrappers with original block print in black on red ground of racecar and driver on frontwith gold metal dingbatimpression, anotherblock print on backpanel on turquoiseground with red frame,single block print ex-tending from front toback cover, the imagesconveying a real senseof speed and motion inherent in this sport; inside covers with additionalwoodblock prints (2 each) of small images of the race cars, highlighted with

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gold-gilt dingbats, housed in mauve cardstock case with woodblock ofracecar in black and turquoise on front cover. The title page is block-printedin black and red with image of car and drive racing towards the reader /viewer, turquoise border at top, reading: FROM ROBERT DALEY’S THECRUEL SPORT 1956-1962. The opening text page reads, “Motor racingis the cruelest sport. It is also the most brilliant, because it is man wrestlingwith his demons on the edge of infinite.” The text is highlighted by the samedingbats and images of race car coming forward against a blue sky andanother, larger one of car and driver racing away for skyline in red flamesand black smoke. Several pages on, we read “So death in motor racing - bothto driver and spectator - is inevitable. - of the sixteen drivers who started the1958 season ... seven are dead.” The wood blocks are not of uniform sizeand are placed with a deft hand across each page spread. The impressionof fleeting movement is conveyed - seeming effortlessly. The last page ofCRUEL SPORT lists the names of the Grand Prix winners from 1956-1962with the preceding page reading, “Grand Prix drivers differ from otherathletes only in that they risk their lives. This brings to them a strong mysticalstreak, a feeling for the beauty of life and for the brevity of it.” Robert Daley(1930-) is an American writer of novels and non-fiction. His 1963 non-fiction work, THE CRUEL SPORT, is the second (or third) of his booksdevoted to Grand Prix racing. Paul Maurer has created an homage to thesport and Daley’s words that manages to capture in deceptively simpleimages the energy and speed and danger that define the sport. (11297)

8. Maurer, Paul. Hemingway, Ernest. From ErnestHemingway’s Death in the Afternoon. Serafina, NM: 2017.

$2,500Artist’s book, one of 4 copies, on various papers, hand lettered with metalpens and sumi ink, original block prints with water-based inks, signed by theartist on the colophon. Page size: 7-½ x 8-¼ inches; 24pp; + colophon. Boundby the artist: hand-sewn in red linen thread, brown paper wrappers that havebeen printed with overall pattern of deep brown and vertical rectangularimage of matador standing and saluting the crowd with his red cape andsword in his hand on the front on gold gilt ground and a horizontal rectangleimage of black bull on red ground, housed in cover stock brown paper withblock print of matador inserting two banderillas (from the 2nd stage of thecorrida) into the bull’s shoulders. The dramatic title page, a block engravingprinted in black and red is followed by an opening page spread that has thetext starting, “So I went to Spain...” on the verso and an image of a bull andpicador with the ensuing blood, The text lines are curved, following the blockprint lines. This is the relationship between each subsequent image and textpage. The curving lines and bulls curving neck as well as the muleta are allintertwined to make striking images of the ritual that Hemingway describes

as a tragedy. The artist’s images are oftenstark, bold, and haunting. This Spanish spec-tacle is centuries old but is fast losing popularsupport. The sport in which it is certain that thebull dies is approaching its own demise. Theshock of the corrida is aptly conveyed by PaulMaurer’s images. The ambivalence ofHemingway’s words, “If I could have made thisenough of a book it would have had everything in it.” which is the last textpage, is indicative of another time. (11298)

9. McCallion, Barry. In the Space of Three Islands. [EastHampton, NY]: 2016. $3,500Artist’s book, unique, on St. Armand ‘Caribou’ paper, signed by the artistand dated on the colophon, with original plan and notes for book layout on8-½ x 11- inch sheet folded and inserted behind colophon paste-down. Pagesize: 7-¼ x 10-¾ inches; 48pp. Bound: 6 signatures folded and hand-stitchedinto blue wrappers with exposed sewing on spine, laid into board portfoliowith original collage of cut papers, hand-colored with India inks and acrylicson front panel, housed in blue cloth over boards clamshell box by JoelleWebber with yellow paper label on spine and copy of page on front of box.The work is accomplished in India inks and acrylics, metallic inks, and paper

collage. Many of the leaves are cut-out as well as painted to form an imagethat includes that of subsequent pages. The result is three dimensional andaltogether intriguing. The artist’s small boat journeys from island to islandadding a new color to its hull with each visit, as, the artist writes in thecolophon, “just as each of us carries the marks of our experience.” Theimages created by Barry McCallion tell a story of voyage and self-discovery, each page more complex and intricate. The little boat floatsabove, below, along margins, always present in the landscape until the lastpage when the boat is center and much larger than in previous pages,apparently at rest and peace. (11285)

