Section 2. Artists’ Books

Go to: Front Page | Susan Allix | Artists' Books | Designer Bookbindings | Fine Printing & Private Press

15 (John Eric Broaddus) Pond. Unique artist’s book by John Eric Broaddus. 1980. 10.25" x 10.25" x 1". 8 vividly painted cut-out and layered boards. In a black paint-splattered cardboard box with a reinforced painted splattered lining Can be viewed as a sculptural piece. All wrapped in a black satin cloth. Title, signature and date on the black back board, with small onlay of image of the artist. Fine.

$2,000.00

A marvelously evocative work, reflecting the complexities of the much alive underworld of a pond.

16 (John Eric Broaddus) Spin 1/2. Books, Paintings and Memorabilia by John Eric Broaddus. Jun 7 - August 31, 1990. Center for Book Arts. 626 Broadway. New York, New York. 10012. Designed and made by Broaddus. 7.25" x 5.25" - envelope; 6.25" x 3.75" - booklet. 16 page sewn booklet in black, yellow and red with cut-out designs to each page; grey wrapper with black endpages with the Broaddus stamp. Relief stamp ‘John Eric Broaddus’ on front cover. Laid in a black incorrectly numbered envelope. One in an edition of 400 copies. Fine.

$50.00

17 (John Eric Broaddus) Black Book. Unique artist’s book by John Eric Broaddus. 1986. 8.5" x 6.5". Black painted and textured boards with 10 leaves brightly painted and with cutout pieces, which allow the viewer glimpses of pages already looked at as well as those ahead. Fine.

$750.00

18 (Emily Burnett) Stones of Sicily. Designed and illustrated artist’s book by Emily Burnett. [London. 2002.] 35p. 6.375" x 4.5". Images are based on scanned photographs and are used with hand drawings, embossed maps, lino cuts and a black and white etching, with a unifying frieze of images along the top of the book. Printed letterpress in Plantin on Saunders paper. Hand sewn on linen tapes and folded into a printed and cut-out blue Japanese paper with the title in black. The cut-outs allow for the viewing of two images and a pale blue paper strip extends from one of the cut-out areas across the whole of the back cover. Edition of 11 copies, signed by Emily Burnett. Fine.

$110.00

The extracts in this book are from Homer’s Odyssey and Goethe’s Italian Journey and the images are derived from recent photographs taken whilst travelling in Sicily.

19 (Rosamond Casey) Chance and the Shuffle of Things. Unique artist’s book by Rosamond Casey. [Charlottesville. Virginia.] 5.75” x 14.75”. Tan cloth covered board with eight strips of hand painted and decorated paper in various colors. With four strips of glass which shield and protect the papers. The glass is held inposition by narrow strips of tan cloth which allow the decorated papers to be seen as squares. Laid in a plum, brown and cream cloth-covered dropback box. The title of the ‘book’ on the front cover of the box is created by moveable magnetic letters; the inside of the lid has moveable magnetic letters and pale lilac plastic rounds glued on to form a ‘chance’ pattern. Fine.

$550.00

Casey writes: “Meaning is slippery. Letters do their part but at times it just seems pointless to keep assigning them the big job of making it all clear, legible and concrete. Thus, this gesture of a book that releases letterforms back to dance, chance and the shuffle of things. Painted letter parts, page lifts that reveal a bit more of their mischief but not much else. Moveable magnetic letters. An interesting and unusual innovative work of squares, rectangles, and even circles, showing one of the many ways in which a codex format can be used.”

20 (Rosamond Casey) The Blue Cage. A Poem by George Bradley. Visual Adaptation by Rosamond Casey. Treehouse Book Arts. [Charlottesville. Virginia.] 1997. 11.75” x 11”. Thirteen board and glass-bound dye-sublimation digital prints. piano-hinge binding made with blue glass rods. Front page image surround and edge of page with blue glass rods. Poem printed on the verso of each page on handmade paper. Cream cloth dropback box lined with blue felt-like material with title details on inside front cover. Paper title label on front of box. Unique artist’s book by Rosamond Casey. Fine.

$1,500.00

Casey writes: “After photographing my daughter and her cousins in this Pennsylvania garden, I searched for the poem that would elucidate the dreamy, ominous feel of the images.“The somber ruminations of this poet’s voice at the threshold of his dying was the right background to the flitting counterpoint of these small angels guarding gates.

“In the end, it is the children’s indifference to the voice of the poem that haunts us, indifference being the terrifying by-product of innocence.”

A fascinating and beautiful work. Poem by Bradley reprinted from his book of poems, Of the Knowledge of Good and Evil, Knopf, 1991.

21 (Rosamond Casey) The Blue Cage. A Poem by George Bradley. Visual Adaptation by Rosamond Casey. Treehouse Book Arts. [Charlottesville. Virginia.] 1997. 11” x 8.5”. Title page plus twelve inkjet printed dye-sublimation digital prints in various tones with poem. Loose in green and yellow cloth dropback box; upper lid lined with hand decorated paper. Front lid with photographic image with a copper colored metal surround. Artist’s book by Rosamond Casey. Small edition. Fine.

$425.00

22 (Rosamond Casey) The King of Hearts Unique artist’s book by Rosamond Casey. [Charlottesville. Virginia.] 12.75” x 10”. Black and taupe cloth dropback box with inside covers forming the work. Small painted images under glass, inset and surrounded by a multi-colored painted board layer above these images. Three of the small images have 1.5” high glass ‘funnels’ over them. Paper title label inset on front of the box.

$750.00

Casey writes: “An artists’ challenge: [a] ... Gallery in Charlottesville spread out a deck of cards to local artists. Make an art object inspired by the card you draw. Mine was the King of Hearts. First I stole from the Book of Kells. [The] open-handed expression of [one figure] drew my attention. Surrounding this crownless king are images of hearts under glass in various states of bondage and unwrapping. The 'oculars' are needed for a more focused scrutiny.” An attractive and unusual bookwork.

23 (Rosamond Casey) Wood Notes Wild: Notations of Bird Music. By Simeon Peace Cheney. Unique artist’s calligraphic book by Rosamond Casey. Adapted and interpreted by Rosamond Casey from the original 1892 edition. [Charlottesville. Virginia. 1996.] 19 leaves. 17" x 11". Written out in italic script on Mohawk 70 lb opaque text paper. Text in various colors. Overpaintings made from wheat paste and acrylic-based pigment. Handbound by the artist in red cloth boards with two perspex panels on the front board which allow the title and paste paper decoration to be viewed. Hand decorated endpapers. Red and brown cloth dropback box lined in green paper. Fine.

$8,500.00

The book contains an Introduction and discussion with musical notation on the songs of nine birds.

Rosamond Casey writes: "In the early 1970s when I was a beginning art student, I came across a copy of “Wood Notes Wild: Notations of Bird Music" in a library in Portland, Oregon. ... On the inside frontispiece was a muted photograph of Simeon Pease Cheney, the author, with a long white beard and a frothy head of hair. His profile was etched like a craggy coastline, with an expression to put the fear of God in you.

"As I leafed through the book I became enchanted with the author’s enterprise. Cheney had devoted himself in his final years to listening to the music of birds, capturing the sound by ear and transcribing it in standard musical notation. Accompanying these musical passages were his charmingly written observations about the birds and the anthropomorphic character of their music. Since I was becoming interested in calligraphy, I set myself the task of transcribing and illustrating parts of the text in a single signature book ... Years later, I thought about that little booklet, thought about Cheney, and ... decided to approach it anew with the assistance of years more artistic experience behind me.

"Simeon Pease Cheney ... was born in Vermont in 1818, the son of a reverend. He grew up in a family where the singing of sacred and popular music was an integral part of daily life. The children were so immersed in the habit of musical performance at home that five of the nine brothers and sisters grew up to sing professionally. Cheney later became an itinerant "singing master" devoting his life to teaching in travelling "singing schools" in small towns all over New England."

Casey gives an essay with the book about Cheney and says she believes that Wood Notes Wild, a book of immeasurable charm, deserves to be more widely known. Thus, some 25 years after her first encounter with the book she devoted a year to creating a one-of- a-kind, handbound and boxed manuscript to honor him, with these brilliantly painted pages a celebration of Simeon Pease Cheney, the birds, and "those who have ears to hear". A stunning calligraphic masterpiece of superb design and technical expertise.