Alphabet Book

10. McCallion, Barry. The Maidstone Alphabet. EastHampton, NY: 2016. $3,500Artist’s book, unique, on Richard de Bas cream wove paper, signed anddated by the artist / author, Barry McCallion, on the colophon. Page size: 6-¼ x 10 inches; 48pp; + titlepage and end blank as wrap-arounds, the 48pp.each painted and lettered. Bound by Joelle Webber: hand-stitched in bluewrappers, housed in navy blue cloth over boards portfolio with light blueribbon ties, and navy blue cloth over boards clamshell box, artist and title andfacsimile of artist’s signature on paper label on spine, color copy of “R” pageon front of box. Mr. McCallion’s unusual alphabet is accomplished invarious acrylic paints and India inks. Each page was first treated with colorwashes (pale blue, yellow and green), then painted with black box at centerand the words and letters set in center or at margins or above or below black

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“text” block. In this alphabet, A is for Andiron, Abyss, Arrow, Abacus, AprilShowers, Apple, Ant, Anvil and all are pictured and lettered across the pagespread. I like the motion and energy of “M” with a big metallic green M on

the verso and a silver Mackerel swim-ming above it, and a silver mountainpointing up to it. On the recto is Mallet,Math (formula for Right Triangle)Mushroom, Marzipan, and Minaret.“N” is equally energetic with Notes(musical), Numbers (1-0) and Noth-ing, Nebula, Nose, Nail, Nutcracker,and Nest. Named “Maidstone” by theartist, it is in honor of the park in East

Hampton where, as a youth, he “learned to wonder about art and think onun-Bronx things.” A splendid alphabet book for all. (11286)

11. McCallion, Barry. John Milton. Paradise Lost. BookOne. East Hampton, NY: 2017. $5,500Artist’s book, one of 5 copies, each signed, titled, and numbered by the artist,Barry McCallion, consisting of 20 prints with hand-written text in white inkon each print from Book One of Milton’s PARADISE LOST, all on creamRives BFK paper. Page size: 10-½ x 17 inches; 20pp. plus colophon printedon inside back wrapper. Bound: loose as issued in box made by the artist,cream Rives BFK wrappers, with original print in red, gold, and black with

title, housed in custom-made redcloth clamshell box by JoelleWebber at Mermaid Bindery,smaller image from prints oncover. The 20 prints were digi-tally reproduced by GerardFranciosa at My Own Color Labin New York using archival inksand Rives BFK paper. Each printwas subsequently enhanced bythe artist with hand-painted coloradditions. The image with thetext reading “his Pride had casthim out of Heav’n with all hisHost of Rebel Angels” has ablack bat-like figure hanging up-side down with a red serpentbordering his lower body and over-hanging one of his wings. Theface is a “Darth Vader” likemask and the effect is horrifying.In other images, Satan, is a red

figure with white outlines over black for eyes, nose and mouth and alwaysis particularly unpleasant. The images without figures are landscapes that

frighten, particularly that withtext reading, “The fiery Surgethat from the Precipice of Heav’nreceiv’d us falling…” is silverand gold gilt for heaven and redand black jagged peaks withmolten lava in the distance - amost inhospitable landscape.Other landscapes are as compli-cated visually but not as terrify-ing. The plate with the text, “AndTrumpets sound throughout theHost proclaim a solemn Councilforthwith to be held at Pandemo-nium…” shows two trumpets andthe resulting soundwaves in black,silver and reds. The images ofthe devil’s newly-built capitol ofhell (Pandemonium) as portrayedby Barry McCallion, populatedwith fallen angels reflectsMilton’s cautionary tale admira-bly. (11282)

12. McKee, Elizabeth. Woody Guthrie. Yes, We Can. AScrapbook of the 2008 Presidential Campaign. Pasadena,MD: 2008. $1,650Unique artist’s book, on Arches Text Wove paper, signed and dated by theartist / author, Elizabeth McKee on the colophon. Page size: 10-1/8 x 6-3/16

inches; 22pp. + hand-painted and lettered endpapers. Bound: by the artist,Elizabeth McKee, exposed sewing on open spine, black imitation leatherover boards, housed in black imitation leather envelope fastened with“Obama 08” pinback and white gros-grain ribbon. The text of WoodyGuthrie’s iconic American song, “This Land Is Your Land,” is hand lettered

in Sumi and white gouache, gesso, each letter highlighted with red, orange,blue, green and tan gouache in and around the letter forms. Each page is ona painted ground of white, grey, tan, and black abstract, the song lyrics windacross the page spread, and beneath collaged (with acid free glue stick)images of President Obama, articles from magazines about the campaign,culminating with excerpts from President Obama’s victory speech, Nov. 4,2008. The artist, Elizabeth McKee, notes she was part of the Maryland teamthat helped to win Virginia for Obama and the 1st District of Maryland forKratovil. She adds in the colophon, “No doubt these centrist politicians willeventually disappoint an old leftist like me. But for the moment the victoryis sweet.” An especially moving reminder of a ground-breaking election.(11278)

“The object of craft sustains the reality of humanrhythms and being.”

13. Owen, Jan. To Name. Belfast Maine: 2015. $1,500Unique calligraphic art, mounted as a hanging scroll, on 4 sheets of Hollytexpolyester, two in yellow and two in pale rose, each lettered in black in a

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multitude of scripts, each page with highlights in gold gilt, accomplished inSumi ink and acrylic, signed at the top in pencil, “Jan Owen” and dated 2015.Page size: 21 x 13-5/8 x 2 inches unrolled. Housed in yellow paper overboards lidded box with title andartist lettered in black on darkerpiece of yellow paste-paintedpaper which extends to base ofbox with title in black; instruc-tions for care of scroll on whitepaper mounted to inside of boxlid. Ms. Own has created abeautiful piece of lettering com-bining text by Rose Flivka, IrisMurdoch, Paul Verlaine, NormanCousins, Goethe, Helen Keller,Pablo Neruda, Trithemius,Maurice Audin, Walt Whitman,as well as her own words and thebinary code. The texts are onthree panels and the last is afitting summation by the scribe,Jan Owen: “To tell the world tosee the world you have to nameit...Language is the vessel and the messenger of our ideas...The translucentfabric allows the layers of code to be seen in the many ways we share ourthoughts.” A subtly beautiful piece with words forming visual pictures inmeaning and in Ms. Owen’s execution. Featured in the Guild of BookWorkers touring exhibition, “Vessel.” (11289)

14. Owen, Jan. John Tagliabue. Desire’s Choreography.Poems by John Tagliabue from New and Selected Poems1942-1997. Belfast, Maine: 2014. $750Unique artist’s book, on Hollytex, hand lettered in ink and acrylic, signed bythe artist in pencil on the last page. Page size: 10-¼ x 7-½ inches; 28pp.Bound by the artist: hand sewn into blue marbled paper wrappers with whitehand-lettered label in black and gold gilt on Hollytex, collaged to front panel;housed in red marbled paper over boards slipcase with hand-lettered labelin black and gold gilt on Hollytex collaged to front panel. The text is hand

lettered in black ink and acrylicwith gold gilt highlights. Textblocks are visible through thetranslucent Hollytex - each of adifferent size and shape (square,rectangle, etc.) with the bottomof the page a one-line verse inlarger letters. Above and aroundblack arabesques float. The versopages show the rectos in reverseas well as the next rectos. Thearabesques dance across thepage (s) and interact with thetext. The poet asks, “Did youever let a poem go through the airlike a sweet beautiful bird...” andthe artist has done just that -showing the reader / viewer avisualization of these words. Thefinal verse starts, “All things weredancing once / descendants ofthe whirling sun / light turning

from their forms, bodies...” and brings the reader full circle to the randomjoy of nature’s dance. (11290)