24 (Rosamond Casey) Mapping the Dark: A Museum of Ambient Disorders. Artist’s book by Rosamond Casey. [Charlottesville. 2003.]

Box: 12.25" x 9" x 3.5". Book: 8" x 5". Ten accordion-fold books which fold out into a narrative display of each character’s work, comprising the roughly 100 images that make up the installation Museum of Ambient Disorders. Booklets hand bound in roofing rubber with stamp-embossed gold title, laser-engraved spine labels, gold eyelet and elastic band closures. Hand-punched numeric dot patterns (showing the numbers one to ten) reveal the inner cloth lining of the book. Each character’s book is lined in one of five colors matching a cloth backed, card-mounted, black and white photograph of the same character also contained in the box. Booklets printed on woven fiber 100% rag. Type is Thomas Paine. Photos and text printed by the artist on an Epson printer. The black and white photography was created by the artist. Photographs and booklets are laid in drop-back boxes bound in brown leather and black Japanese silk, black leather title label on top; lined with handmade block-printed paper from India. Limited edition of 45 leather bound dropback boxes. Fine.

$1,750.00

Mapping the Dark: A Museum of Ambient Disorders originated as a gallery installation in Charlottesville, Virginia, in March 2003. Casey created ten works of visual fiction, which are ‘collaborations’ with imaginary characters. The works are psychological portraits that begin with the ‘art’ or visual material her characters have left behind as a residue of a peculiar turn of mind: a worry, a craving, a secret wish or loss.

Rosamund Casey has exhibited her handmade books and paintings at the Corcoran Gallery of Art, and the National Museum of Women in the Arts, both in Washington DC. Her paintings have been exhibited widely in the United States, while her calligraphy and writing on calligraphy has been published nationally and internationally. She is founder and director of Treehouse Book Arts in Charlottesville, Virginia.

25 (Circle Press) Antony and Cleopatra. By William Shakespeare. Designed and produced by Ronald King with Notes and an Introductory Essay 'The Elusive Absolute' by Keith Please. London. 1979. Over 30 original silk screen designs by Ron King. Text taken mainly from the Arden version. Made up of 11 eight-page unstitched sections contained in a specially designed canvas covered portfolio with blue leather sides, title in blue on front. Full text of play handset in Baskerville and printed letterpress on rag-made paper, the whole production involving over 200 hand-printings. A.P. in an edition of 300 copies and 40 proofs. De luxe artist's edition. Fine.  

$1,500.00

26 (Circle Press) Circus Turn. Artist’s book designed and drawn in wire by Ronald King. [London. 1994.] 12 leaves. 7.75" x 6". Printed on J. Green RWS hand-made paper. Sewn into tan handmade paper covers with inside fold; title in front in blue and colophon on back inside fold. Blue slipcase. A/P signed by King, in a limited edition of 75 signed and numbered copies. Fine.

$108.00

27 (Circle Press) Delicious Babies. Poem by Penelope Shuttle. Intaglio designs by Willow Legge. London. 1996. Seven original blind intaglio designs by sculptor Willow Legge (Ron King’s wife.). 11.5" x 7.5". Printed letterpress by the artist in red in Baskerville on white Somerset rag. Four sewn sections in a heavy cream wrapper cover: title in blue on front. One of 85 copies, numbered and signed by the artist, plus 15 artist’s proofs. Fine.

$195.00

28 (Circle Press) Les Bijoux. [By] Charles Baudelaire. With a free [verse] variation in English by Kenneth White. [London. 1996.] Designed, printed and drawn in wire by Ronald King. Accordion fold, with the sheet of paper opening up to show the full design in relief with the poem in French and English. 7" x 11.25" folded. Printed at the London Print Workshop on charcoal Khadi handmade paper, with the text set in Baskerville and printed red [English] and blue [French] in letterpress at Circle Press. Thick black card boards with titling on front. Mottled charcoal handmade paper wraparound envelope, with gray paper slot closure; title in black. One in a first edition of 50 copies signed by Ron King. A/P in the first edition. Fine.

$240.00

29 (Circle Press) Cooking the Books: Ron King and Circle Press. Essay by Andrew Lambirth, Description and Commentary by Ron King. Published by the Yale Center for British Art, New Haven, Connecticut, and Circle Press. London. 2002. 179p. 9" x 6.5". Lavishly illustrated in color and black and white throughout. Apop-up letter on black paper. Illustrated card wrappers. Fine.

$75.00

A catalogue issued to commemorate the opening of the Daniel King and Circle Press Archives at the Yale Center for British Art. The archive has been given in honor and memory of Daniel King, the son of Ron King and Willow Legge, who died at the age of 15.

30 (Nancy Culmone) The Parable of the Talents. Unique variant hand painted and calligraphic artist’s book by Nancy Culmone. 16 leaves, 8 of which are double fold, and open up to show a 4-page image. 10.5" x 6.5". Each hand-colored painted page with multi-color calligraphy. Open sewn spine with three black leather tapes forming part of the design on both sides of the handpainted paper covers. Hand-painted both inside and outside paper wrappers. Black Japanese silk dropback box lined with painted paper; top of box with decorated label. This is Number 3 in a series of 3, all begun in 1990. This one completed at Serafina, New Mexico. 2002. Signed by Nancy Culmone. Fine.

$2,750.00

Nancy Culmone creates unique artist’s books, with several of her works currently on exhibition. Examples of her books are in the libraries of Harvard, Duke University, Universities of Michigan and Utah, Wellesley College, as well as in private collection. "The subtext contains selections from the Gnostic Gospels and from the writings of two women mystics.” - Colophon. Awonderful book, beautifully executed and with each page a visual surprise of glowing colors.

31 (Dieu Donné Press) Ovid's Medea. Translated from Book VII of Metamorphoses by Mr. Tate. With Etchings and Engravings by Jane Marshall. Richard Barrett, Publisher. New York. 1979. 4 full-page color engravings, 10 black and white vignettes. Printed on pale lilac linen and cotton handmade papers, in cooperation with Dieu Donné, New York. Text in Bruce Roger's Centaur. Plum handmade endpapers. Beige slubbed cover boards with open sewn spine; matching half-chemise which protects spine. Laid in matching cloth dropback box. One in an edition of 30 copies, plus 4 proofs, numbered and signed by Jane Marshall. Fine.

$900.00

32 (Dieu Donne Press & Paper) Emily Dickinson: Selected Poems. Illustrations By Susan Gosin. New York. 1980. 18 leaves. 18.5" x 12.5". Four black and white aquatints, plus two watermark images in the handmade paper, one full-page after the title page, and the other on the colophon page. Produced under the direction of Susan Gosin, with the help of Richard Barrett, Paul Wong, and Julia Living. Handprinted in 24-pt Bembo on cotton rag handmade text paper. Hand-bound with cream linen cloth spine with recessed paper title label; linen rag paper boards with recess for paper title label with lettering in blind. Laid in a cream linen cloth dropback box with recessed paper title label in blind on spine. In an edition of 20 copies, plus 4 artist’s copies, this is No. 15, signed by Susan Gosin. Fine.

$1,500.00

33 (Dieu Donné Press) Poems by Li Ta'i Po. Translation by Ezra Pound. Etchings by Jane E. Goldman. New York. 1981. 36p, Royal folio - 19" x 13". Illustrated with two black and white and two color etchings. Type hand set on paper handmade from 100% cotton rag and the endsheets made from mauve silk and linen rag. Pages bound Japanese style with Sekishu paper. Book bound into a drop-back box in natural silk cloth by Carol Joyce, with title label on front. One in an edition of 25 copies plus 9 artist's proofs, signed by the artist. Fine.

$950.00

34 (Edition Balance) Das Gleichmaß der Unruhe. Texte und Grafiken zur Veränderten Landscaft – Deutschland. [The Balance of Restlessness. Text and Original Prints on a Changed Germany.] Gotha. Germany. 1991. n.p. French fold. 12" x 7.75". Printed on Ingres-Bütten paper. Fifteen texts. Nine original graphics. Each graphic is numbered and signed by the artist. Black suede spine, brown Fabriano over boards with relief design and black title on front cover. Brown Fabriano slipcase with cloth trim. Short biographies of poets and artists in a special section at the end of the book, signed by all poets. One in a total edition of 200 copies, signed on the colophon page by Günther. Fine.

$1,100.00

Most of the graphic work is in black and white in various techniques, but there is some color and one includes a collage with cut out black sandpaper. This meticulously produced book deserves a wider audience.

35 (Edition Balance) Tag Nacht Helles Verlies. [Day Night Light Dungeon.] [Poetry by] Bianca Döring. [Collages by] Wolf Spies. Gotha. Germany. 1995. n.p. 14" x 10.5". One frontispiece and 8 illustrations and collages of paper and black lace fabric. Green spine, blue paper over boards with title and illustration in black on front. Black cloth box with loose Perspex lid. One in an edition of 35 copies thus, in a total edition of 40 copies, signed by the poet and artist. Fine. Another original and beautifully produced book from the ateliér of Henry Günther.

$1,250.00

36 (ELM Press) Grace from Simple Stone. Poems by Edna St. Vincent Millay. Lithographs by Enid Mark. Wallingford, Pennsylvania. 1992. n.p. 13.5" x 10". Illustrated title page. Afterword by the artisteditor. Printed on French mould made Rives heavyweight paper in four colors - light gray, dark gray, rose gray and pale green , the illustrations often bleed to the edge of the page. Each creates a space that accommodates a single poem on the double page format. One foldout. Bound in forest green silk over boards, with gold stamping on the front cover and spine. Handmade Japanese endpapers. One in an edition of 50 numbered copies, signed by the artist. Fine.

$1,000.00

Published on the centennial of St. Vincent Millay's birth, these fifteen poems - eleven lyrics and four sonnets - reflect the scope of the poet's literary motifs. Seeking to capture the lyricism of the text, the artist devised small paper constructions, photographed their forms, lines, and shadows, and translated the resultant images into lithographs that subtly respond to the poetry. As with all Enid Mark's books, the elegant refinement of the design reflects the beauty of the words.

37 (ELM Press) Precessional. Poems by Eleanor Wilner. Lithographs by Enid Mark. Wallingford. PA. 1998. n.p. 20" x 13.5". Lithographs in blacks, blues, ochre, purples and grays, hand-pulled by Timothy P. Sheesley. Cast in Monotype Garamond at the press of Michael and Winifred Bixler and printed on Arches Velin by Daniel Keleher at Wild Carrot Letterpress. The two longer poems are set on fold-out pages. Bound by Sarah Creighton in midnight-blue Japanese fabric, with title stamped in silver onto an iridescent-blue paper label. Lithographed endpaper of a star field. In an edition of 61 copies, this is one of only 45 numbered copies for sale, signed by Wilner & Mark. Fine.

$1,250.00

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

38 (ELM Press) To Persephone. Poems by Evan Boland, Rita Dove, Rachel Blau DuPlessis, Celia Gilbert, Louise Glück, A.D. Hope, Stanley Kunitz, Laurie Sheck, Nancy Willard. Lithographs by Enid Mark. Wallingford, Pennsylvania. 2000. 13.75" x 9.25". Printed by Daniel Keleher on Arches, Denril Vellum and Rives in Monotype Centaur and Arrighi cast at the Press and Letter-foundry of Michael and Winifred Bixler. Lithographs hand-pulled by Timothy P. Sheesley at the Corridor Press. Jerry Kelly drew the title page calligraphy. The poems are accompanied by a sequence of lithographs: a fold-out frontispiece, a centerfold spread, and a fold-out endpiece. When the book lies open at the center- fold, and the first and last pages are extended, the panels, printed in multi-layers of cream, grays and blacks, reveal a continuous landscape. A second visual theme, the pomegranate ... acts as contrast to the drama of the landscape. Devolving from the whole ripe fruit to only six jewel-like seeds, these images are printed on translucent vellum and tipped in between the pages of letterpress printed poetry. Six red glass pomegranate seeds were recessed in the front cover of the book. Both book and dropback box covered in cream Japanese cloth. Gray paper title label running down the spine of the box. An edition of 45 numbered copies and 10 artist’s proofs, signed by Enid Mark. Enclosed in a chemise is a digital print scanned on an Iris ink jet printer from the same series of layered images used for the lithographed landscape panorama, allowing direct comparison between traditional technique and current technology. Fine.

$1,750.00

The ancient story of Persephone’s abduction by Hades, Lord of the Dead, is the Greek myth of the origin of the seasons. The Homeric Hymn to Demeter, assigned by scholars to the 7th Century before our era, is the oldest literary document that narrates this myth. This new book from The ELM Press, compiled by Enid Mark ... presents nine poems by contemporary poets who plumb the emotional depths of the myth. Now it is recast as the story of a young girl caught between two adults - a mother and a lover - who compete for her affection and loyalty. Two of the poems are previously uncollected. A beautiful, elegant and refined new book by Enid Mark. A successful melding of text and image.

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

39 (ELM Press) The Elements. APoem 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 by Daniel Keleher at Wild Carrot Letterpress on mouldmade English Somerset. Within three of the sections, parts of the poetry are printed on fold out sheets of various Japanese papers. The lithographed images were conceived with a camera but manipulated digitally with photoshop software in order to generate the films used to create the duotone and tritone images. These films were transferred to plates and printed as hand lithographs by Timothy P. Sheesley. Bound in silver-gray Italian book cloth over boards; the binding is enriched with blind embossing and spine label. Textured gray paper from Twinrocker Handmade Paper is used to line the covers and for the end pages. Hand bound by Sarah Creighton. An edition of 45 numbered copies, signed by the poet and the artist. Fine.

$2,250.00

Susan Stewart wrote The Elements, this long poem in four parts, in collaboration with artist Enid Mark, who created the book’s visual form. The poet, author of three previous books of poetry and a MacArthur Fellow, called on the long Western history of myths and literature on air, fire, earth, and water; in the end she she created a sequence unified by the themes of love and strife traditionally associated with the elements. ... The poem unfolds in time as a meditation on time and mortality. Each of the sections of The Elements - Air, Fire, Earth, and Water - is defined by a visual image. This image is introduced as a horizontal band that has its own rhythm, fading and increasing in dimension and intensity as the pages turn. On the final page opening within each section, three-color lithographs bleed over the four edges of the ... spread of the book. Throughout the work, the concrete forms of the sections of the poem, unique to the volume with its wide format, become an integral part of the visual imagery.- Prospectus.

Susan Stewart received the 2004 National Book Critics Circle Award for poetry, for Columbarium, a trade edition published by the University of Chicago Press. Columbarium features AIR FIRE EARTH ANDWATER from The Elements.

40 (Flying Sugar Press) The Magic Flute. An Opera in Two Acts by Wolfgang Amadeus Mozart. An artist’s book by Yaron. London. [January 2000 - September 2001.] French fold pages. 11.5" x 15.5". Title page with synopsis of the opera on the front leaf. Twenty-seven monoprint images with oil-based inks in shades of sepia and brown printed by Yaron on a handpress in his London studio on BFK Rives 300gsm. Bound by Rob Hadrill at book Works, London, in full fawn leather with design by Yaron printed on the back and front boards. Khaki cloth slipcase. No. 2 in an edition of four similar but not identical copies, plus one Artist’s Proof, signed by Yaron. Fine.

$4,500.00

The plot of The Magic Flute told in full page images by Yaron.

An eighth-generation Israeli born in Tel-Aviv, Yaron's first loves were art and writing. While serving in the navy he produced a shipboard newspaper. Later he wrote regularly in the Israeli press and had his own column, illustrated with cartoons, in a major daily newspaper. His cartoon book, Around Africa, about a sea voyage from Haifa to Eilat was published and, aged 24, Yaron was awarded first prize in a national short story competition. However, with growing family responsibilities, he felt that he needed a more secure career. He built a very successful accountancy business, always knowing that a day would come when he could leave it all behind and devote himself to his real calling.

In 1991 Yaron founded Flying Sugar Press (the name arose from his misnomer of the etching technique known as sugar lift) to produce finely crafted artists' books in limited, handprinted editions illustrated with his etchings, linocuts, woodcuts or monoprints. As well as books, Yaron produces editions of prints.