15. Owen, Jan. Ralph Vaughan Williams, Walt Whitman,John Bright, Selections from the Bible. Reconciliation. Text

from Ralph Vaughan Williams, Dona Nobis Pacem (Grant uspeace). Belfast, Maine: 2015. $1,500Unique artist’s book, onCave, Ingres, and other hand-made papers with plant fi-bers, signed on the bottom ofthe last page by the artist,“Jan Own 2015.” Page size:17-½ x 11-¼ inches, 17-½ x22 inches open; 20pp. Boundby the artist: hand sewn withCave paper cover lettered ingold gilt, exposed tan linenthread; housed in liddedhand-painted paper overboards box, title and artist in gold gilt on lid. Hand lettered in acrylic and Sumiink with original woodcut in black at center folio opposite the “Angel ofDeath” text by J. Bright andthe Dona Nobis Pacem” textfrom Jeremiah VIII. Thetext is a cantata scored forchorus and large orchestra,written by Ralph VaughnWilliams in 1936 using textsfrom the Roman CatholicMass, three poems by WaltWhitman, a political speech,and selections from theBible. Jan Owen’s dramaticpresentation opens withWhitman’s “Beat! Beat!Drums! and softly brings the reader / viewer around to “Dirge for TwoVeterans”. The Angel of Death is a hovering figure and the chaos of war- while present - is a bit dimmed. The text ends with “Glory to God in thehighest, and on earth peace, good will toward men.” and the reader / vieweris no longer in despair. A lovely and moving collection of somber texts.(11291)

Uniquely Bound by Samuel Feinstein

16. Perishable Press. Schwerner, Armand. Triumph of theWill. Illustrated by Arthur Thrall and Walter Hamady. Mt.Horeb, WI: The Perishable Press, 1976. $5,000Unique copy with one-of-a-kind full blue-gray morocco designer binding bySamuel Feinstein, the book one of 150 copies on Frankfurt & FrankfurtCream paper, signed by the author, Armand Schwerner, on the penultimatepage. Page size: 8 x 7-½ inches and 5-¾ x 7-¼ inches; 24pp, 12 of whichprinted. Bound by Samuel Feinstein: full blue-gray morocco over boardswith 22K “moon” gold tooling and onlays of red and yellow, with title on frontpanel and author’s name on back panel, both panels with variations of the

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musical triangles created by Arthur Thrallfor Hamady’s use, spine gilt tooled withmusical staves and notes bridging the de-signs on each panel. The triangles are gilttooled with musical notations and 5-linestaffs on either the blue/gray morocco ormaroon onlays, gilt-tooling over gold mo-rocco triangles at right angles to top andbottom of large triangles, repeating thetriangles within triangles theme. Turn-inswith gilt-tooled squares (notes); sewn ontabs to ensure book opens flat, originalwrappers of blue-gray French marbled

paper, with diel-cut profile emerging from the front center in a swirling seaof pattern and color; signed at rear tail turn-in, in gold gilt, “Samuel Feinstein”housed in grey cloth over boards with Ultrasuede lining. Laid in is originalpublication announcement from the Perishable Press featuring anotherreincarnation of Arthur Thrall’s intriguing musical triangles. Printed inSabon-Antiqua in blues, greens, reds, blind and brown on/into alternatingpapers. Hamady notes in his PP Bibliography that Arthur Thrall allowedfree reign with his intaglio of triangular invention and that allowed a lot ofplaying with press, color & spatial locations. Consequently, triangles sit atoptriangles, sit next to one another or next to one another, pyramid-like, all withthe suggestion of notes and musical staff swirling in the confined space.Armand Schwerner (1927-1999) Belgian-born avant-garde Jewish-Ameri-can poet taught at New York City area universities. PP #77. (10706)

17. Perishable Press. Walter Hamady. Perishable Press.Walter Hamady. Complete set of the Interminable Gabberjabbseries, four of which are inscribed. 8 Volumes. Wisconsin:Perishable Press, 1973-2007. $25,000The Gabberjabbs are particularly fine examples of the art of WalterHamady - and they are the mostelusive of his books. All but thelast published, HUNKERINGTHE LAST GABBERJABB (8),are long out of print. Completesets are offered infrequently. Theartist / author / printer / publisher/ designer, Walter Hamady, hasbeen compared to KurtSchwitters, as well as MarcelDuchamp and Joseph Cornell,Hamady has been a major influ-ence on at least one generationof book artists. He is the recipi-ent of numerous grants andawards and one-man and groupexhibitions. He has been the sub-ject of many articles, and hisworks are in most of thiscountry’s important rare booklibraries, i.e. the Houghton, Yale,Getty Center, Newberry, WalkerArt Center, Cleveland Instituteof Art, as well as outside theU.S.: Bodleian Library, BritishLibrary, Klingspor Museum,Lenin Library, Royal LibraryStockholm, Victoria & Albert,etc. For an insightful assessmentof this series one should consulttwo essays propounding themany levels and layers involved:the first, by Mary Lydon in “Vis-