41 (Mary Heebner) On the Blue Shore of Silence: Poems of the Sea by Pablo Neruda. A la Orilla Azul del Silencio: Poemas del Mar por Pablo Neruda. Designed and illustrated by Mary Heebner. English translations by Alastair Reid. simplemente maria press. [Santa Barbara. 2001.]

Portfolio - 14” x 11”. The original watercolor paintings in the Isla Negra series were made for the specific purpose of creating the editioned book, On the Blue Shore of Silence, using the Giclée printing process at Duganne Atelier, Santa Monica, under the direction of the artist.They were produced on Somerset Velvet 300. The portfolio consists of 12 hand-folded folios each containing an image presented with a poem in Spanish by Pablo Neruda and Alastair Reid's translation into English. The text was printed letterpress from polymer plates at The Lumino Press, Santa Barbara, California, on handmade linen paper produced by the artist with the assistance of Pat Almonrode at the Dieu Donné Mill in New York City. The poems digitally typeset using Adobe Jenson for the English text and Arrighi for the Spanish. Trajan was used for titling. The cockling on the edge of the linen sheets was purposefully intended to allude to waves approaching a shore. The handmade linen wrappers were individually painted with indigo pigmented pulp by the artist at Dieu Donné Papermill, New York. Images and poems were tipped onto larger sheets of Fabriano Tiepolo. Also included is a hand-sewn signature consisting of a title page, an introduction, a table of contents, colophon and acknowledgments. In a handmade case constructed with imported Japanese blue flecked silk bookcloth over boards with Birch wood sides. Title on spine; fasteners are silverplate. The cases were produced at The Lumino Press. An edition of fifty copies; the first twenty-two are Special edition copies with each including one of the signed, original watercolor paintings from the Isla Negra series, mounted in a self-standing mat. In addition ten hors commerce copies were also produced. This is one of the regular edition copies. Fine.

$3,000.00

Heebner states: “It was Alastair Reid who ... enabled this project to come alive by agreeing to work with me and let me use his translations. The unexpected joy of producing this book was the time spent listening to Alastair spin stories about his friendship with Pablo [Neruda] as we selected poems, read them aloud, digressed about the sea and Chile, about language, color, and light. ... Carmen Balcells, 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 is a 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 delight at seeing and handling Mary Heebner's On the Blue Shore of Silence (which has now been brought out as a trade book by HarperCollins). Mary Heebner is an internationally exhibited artist and published writer whose paintings and artists books are in collections here and abroad including the San Francisco Museum of Modern Art, Santa Barbara Museum of Art, The United States Embassy in Mowcow, the National Archive of Iceland, the University of California Special Collections at Los Angeles, the University of Alberta, Edmonton, Canada, Unitversity of Reno, and the Fiske collection at Cornell University. She collaborated with photographer Macduff Everton in writing the text for The Western Horizon (Abrams, 2000).

42 (Mary Heebner) Seeking the Open Heart. Poems by Michael Hannon. Images by Mary Heebner. simplemente maria press. Santa Barbara. 2002. 9.25” x 9.25”.10 Giclee images created in response to the set of ten poems. The edition of Giclée prints was printed on Somerset Velvet Enhanced paper using Pinnacle gold archival inks at Duganne Atelier, Santa Monica. Text printed letterpress from photopolymer plates, typeset in Baskerville MT, at The Lumino Press. Pastepapers over cover boards created by Mary Heebner; toning cloth spine with gilt title. Pale green card slipcase. An edition of 70 copies for sale, plus 5 hors commerce, signed by Mary Heebner and Michael Hannon. Fine.

$850.00

Heebner states: “Only by listening over and again for the rhythm in Michael’s poetry could I begin to paint. As a reedman, who had also recorded countless musicians, my dad, Walt Heebner, used to tell me this: - to find a rhythm, you had to listen to the space in between the notes. ... These images are in memory of him.” The ten original acrylic and pastel paintings were Heebner’s response to Hannon’s set of poems. The paintings were made specifically to create the book, and the prints were editioned under the direction of the artist. A beautiful book, with jewel-like images.

43 (Mary Heebner) Bayon Sketches. Artist’s prints by Mary Heebner. Simplemente Maria Press. [Santa Barbara. 2003.] Two sets of 5 accordion fold signed images. 5” x 5”. Pigment prints, made directly from the artist’s watercolor sketches, on Somerset Velvet rag paper. With booklet containing detail of map on the front. These are wrapped in a cotton khataj, a Buddhist ceremonial scarf, and contained within a black paper envelope folder with a thumbnail image of one of the sketches as a label. One in an edition of 20 boxed and signed copies. Fine.

$325.00

“ ... Wandering among the Khmer ruins of Angkor Thom, drawn towards the absolute center of this square, walled town; BAYON. What appeared at a distance to be beehive-shaped rock formations, were the clusters of towers that crown the temple ruins of Bayon. ... carved in situ with enormous portraits gazing out in four directions. ... I found shelter under a carved lintel. The ochre stone shone golden ... I made watercolor drawings, dipping my brush in the puddle beside me, watching the sky blush and then blacken against these gigantic forms.” - Mary Heebner.

44 (Mary Heebner) Folio No. Two: Scratching the Surface. Broadside. Text and image by Mary Heebner. Originally from the book Scratching the Surface: A Visit to Lascaux and Rouffignac. simplemente maria press. [Santa Barbara. 2003.] 22” x 9”. Direct pigment print, letterpress text, on Fabriano Uno rag paper with gold debossing of simplemente maria pressmark. In an edition limited to 50 signed and numbered boardsides, this is copy No. 14. Fine.

$95.00

45 (High Tide Press) On Liberty and Justice. Quotations from 16 philosophers. Illustrated with woodcut portraits by John Ross. High Tide Press. [New York. 1992.] 10" x 8". Black and white woodcuts printed from the original blocks on a Vandercook proofing press by John Ross. Letterpress printed in Simoncini Italian Garamond set in Linotype and printed by Ross on Saunders Waterford. Headlines in color are various wood and metal font from the High Tide collection. Multicolored Basingwerk endpapers patterned with woodtype letters. Top edges uncut. Red cloth boards and matching slipcase with paper title label. One of 40 copies, signed and dated by Ross. Fine.

$800.00

A classic book with statements on liberty and justice by Socrates, Plato, Aristotle, René Descartes, Blaise Pascal, Baruch Spinoza, John Locke, David Hume, Jean Jacques Rousseau, Immanuel Kant, John Stuart Mill, Henry David Thoreau, W.E.B. DuBois, Bertrand Russell, Hannah Arendt, and John Rawls.

Ross writes: "The first woodcuts in the Philosopher series were cut in the early 1960s. I had done 40 or 50 of these portraits and thought of a book, with appropriate quotations from their writings, at that time. It took thirty years to find the time to complete the project, on the theme of Liberty and Justice. Choosing the right quotation was the most difficult aspect of the job. Many of my favorite portraits turned out to be of philosophers who had written little on the topic. Selecting the right paragraph was the most time consuming part of the process."

46 (High Tide Press) Patterns of Morocco. Prints by John Ross. Text by Various Authors. 12 leaves.12.25” x 12.25”. Printed on Lenox 100 white, with the majority of the collograph plates relief printed on a Vandercook 219 proving press. Image of a brass tray printed intaglio on an etching press. One tip-on illustration, as well as a fold-out graphic. Two pages with pieces of original Moroccan textile work. Various images of people, places, and animals printed by a xerox process. Red leather spine with gilt title and side decorative line; black cloth boards with inset of an example of original colorful weaving. Red cloth slipcase. An edition of 14 signed copies. Fine.

$2,500.00

The textile on the cover was woven from wool in a plain weave with weft substitution by a Berber woman in the Middle Atlas mountains on a simple upright loom. Each binding is a unique variant containing a different textile fragment on the front panel John Ross was one of 13 printmakers invited to work in the printshop of the Assilah Forum Foundation in the summer of 2001. A wonderful, complex, and colorful book, which brings alive the sights and textures of Morocco.