ible Language” Volume 25, Number 2/3 entitled, “The Book As The TrojanHorse of Art” and the second, by Roy R. Behrens in “Print” January /February 1997 entitled, “The Gift of Gabberjabbs.”

- Interminable Gabberjabbs (1), from an issue of 120 copies, all printedon (according to the bibliography) “a variety of Shadwell scraps in progres-sively different sizes.” Hamady dedicated this book to his neighbor, IvanStaley, who showed him how to use an ear-tattooing device for cows, whichHamady has used to number the copies in this edition. In return, Hamadyshowed Staley how to make paper. Page size: 11 x 6-½ inches down to 5-15/16 x 4 inches (with several in-between sizes) 26pp, 23 of which are printed.Bound: blue Fabriano Cover wrappers, U.S. Geologic Survey maps ofWisconsin, fine. PP#61, copy #25.

- Hunkering in Wisconsin, Another Interminable Gaggerblabb (2),one of 125 copies, each copy numbered using the “nNasco hip tags” (tagspasted to the hip of livestock at auction). Page size: 8 ½ x 6 ¼ inches, 17 pagesurfaces, 11 printed in handset Palatino in flesh, red, grey-blue, purple,yellow, white and greenish-black. Bound: Nideggen paper cover withpasted on white label bordered in red with rubber-stamped “ig2” on label inblack. Illustrated by Jack Beal Jack. Beal’s tomatoes are omnipresent,casting their long shadows in this ode to joy from Hamady, dedicated to thefruits of the summer garden, fine. PP#62, copy #87.

- Thumbnailing the Hilex / Gabberjabb Number 3. One of fewer than125 copies, this copy inscribed by the author on the front flyleaf, “for the JF/ Holla by Golli / Buh /Wha Ma Holli / and for Mo and fer / the water Ouzeland / Shallows @ the Bridge” above a flourish and heart, also signed by theprinter / publisher “Voltaire (the) Hamady / 72” on 8th leaf, above the text“to be continued with one about VP Romus in Hampstead or a pair aboutcats or another one like the one that started this series.” The 69th book ofthe Press, the third in the Gabberjabbs series, was to be limited to 125 copies,

however the author printer notesthat due to “playing around withglue & cutting dies & ink thereis a shortage” all on smoothFrankfurt Cream paper “withthe chain lines going the wrongway” (printer’s notes in bibliog-raphy), housed in green clothover boards clamshell box. Pagesize: 15 x 7-½ inches; 20 pagesurfaces, 9 printed. Bound bythe author / printer: hand sewninto green Canson MI-Teinteswrappers with title extravagantlyand elegantly printed on frontpanel in light grey, housed incustom-made green cloth overboards clamshell box. Illustratedby Jack Beal with a wood en-graving printed in green on greyShadwell of a grape leaf withtan paper ribbon streamers af-fixed to circular “grape leaf” asif a county or state fair prizeribbon. The paper ribbonstreamers were originally meantto extend below the pages of thebook but this plan abandonedsometime into the edition by theprinter / publisher. Printed inSabon-Antiqua type in brown,blind, blue, green, beige, maroon& black. With cut-out rondel toreveal “grape leaf” badge and

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colophon printed vertically above a splendid decorative device formingborder for library card modified with the pub date stamped in red, and thenumber “9” rubber-stamped in black, the edge of the card itself cutout withman’s profile. At first glance, this appears to be a rather straight-forwardpress book. In fact, it is extremely complicated and one of the most originaland beautiful books from The Perishable Press and the inimitable WalterHamady. PP#69, copy #9.