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 Cultural Festival each August. In the summer of 2001 I was one of thirteen printmakers invited to work in the printshop in Assilah, asked by Mohammed Omar Khalil on behalf of Mohamed Benaissa for the Foundation. The work in this book represents some of the impressions that I received as a result of the visit to Morocco. The complete reliance on a abstract, geometric concept of art has led to a flourishing 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, mosques and 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 another way. Representational art is little used in Morocco for enhancing the mosques or other official buildings throughout the country.”

47 (High Tide Press) Typopolis: A Journey to the city of type. Designed and printed by John Ross. Tipoteca Italiana Fondazione and the High Tide Press. [Italy. East Hampton, New York. 2002.] Accordion fold. 13.5" x 9.5". Printed in many colors mostly on Fabriano A5 Disegno, with some paper by J. Barcham Green. A Vandercook type 4c, a Kobold FAG Control 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 Greek from various sources. Black cloth boards, with a recess on the front board containing a ‘mock’ plastic printer’s type block with the title printed backwards in various colors. Black cloth slipcase with woodtype letterpress printed, brilliantly colored, full page title label. One in an edition of 25 copies, signed by John Ross. Fine.

$2,000.00

Almost all the type is from the collection of the Tipoteca Italiana, with a few fonts from the High Tide Press in New York. In his Introduction, John Ross writes: "Five years ago ... [I heard of] a newly forming type museum in a town about one hour north of Venice.

"... Clare Romano, my artist wife, and [I went] to the town of Cornuda, in the province of Treviso, to visit the just organized Tipoteca Italiana, a foundation created for the purpose of collecting and preserving the type and presses used in the letterpress printing industry. ...

"The driving force behind this new museum of type and presses is Silvio Antiga, the president of the Foundation and a director of the printing firm of Antiga Grafiche, a thriving, high quality press for posters, fine books, and other commercial and industrial printed material. The unmatched energy and enthusiasm of Silvio Antiga is the prime reason why this new collection of type and presses has developed so rapidly and efficiently into one of the most complete collections in Italy.

"Antiga wrote to over sixty of the most prominent printing firms in Italy to ask if they would send their rarely used type and other equipment to form the core of the growing collection. The response was overwhelming and the new museum was flooded with thousands of fonts of type, scores of presses, type setting machines and other devices that had been outmoded by newer systems.

“Of course, this mass of material needed to be housed, so the Tipoteca bought and reconstructed a deconsecrated church nearby, erected new structures and designed new and efficient spaces to show some of the collected equipment. Several warehouses are storing more presses and type. Each press is repaired to working condition before it is displayed, 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 the equipment collected in the Tipoteca. He agreed and this book is one of the first efforts to produce new work using old technology."

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

48 (High Tide Press) The Art of Fruit Desserts. Prints by John Ross * Recipes by Sam Joffe. East Hampton. New York. [2003.] n.p. 11.75" x 9". Fruit wrappers used on the title pages are from Florence, Italy, and collected in 1958 and 1959. Collagraphs, printed from collage plates made from mat board, fabrics and other materials glued together with acrylic polymer gesso. Printed on 2 ply Rising museum board. Quotations and recipes are printed on Lenox 100 paper. Quotations are printed in Garamond Italic and recipes are set in Helvetica Lite. Both fonts are from the linotype machine. All images and text are printed on a Vandercook 219 proof press in the East Hampton print workshop of the High Tide Press. 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 metal ring binding holders at the top. The back is double green cloth board joined with cloth which allows the book to stand upright to see the recipes (while cooking!). The metal rings allow the pages to turn easily. In a dark green cloth thick board slipcase with slips for the two metal rings. One in an edition of 36 copies signed by John Ross. Fine.

$1,250.00

Charming quotations relating to a specific fruit by many poets through the ages precede the sections on 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 cakes led John Ross and Sam Joffe to collaborate in this tribute to fruit desserts. The idea is simple; make a book that combines the art of printmaking and the art of baking.

“Sam is the baker, the recipes are his. John is the artist-printmaker, the visual images are his. Working together for the past three or four years has enabled both of them to appreciate the problems as well as the joys of their separate endeavors, a humbling yet gratifying experience." - Introduction by Ross & Joffe.

49 (Horst Janssen) Neue Zeichnungen. By Horst Janssen. Propyläen. Verlag Ullstein GmbH. Frankfurt am Main. 1973. 40 images. 13.5" x 18". Red paper boards; cloth backed spine. Dust jacket. Card slipcase. Fine.

$200.00

A bound album of drawings and watercolors by the very talented Horst Janssen from 1970-1972.Horst Janssen (1929-1995) is today considered as one of the most important commercial artists and draughtsmen of the post-war period. He, together with the deceased George Gresko and Paul Wunderlich, formed the Hamburg art scene in the early 1960s. His entire oeuvre covers many thousands of works and there is now an art center in Hamburg devoted to his work.

In 1997 the Hanseatic city of Hamburg acquired the collection of Hartmut Frielinghaus, Janssen’s printer. The systematically developed collection contains original prints, woodcuts, lithography and designs from the entire creative period of the artist. The collection also includes Janssen books with the dedication sheets.

50 (Paul Johnson) A Light to Lighten the Way. Unique pop-up book by Paul Johnson. [Manchester. 2003.] 13.75" x 10". Hand-painted three-dimensional book designed and made by Paul Johnson. Red board covers. Signed by Johnson. Fine.

$825.00

Paul Johnson, the British artist, writer, researcher and book artist, travels around the world dividing his time between researching the book arts in education, running the Book Art Project in England and producing his own work. His published work includes: A Book of One's Own, 1993; Pop-up Paper Engineering, 1992; Literacy Through the Book Arts, 1993; and Books Searching for Authors, 1994. [See Paul Johnson's article, The movable, threedimensional, multi-experimental Book, in The New Bookbinder, Vol. 16, 1996.] His personal work embraces the areas of paper sculpture, paper environments, books and paper furniture. He has exhibited at major one- man and group exhibitions of work in paper in England, Europe and Japan. He was elected to the Crafts Council Index of Selected Makers in 1989 and in the same year profiled on BBC TV's 'Handmade' series on British crafts. Johnson's work is in public and private collections internationally.

Johnson thinks of his books as 'interior architecture' - because they can be opened up and experienced as three-dimensional forms. He feels that paper is by far the most versatile of all art materials. His use of a brilliant and glowing color palette makes his work a visual treat.

51 (Paul Johnson) The Tree House of Time. Pop-up book by Paul Johnson. [Manchester. 2003.] 7.5” x 9.75” Handpainted doublepage pop-up spread designed and made by Paul Johnson. Laser printed on mouldmade 90lb Hahemühle Aquarell. Hand assembled and hand bound on mouldmade hand dyed red Waterford paper over board. Maroon spine. Edition 2. An edition of 10 signed copies. Fine.

$195.00

52 (Paul Johnson) Sailing to the Dance of Day. Pop-up book by Paul Johnson. [Manchester. 2003.] 7” x 9.5” Handpainted double- page pop-up spread designed and made by Paul Johnson. Laser printed on mouldmade 90lb Hahnemühle Aquarell. Hand assembled and hand bound on mouldmade hand dyed red Waterford paper over board. Maroon spine. Edition 1. One in a first edition of 10 signed copies. Fine.

$175.00

53 (Paul Johnson) Flying to the Roof of Time. Pop-up book by Paul Johnson. [Manchester. 2004.] 7.5” x 8”. Handpainted doublepage pop-up spread designed and made by Paul Johnson. Laser printed on mouldmade 90lb Hahnemuhle Aquarell. Hand assembled and hand bound on mouldmade hand dyed red Waterford paper over board. Maroon spine. Edition 1. One in a first edition of 10 signed copies. Fine.

$175.00

54 (Ines v. Ketelhodt) Der Kuss im Traume. Artist’s book by Ines v. Ketelhodt. [Sonnet by Karoline v. Günderode.] [Oberursel. 1993.] 24 photographs by Ines v. Ketelhodt. 44p. 11.5" x 7.5". Photographs printed from polymer plates. Printed on bookprinting paper. Text handset in black letterpress. Photographs of kissing scenes from Hollywood’s dream factory taken from the television screen. The photographs are printed in letterpress in twenty-four different red, orange and purple shades (lipstick colors) and fill the entire format. Stitching the sheets in layers created double spreads composed of two different motifs, i.e. new combinations of couples and colours. The strict sonnet form is broken up typographically, the text dissolved into words and sentence fragments and spread throughout the pages in the book. Red linen over board cover with orange and black paper title labels on front and spine.In an orange paper-covered slipcase. One in an edition of 50 copies, signed by v. Ketelhodt. Karoline v. Günderode was an early 19th century German poet. Fine.