- The Interminable Gabberjabb: Volume One (&) Number Four. Oneof 60 copies, a “smaller than usual” edition, all on a mix of Nideggen,Frankfurt Cream & Canson MI-Teintes of varying sizes, this copy inscribedby the author / printer / designer on the final blank, “For James F.Hollygabbers / with unnecessary special / attentions from his pen / [heart]Walter (the) H.” Page size: 6-½” x 5-1/8 and 10 inches; 24 page surfaces,14 printed in Palatino, “infiltrated by Augustea filettata and Weiss andprinted in green, white, black, red, blue, pink, pastel orange, yellow, gold &purple. Bound: hand-sewn in tan paper wrappers, with Perishable Pressrondel device in Arabic debossed on front panel, fine. Illustrated with twophotographs by Gregory Conniff: the first of a seated pregnant MaryHamady and the second of Walter Hamady, seated looking at his catsprawled on a Bijar carpet in the Hamady’s home. The text includesHamady’s well-known “100% Bastard Title Page” and “Notes & Appen-dix” with image of appendix. Hamady’s verse, “clean glass windows andyour view of the world” is dazzling - like clean glass! PP#70, apparently notnumbered.

- For the Hundredth Time Gabberjabb Number Five / 10 & 17November 1980 Journal Liftings by Walter Hamady for Mother’s Day.One of 200 copies on various Shadwell (Hamady’s own handmade) papers,as well as mold and machine-made) each with an “extra title page forlibrarians to do their special graffito.” Page size: 7 x 5-½ inches, 38 pagesurfaces, 21 printed + 12-page book of footnotes, 11 of which are printed,in envelope on 34th page. Bound by the printer/publisher: brown cardboardexposed spine. Illustrated by Walter Hamady. Pages are printed, collaged,rubber stamped, drilled, notched, pigment patterned, (ticket) punched,grommeted, scribed, ear tattooed, drawn, camouflaged or time clocked andevery cover is different. The text was set in Gill Sans Serif and Bifur andprinted letterpress in black blue, brown, pink, white, blind & transparent inkson ten different Shadwell scraps. Mr. Hamady describes this as “one of thefunnest books to make & is a favorite.” in his bibliography of The PerishablePress. PP#100, Copy 14,647 (apocryphal).

- Neopostmodernism or Dieser Rasen ist kein Hundeklo or GabberjabbNumber 6. One of 100 copies, this copy with hand-written colophon on bluepaper, annotated and signed by the binders Marta Gomez and KenKasuboske as well as Walter Hamady and inscribed by Hamady to hisfriends, Holly and Elspeth Pope and signed “XX00 / W”. Page size: 7-1/6 x9-7/16 inches; 118 page surfaces all printed, perforated, drawn, cut, die-cut,rubberstamped, collaged, torn, and bitten by the author. Printed usingeighteen typefaces in eighty-eight colors on variegated Shadwell papershandmade in the barn. Written and illustrated by Walter Hamady. Bound:sewn by Marta Gomez in six signatures on six cords and bound by KentKasuboske into former Tax - Roll - Records - Marbled-Covers retrievedfrom the Wisconsin Historical Society. The bibliography notes that, “Allprinted, perforated, drawn, cut, die-cut, rubber-stamped, collaged, taped,debossed, grommeted, ponce-wheeled, signed, notarized, numbered, notched,torn, and bitten by the author, fine. The author / artist has created a book thatrefers back to his first, THE DISILLUSIONED SOLIPSIST - as well asthe previous five GABBERJABBS. The reader is obliged to read and re-read letters jammed together, set on different angles, interspersed withimages (or are they?) as Hamady plays with texts, bookmaking and the bookform itself. PP #113, copy #40.

- Travelling or NeoPostModrinPreMortemism or Dieser Rasen istkein Hundeklo (II) or Interminable Gabberjabb Number Seven. One of125 copies, this copy with inscription by Walter Hamady on the verso of the

front free endpaper explaining this copy was cased in by amateur book-binder “Hamady”, all copies on various papers (hand, mold and machinemade) numbered at least 19 times and signed and/or annotated at least 10,employing an “unthinkable number” of typefaces, ink colors, and press runs.Also signed by Mary Lydon, Professor of French, granting Walter Hamadyto use and quote from her essay, The Book as the Trojan Horse of Art:Walter Hamady, The Perishable Press Limited and Gabberjabs 1-6…”Also signed by the artist / author / printer / publisher’s wife, Anna Hamady.Also signed by Kenneth Bernard after his essay, The War of theFootnotists…” With “Front Matter”: “1. Just about all books start out froman idea. 2. Everything in the world is waiting to become a book. 3. Beforeideas can be read they need to become words...” Page size: 10-¼" x 7-¼"(164cm x 184cm), 154 pages. Bound by the printer/publisher: old papermaps over boards (no two alike) this a topographic map of land on either sideof the Platte and Little Platte Rivers on the Iowa-Wisconsin border, the townof Paris IO, labeled Potosi, WIS. Pages are printed, collaged, rubberstamped, drilled, notched, pigment patterned, (ticket) punched, grommeted,scribed, ear tattooed, drawn, camouflaged or time clocked. The printer/publisher/author/artist tells us that this No. 7 GAEBBERJABB also in-volves, “...iconoclasm/craft, art/daily life and sophistication grounded inphysiology and earthiness...a reflective vehicle in its ability to break andintersect narrative lines, play with syntax, integrate found materials, conveyenigma, paradox and information all at once.” PP#122, copy #20.

- Hunkering, the Last Gabberjabb Number Eight and IX/XVIths orAleatory Annexations... One of 108 copies on various papers (hand, mold,machine-made and even crush or mull) numbered (six times) and signed bythe author / publisher / designer / printer, Walter Hamady, twice, withoriginal invoice from Hamady to subscriber. Page size: 10-1/8 x 7 inches;160pp. Bound: brown cloth over boards with rondel / cameo in dark blue inmiddle of binding with silhouette of Hamady within triple-ruled framecontaining author’s name and The Perishable Press Ltd., marbled endpa-pers, new. An extraordinary book, the sub-title “Aleatory Annexations”more than a clue to its nature (aleatory as pertaining to the chance writingof the surrealists) The front “blank” is a base map (different in each copy)from the U.S. Geological Survey. Sheets with a poem by Ruth Evans(Hamady’s grandmother) printed on the verso with blind stamp copyrightnotice centered at bottom of page; title (eight titles listed as follows) on p.[iv] reading “HUNKERING” in red followed by “Largely by Walter SamuelHaatoum Hamady / augmented by Henrik Drescher. Patrick Flynn. DavidMcLimans. Peter Sis and William Stafford. PP Announcement of Pro-jected Titles, copy #35. (11280)

18. Satin, Claire Jeanine. Pentimento Pylone Interpenetrar,Tour d’Eiffel. Dania Beach, FL: 1999. $2,000Artist’s book, unique, part of an on-going series of unique books calledPENTIMENTO, referencing interpenetration, transparency and indetermi-nacy. This book printed on acetate with silver and gold metallic overprintingon black. Page size: 11 x 8-½ inches; 30pp. Bound by the artist: 21 gold glassbeads, brass beads, and monofilament at spine; monofilament untrimmedand about 18 inches long; small (1-3/8 x 1-1/8-inch acetate card lined withblack paper facing out and lettered oninside on white paper by the artistwith title and signed and dated; smallmetallic-looking knife, fork and spoonon either side of card, attached withmonofilament. in black archival lid-ded box with artist’s signature, booktitle and date on in the inside bottomof box, small (1-¼ inches high) metalEiffel Tower on lower front of lid.The text was derived from multiplesources about the history of the build-ing of the Eiffel Tower. The hand-written text is integrated into draw-

Priscilla Juvelis, Inc. (207) 967-0909 pj@juvelisbooks.com

ings of the base of the tower. Metallic gold text on one side of each pageand silver on the verso. The text blocks are shaped suggesting the metalstructure of the Eiffel Tower, especially the base. The total configurationof all pages is presented simultaneously as a result of the use of transpar-ency, referencing a three-dimensional view of the iconic French landmark.