$325.00

55 (Angela Lorenz) Maxims by the yard: Some in meter. Spools of Knowledge. Vol. 1. Artist’s book by Angela Lorenz. [Bologna. 2003.] Roll of ribbon 5.5” in diameter. Red/pink ribbon with maxims in red on the pink side of the fabric. Card holder with title in red on one side and edition number in pencil on the back side. Spool title printed at Stamperia Valdonega of Verona on acid-free cardstock manufactured by Cartiere Fedrigoni. Spool die-cuts created and executed in Bologna's industrial quarter. Ribbon woven in Carpi, Italy. Sewing, ironing and cylindrical forms carried out by the artist. The volume is stored in a non-adhesive cardstock clamshell box, with one woven maxim, visible on the spine, used to bind the clamshell together. One of 100 copies. Fine.

$375.00

Angela Lorenz never ceases to amaze and instruct with her clever concepts for her creative bookworks. This volume of 36 original maxims mimics a spool of ribbon from a sewing shop. The maxims, one for every inch in a yard, are woven, not printed, on a computerized loom. The letters are red on a white ground, with reverse tones on the verso. The ribbon scroll has two joins, sewn on a sewing machine, with ironed folds to evoke the folds of banners or scrolls with titles or mottos, often with Latin text, found in paintings, crests and seals.

“The typeface is sans-serif to increase the legibility of the woven letters, but the upper-case initial letter of the first word in each phrase is in a Roman type approaching Palatino. The titling on the cardboard spool itself is genuine Palatino, designed by Hermann Zapf. It was based on Renaissance letterforms which in turn reflected Ancient Roman chiseled lettering, when both serifs and maxims were very popular. One of the maxims on this roll, "Good messages bear repeating, not plagiarizing" relates both to the Palatino typeface and Hermann Zapf’s career. Good messages, verbal and visual, have always appeared in history. ... Maxims attempt to express fundamental principals, as well as rules of conduct, in a concise manner. 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" figures in the title. That is also why there are precisely one hundred copies in this edition; one for every centimeter in a meter.”

56 (Susan Lowdermilk) Power Play. Artist's book by Susan Lowdermilk. [Eugene. OR] 2002. 4.25" x 4.25". Six-panel Jacob's ladder structure. Both the book and protective wrapper are printed entirely of woodcuts in black and grey. Title in black. An image of rock, paper, or scissors appears on each panel, with the backgrounds carved to imitate wood grain. One in an edition of 35 copies, signed and numbered in white ink on the black painted inside of the slip-on wrapper. Fine.

$200.00

A worthy successor to Mapping the Great Book

57 (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, finally, printed intaglio on BFK Rives de Lin Moulin du Gué paper. Text printed in Papyrus font. The center page is of Canford gold; other colors are handpainted with watercolor. The book is sewn onto tapes with kettle stitch and covered with Cave Indigo paper, handmade by Amanda Degener and Bridget O’Malley. A golden orb shines from the center of the front cover. The ephemeral fly leaves are Mitzutamazen lace. Laid in a black box with a lift-off lid; paper title label on lid. An edition of 20 signed copies, with 3 AP copies. Fine.

$625.00

These images were inspired by the artistry and science of ancient celestial maps. McGillivray writes: “Following the creation of Mapping the Great Book (2001), with its centered book of star maps placing us at the very center of the visible Universe, I started wondering about the Center of Universe and Self.

The ancient peoples were secure in the sacred mountain and world tree centers of their worlds. The early astronomers, whose books I love to read and whose artful maps and charts I love to see, came along to confirm (what still "appears" accurate) that our planet Earth was the center of the Universe. Eventually we had to accept the Sun as the center, but that center did not hold either. Astronomers concluded that our sun was merely one sun, far off-center, in a spiraling galaxy that was the Universe. Now we know there are galaxies galore and we are told that there is no center.”

58 (Melville Press) The Owl and the Pussycat. By Edward Lear. Artist Catherine Kanner. Pacific Palisades. 2003. Accordion fold tunnel book. 6.25" x 7". Poem on side front cover. Printed inkjet with archival inks on Somerset Velvet 100% cotton paper in Weiss. Designed, printed, bound and illustrated by the artist. In an illustrated slipcase of the same paper tied with a green ribbon. An edition of 75 copies, numbered and signed by Katherine Kanner. Fine.

$95.00

"Edward Lear’s The Owl and the Pussycat was originally published in 1871 and is, as he described it "nonsense, pure and absolute". ... This edition includes a fragment from an unfinished sequel to The Owl and the Pussycat, published posthumously." - Colophon.

59 (Melville Press) In the Direction of the Beginning. By Dylan Thomas. Catherine Kanner Artist. Commentary by Nathan O. Reynolds. Pacific Palisades, California. 2003. 7 linocut illustrations printed directly from the original linoleum blocks. 14 printed leaves. 12.25" x 8.75". Letterpress printed in Centaur, on Pescia 100% cotton mouldmade paper and bound by Lawrence Van Velzer and Peggy Gotthold at Foolscape Press. Black silk fold-around binding with title in silver on spine and recessed illustration on the front board. Self-closing cover with cream shell clasp. One in a limited edition of 200 copies, signed by Catherine Kanner. Fine.

$500.00

"As a poet and storyteller [Dylan Thomas] is demanding; indeed, at times, "dense to the point of clotting." However, a willingness to participate in often extravagant wordplay, a modicum of patience, and a lively imagination will yield, for the reader, pleasures from even the most dense of his work. In the Direction of the Beginning provides an excellent opportunity to exercise all of these virtues."

"Written somewhere in the early to mid 30’s, it was first published in Wales in March, 1938." "... Dylan loved words. He used words not simply to render reality, but to create and make accessible a reality beyond the ordinary, logical reality of everyday life." - Nathan O Reynolds.

The third work by the Melville Press. It has received a Rounce & Coffin Award for Excellence in Book Design and will be part of the traveling Western Books Exhibition 2004- 2005.

An exciting tableaux work by Lois Morrison

60 (Lois Morrison) In the Land of Shadows. Artist’s three-dimensional book by Lois Morrison. [New Jersey. 2003.] 3 double- page spreads in an accordion-fold format. 8" x 10" x 5.5". Multi-dimensional cutout color images set against colorcopied backgrounds. The green color layers are linoleum cuts printed with an oil-based ink onto tyvek. Figures are Gocco-printed onto Cross Pointe synergy. Black text in ‘Kids’ typeface on oriental paper. Various cutouts are on wire or glued to the sides of the yellow painted light wood built-up frames to each spread. Each frame is backed with the same hand-dyed yellow/red, blue-and-white ticking over board. Frames hinged with bright yellow handdyed twill tape. Front board with green embroidered title and yellow decorative appliqué. Held in a wrap-around yellow cloth trimmed with red, stitching in red or green. Clasps of flat red round plastic discs sewn to yellow beads, and fastened with green cord. One in an edition of 18 signed copies. Fine.

$1,200.00

Another innovative book by the talented Lois Morrison. With contemplation, the tableaux unfolds to reveal its serious purpose.

61 (Lois Morrison) Incarnations. Artist’s pop-up/movable book by Lois Morrison. [2003.] 7 double-fold openings, plus colophon. 3.25" x 9”. Color copied and printed with a Gocco printer on plastic, Neddigan, Crown Pointe's Synergy and Strathmore drawing 400 series. Gone back into with Pigma Micro pen, colored pencil, water colors and painters medium opaque paint marker. Type is Bard. Handcut, grommeted, assembled and bound. Endboards of mottled brown ‘snakeskin’ and blue paper over board. In a green, white and black flower patterned cloth folder lined with brown silky cloth, and fastened with 3 black buttons. One in an edition of 25 signed copies. Fine.

$450.00

62 (Jan Owen) That is Happiness. A unique calligraphic book/hanging by Jan Owen. Text from various sources, including Willa Cather and Bernard Berenson. Bangor, Maine. 1999. 45" x 15" open. Design and construction by Owen. Acrylic on paste paper, gold leaf and woven Tyvek, backed with Tyvek. Cord in cover board to allow for hanging. Cloth covered portfolio case. Unique work signed by Jan Owen. Fine.

$1,100.00

Several of Jan Owen’s unique book/hangings have been on exhibition at the National Museum for Women in the Arts, Washington, DC.; she has exhibited in Europe as well as the USA, and her work is in many private and institutional collections.

63 (Jan Owen) Odyssey. By Homer. [With permission to use the translation by Robert Fagles.] Aset of three calligraphic foldout hanging books by Jan Owen. [Maine.] 2003. 4 calligraphic folding ‘pages’ to each book. Each book is 13" x 14.25" closed. The 3 open hangings are together 46.25" x 45". Light fast acrylic and sumi ink on paper with woven Tyvek and gold leaf. The four panels are filled with calligraphy in shades of yellow, orange and browns, with gold. Broad black brush strokes across the bottom of the three panels are only complete when viewed as one large image. Around gold and yellow woven Tyvek circle on each panel completes the design. Yellow decorated paper boards with paper title label, and thick cream braided cord to hang each book for exhibition or display. In a yellow patterned fabric folder lined with the same yellow decorated paper; with cream ties and matching calligraphic title label. Unique work signed by Jan Owen. Fine.

$2,750.00

A printed copy of the text, as well as a xerox of a letter from the translator giving permission for use, is included with this breathtaking piece. A stunning work, with the broad black strokes of the calligraphic design at the bottom of each panel contrasting superbly with the yellow, orange and gold shading of the upper portions of the panels.

64 (Red Howler Press) The Darklings. Unique manuscript book with drawings and text by David Moyer. 2003. 16 leaves plus colophon. 6.875" x 4.875”. Original black ink drawings with text throughout. Bound in brown goatskin, with the cover embossed from an endgrain woodblock cut by the artist. Laid in dropback box with brown leather spine and marbled paper boards. Unique book signed on the colophon page. Fine.

$1,500.00

Moyer teaches graphic design, and his work has been exhibited widely in the United States, Britain and Europe. Examples of his books are in various institutions and libraries internationally.

Moyer states: "The relationship of words and visual images has always been important to my work. It makes little difference if I’m involved in wood engraving for images to be included in a limited edition letterpress volume for Red Howler Press or making drawings for a unique one-of-a-kind manuscript book, it is the dance of text and image that concerns me. My drawings have sometimes been called "quirky", and this does not seem an unreasonable description as I find endless inspiration in the quirky world - past, present, and the imagined future. Science, technology, politics, and philosophy are all points of departure for my work which explores fact and folly with picture and word." Indeed, the wonderful ‘quirky’ and humorous beetle-like insects and their attendant text that fill these pages leave one with a smile at the foibles of man!

65 (sailorBOYpress) T-Pallidum. Visual collaboration between Jeffrey Morin and Ron Buffington. [Stevens Point. Wisconsin. 1996.] Accordion fold. 8.25" x 8.25". Buffington visual images are placed on the left side of the spread, and Morin’s type constructions are on the right side of the spread. Various papers. The words that stimulated the images are listed in order at the end of the book. Buff color boards with title and decoration on front. One in an edition of 45 numbered copies. Fine.

$300.00

Ron Buffington is a Tennessee painter; he was attracted to the scientific photography that accompanied such articles. Morin writes: "This project was interesting for two reasons: I taught Ron how to translate his painting into relief prints, and I could explore the nature of letterforms separate from text or readability. It was also my last book while in Tennessee and my first book in Wisconsin."

66 (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 Type foundry. Engravings made from original drawings and text from Lester Raymer’s journals and letters. Buff paper board with a single white paint mark as decoration. An edition of 50 copies. Fine.

$275.00

Morin met Lester Raymer in 1986 at Bethany College, and says that he was interested in him 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 of Lester Raymer. A sensitive and successful book.

67 (sailorBOYpress) Cloister. Artist’s book by Jeffrey Morin. [1993.] 20p. 8.5" x 6". Set in Craw Clarendon on various papers. 6 popups in paper and metal between pages. String, collage and fabric on several pages. Buff handmade paper wrappers. One in an edition of 30 copies. Fine.

$250.00

A poetic and contemplative text about the countryside where Morin had decided to site a school of craft. His idea never materialized, but this book is a worthwhile momento of an attempt at a concrete artistic endeavor.

68 (sailorBOYpress) Two Months; being an account of life as a prisoner of war. [By] Horace Smith. Artist’s book by Jeffrey W. Morin. Stevens Point, Wisconsin. 2002. n.p. 11.5" x 8.75". 26 images that are collaged and/or relief printed. Bone, metal wire, paper, colored threads, and cut-out stars form part of the images. Printed on different colored found papers that have been colored with gelatin size. Four signatures with open sewn spine, with three cream bands ending with copper colored metal squares across spine and part of wrappers. Brown cloth dropback box. One in an edition of 31 copies, signed by Morin. Fine.

$700.00

Text from the diary of a Civil War soldier from Wisconsin who was a prisoner of war on Belle Isle in the Confederacy. The diary is in the Archives Division of the Wisconsin Historical Society, and has not been corrected. Because of a coincidence of timing with printing schedule, there is a reference to the September 11th 2001 attack. "The images evoke wounds, scabs, pitiable scraps, and how these things become badges of honor." - colophon.

69 (sailorBOYpress) The Twelve Articles: How Joan of Arc and John affect the same persecution. Artist’s book by Jeffrey W. Morin. Stevens Point. Wisconsin. [2001.] n.,p. 11.5" x 9". 16 Reduction woodcuts plus 5 illuminated letters loosely based on Goudy’s Cloister Initials. Printed in red and black primarily set in Bodoni cast specially for this project. Handmade papers of various colors that use cotton scrapes of bedding. Open sewn wrappers ending with a decorative edging to the thread. Gold cord attached to the front wrappers folds around the book with a printed card at the end. Blue drop-back box lined with salmon pink paper. One in an edition of 40 copies. Fine.

$1,000.00

The woodcuts illustrate a contemporary figure assuming the accusations against Joan of Arc. The text has been ‘cannibalized’ from the trial record of Joan of Arc. "To deal with his sense of persecution, John folded his life into Joan’s and there are probably several other Johns on our landscape dealing with life in a similar way." - Colophon. The illuminated letters and the woodcuts are in strong and bold colors which add to the impact of the book, which is a pain filled contemplative on God, sexuality and AIDS.

70 (sailorBOYpress) Sacred Space. Book and components to build a model for a chapel 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. 17 leaves. Book -14.25" x 6.25". Box - 16" x 12".

Most of the various color papers for this book were made at Caren Heft’s Root River Mill. Wood type in different colors is used as page decoration, as well as on the front cover. Open spine sewn with brown cord, brown cloth covered boards with title and design on front board. Endpapers of handmade paper from Nepal. The box lid is the base for 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. Copper rod skeletons with Okawara rice paper skin are covered with a casting resin after the technical drawings are transferred using an inkjet printer. The roof is copper-leafed davey board, and it also forms the tray in which the book rests. Box painted with copper leaf. An edition of 35 copies, signed by Steven Ferlauto and Jeffrey W. Morin. Fine.

$1,750.00

"What it should look like is a modern chapel with stained glass walls of the alphabet under a copper roof." - Morin.

Already in the collections of The Library of Congress; Rochester Institute of Technology; The Bruce Peel Special Collections Library, University of Alberta, Canada, and the Jack Ginsberg Collection, Johannesburg, South Africa.

71 (Egon Schiele) Egon Schiele: Aquarelle und Zeichnungen. Herausgegeben von Walter Kochatzky, ausgewählt und bearbeitet von Erwin Mitsch. Galerie Welz. Salzburg. 1968. 15p. 20.5" x 15". 64 reproductions, mostly in color. Red buckram portfolio with title in white on front. Veröffentlichung der Albertina Nr. 4. Fine.