The word pentimento refers to the concept ofreappearances, hence the use of transparencyand the resulting visual multiplicity. Satin’sbeautiful book may be viewed as more a pieceof sculpture: it is certainly three-dimensional inways that most books are not. The pages arenot sequential but can be read at random. The

beauty of the pages is dependent on the versos and rectos viewed as one.The monofilament with beads loosely refers to book marks, but then again,they mark no specific passage but refer to the whole. Using industrialmaterials and processes, she has created this beautiful book, referencingone of the iconic marvels of industrial architecture, one in an ongoing seriesof over 90 such works. The artist has stated, “My work becomes a book theinstant one recognizes its potential ‘to read.’” (11293)

New Pop-Up

19. Sheehy, Shawn. Fresh Cut Christmas. A Well-TrimmedSurvey of Holiday Plants. [Chicago, IL]: Paperboy Press, 2017.

$1,750Artist’s book, one of 50 copies, all on commercial cover stock, each copysigned and numbered in pencil by the artist, Shawn Sheehy. Page size: 4-½x 6-3/8 inches; 28pp; with Table of Contents, two-page essay on the use of

botanicals to decorate for thewinter solstice, plus 12 pop-uppages featuring those plants as-sociated with the Christmas holi-days around the world, eachwith their name and brief de-scription printed in dark green ineither the lower or upper pagecorner, some on verso, some onrecto. Bound: by the artist: drabboards with green cover stockspine, paper poinsettia on front

panel. Text digitally set in Italian Electric and printed letterpress frompolymer plates by Eileen Madden atChilPress. Witty and charming, for ex-ample: “Old use: pork garnish. New use:Xmas potted plant. Rosemary moves up!”The paper engineering exhibited by ShawnSheehy’s books never fails to astonish anddelight. This is Volume 3 of the Plant Loreof the 21st Century Series (preceded byA Pop-Up Field Guide to North Ameri-can Wildflowers with A Language of Flowers for the 21st Century andA Pop-Up Culinary Herbal. (11281)

20. Thurston, Jacqueline. Song of the Bear. Palo Alto, CA:1991. $4,500Artist’s book, unique, poem on handmade paper and Cibachrome photo-

graph, presented format of Russian icon in maple andebony hinged box, signed by the author / artist on theback panel in black and dated. Size of box: 16 x 12-¾ inches; opening to 15-¼ x 11-½ inches; text onhandmade ivory paper with strands of black fiber(referencing the pelt of the bear) by David Kimbellof Magnolia Editions. The box is by Chris Daubertwith maple for the backdrop of the poem and ebonyfor the backdrop of the Cibachrome print. Walter

Sparks selected and laid out the text which was set by Mackenzie & Harrisand letterpress printed by Alan Hillesheim at Digger Pine Press. From thelarge deckle on the text page, to the black ebony setting off the Cibachromeprint, this is an exceedingly beautiful and well-thought out work. The artist/ author states that the “prose poem is a reverie - a fusion of a dream, anencounter in the wild with a bear, and a celebration of the feminine spirit.The imagery in the Cibachrome photograph, which I printed, features afragment of a pelt killed by a hunter with a bow and arrow, the backboneof an Alaskan brown bear found in an Indian mound that pre-dates gunpowder, and an obsidian arrowhead.” Whether displayed or quietlycontemplated holding as book, this is an intriguing art work, capturing amoment of the past eminently recognizable today. (11295)

21. Windover Press. HD (Hilda Doolittle). Within the Walls.Iowa City, IO: The Windover Press, 1993. $145Limited edition fine press book, one of 275 copies on Johannot, all hand-numbered. Page size: 7 x 11 inches; 58 pages of text and images + titlepage,TOC, half-title and colophon. Bound by Campbell-Logan Bindery: greycloth over boards with paper label printed with title on spine, fine. Designedand produced by Kim Merker and DonHowell. Illustrated with 37 wood engrav-ings by Dellas Henke, Letterpress printedon a Vandercook test press in handsetBembo. Illustrated with 37 wood engrav-ings, editioned separately from text, withsome in two colors. The text consists of 14essays, memoirs and sketches by HD(Hilda Doolittle). Hilda Doolittle (1886-1961) was an American poet, novelist and memoirist, closely associatedwith the 20th century avant-garde. This collection of writings dates from1941 and war looms large. Dellas Henke's wood engravings are lovely andexpressive. She is Professor in the Department of Art and Design at GrandValley State University in Allendale Michigan teaching printmaking. (11287)

Terms of Sale: All items are subject to prior sale. Payment shouldaccompany order unless credit has been established. Mastercard and Visaaccepted. ME residents please add 5% sales tax. Institutions may receivedeferred billing. Posting is additional: $10.00 for the first item and $5.00 foreach additional item. All items are guaranteed as described and may bereturned for any reason, with notice, within seven days of receipt, providingthey are in the same condition as when shipped. Please call in advance ofa return.

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