$1,500.00

Egon Schiele (1890-1918) was an Austrian painter and member of the Wiener Werkstätte Movement. "In a mere eight years of activity he had established himself as one of the most spontaneously gifted draughtsmen of all time - he drew with the speed of a man writing a letter full of news - and he left behind a body of paintings, drawings and water-colours which, though informed by the obsessive self-regard of the first Freudian age, is wholly individual and could never be mistaken for that of anyone else." - From an appreciation by Michael Ratcliffe.

72 (Carol Schwartzott) The Old Bamboo Hewer: A Japanese Romance of the Tenth Century. Artist’s book by Carol Schwartzott. [Freeville. New York. 2000.] n.p. 13" x 7.75" x 1.625". Made of a combination of Japanese papers, some are chirogami or of printed design, others have been decorated by the artist; these include paste, stencil, water marbling, handmade Japanese papers, linen and mitsumade combinations. Letterpress printed from plates, with some of the Kendo decorative initials gold leafed or gilded. Illustrations started as linoleum cuts in black and white, and were hand-colored and collaged to represent small hanging scrolls, using watercolor, gouche, acrylic paint, gold and silver lead. Accordion fold book in tan-blue Japanese cloth with endpapers of paste/stencil and block printed motifs. Decorative paper label on front board. Laid in a board box with sliding door, covered and lined in a combination of decorative papers. Inset at the bottom of the box is a piece of bamboo, serving as a divider for the two replications of the actual texts in Japanese and English. These are soft bound with variations of paper on their covers. No. 10 in an edition of 10 signed copies. Fine.

$750.00

Schwartzott states that she is a strong believer in the philosophy that a book should not only be beautiful, but should contain some sort of information. Those who know and collect her books can confirm that this is the case with all her work. This new book is a delight. Schwartzott decided to include the facsimiles of both the English and Japanese versions as she felt the footnotes are very interesting and helpful, and for those that can read Japanese, the subtle nuances of that language are available.

73 (Kristiane Semar) Gilgamesch: Die Weltränder Im Auge. Text aus dem Gilgamesch-Epos. Radierungen von Kristiane Semar. [Text from the Gilgamesh Epic. Etchings by Kristiane Semar.] [Belfast. September 1994.] n.p. 23.25" x 15.25". Illustrations in blind at beginning and end of text. 26 original black and white etchings, all signed and dated, illustrating different sections of the Epic. Etchings on different paper, depending on copy number. Text in Perpetua using an Apple Macintosh with PageMaker 5.0 on translucent Japanese Shoin-bis paper or Chinese Xuan paper. Endpapers of black and white etchings. Bound by the artist in black linen spine, with cream paper boards; title and recessed etching in black on front board. No. 4 in an edition of only 5 copies, signed by Kristiane Semar. One page creased, else very good.

$2,500.00

This book was made in 1993/1994 during Kristiane Semar’s Postgraduate Course in Applied Arts at the University of Ulster, Belfast. It is a monumental production of love, well suited to one of the world’s oldest written stories which comes from Ancient Sumeria, and was originally written on 12 clay tablets in cuneiform script. The subject is the legends and myths that have accrued about the historical King of Uruk (somewhere between 2750 and 2500 BCE) who lived in Babylonia on the River Euphrates.

74 (Shirley Sharoff) The Great Wall. Artist’s book by Shirley Sharoff. [Paris. 1991.] 10" x 5.375". One continuous strip with the top edge red, the Great Wall unrolls to a length of 7 meters but can be stood up to make a Wall of paper. Eight etchings, plus comments by the students, alternate with the text in English, French and Chinese. Hand set in Athenaeum type by Francois Da Ros on Arches paper ‘prepared’ to look like a tablet whose text had been worn away. Folded like a snail, the book is in an Althuglas clip inserted into a box cover. An edition of 65 signed copies. Fine.

$750.00

Sharoff writes: "In 1988 when I returned to Paris after a year’s stay in Beijing, China, teaching English, I knew that I would have to assimilate this profound experience in some way. Avery strong impression concerned the bittersweet nature of Chinese life where objects, landscapes, people and living conditions could be sublimely beautiful, but balanced in other situations by everything that could be harsh, difficult, tiresome and complicated. How to find a text which could express this ying/yang situation. Finally, I found it in a text by LuXun, China’s most famous 20th century author, written in 1926. Hoping to see a new and modern China, he writes of the contradictions inherent in this great human construction: its monumentality and the loss of life caused by its building. "A curse on this wonderful Great Wall" he writes. As English teacher, I assigned my students short compositions so they could practice writing English, but for me it was a way into the lives of young Chinese. I put extracts from these writings into my book to act as a counterpoint to the solidity of the Great Wall and as a background. ... Looked at from the top, the book reminds me of the labyrinth found in the Old Summer Palace outside of Beijing."

75 (Shirley Sharoff) The Waves. Text by Virginia Wolf. Images and concept by Shirley Sharoff. [Paris. 2003.] n.p. 13.5" x 15.5". Box - 14.5" x 16". Printed on vélin de Rives blanc. Typography by Jean-Jacques Sergent in his studio in Clery-St.André (Loiret) France. Shaped pages laid in a shaped cream folder. Blue textured paper portfolio covering with string ties. One in an edition of 40 copies, with 35 signed copies for sale. Fine.

$800.00

Sharoff writes: "The first time I bought a book by Virginia Woolf, I didn’t know what to expect but I then became an unconditional fan. I was attracted by her beautiful English prose that bordered on poetry. Even today I can call up the images that formed in my mind during my reading of Mrs. Dalloway. So when I decided to make a new artist’s book, I thought to myself, who would I like to accompany me on this new journey, someone whose words I could read over and over again and never be bored or tired? Virginia Woolf of course. I chose The Waves, because I already had an image, my days at the beach in Brooklyn during childhood when the waves crashed against the shore and then receded, leaving behind bits of reeds, seaweed , shells and debris. The six characters in the Waves flow in and flow out, trying to define themselves, to remember and understand their relations with the others - all against a background of a day’s rotation of the earth around the sun. The dimension astounded me. I chose texts which seemed to me the most representative of each character. The colors of the prints follow the different moments of the day: the darkness before dawn, the haziness of the morning, the sharp reds of the middle of the day, the loss of color, the return to the blue of night."

76 (Shanty Bay Press) Homeric Hymn to Aphrodite. Translated by Susan C. Shelmerdine. Illustrated by Walter Bachinski. [Shanty Bay. Canada. 2003.] n.p. 13.5" x 9.5". Designed by Bachinski and Janis Butler, with hand composition, printing and binding by Butler. Four woodcuts and three pochoir illustrations by Bachinski. Printed in Bembo on 250 gsm Somerset Satin paper. Quarter yellow cloth binding with paper title label on spine; front and back boards of cream Torinoko Gamip paper with rondel illustration on front board. Yellow endpapers. Matching yellow cloth slipcase. One of 100 copies for sale in a total edition of 110 numbered copies, signed by Janis Butler and Walter Bachinski. Fine. The third publication of Shanty Bay Press.

$575.00

A refined and elegant new book by a dedicated and fine print small press.

77 (Larry Thomas) Home Schooling. Unique artist’s book by Larry Thomas. [Athens. GA.] 2003. Three double page pop-up spreads. 7" x 6". Collaged and pop-up black and white spreads of schools of fish, with a small collage text label on each of the three spreads. Glued between boards covered with tan handmade paper. Paper title label recessed on front board. Unique artist’s book signed and dated by Thomas. Fine.

$275.00

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

$165.00

79 (Larry Thomas) It’s all yours. Unique artist’s book by Larry Thomas. [Athens. GA.] 2003. Accordion fold. 4.25" x 4.25". Five collaged and three-dimensional pop-up color spreads, with a small collaged text label on each of the spreads. Glued between boards covered with tan handmade paper spine and cream boards; string cord can be tied to allow the book to be presented in a star shape. Paper title label recessed on front board. Artist’s book signed and dated by Larry Thomas. Fine.

$325.00

80 (Larry Thomas) This little pig. Unique artist’s book by Larry Thomas. [Athens. GA.] 2003. Seven double page spreads. 9.25" x 6.25". Collaged color spreads. Glued between illustrated layered boards with a plastic toy pig which seems to go right through the book. Artist’s book signed and dated by Larry Thomas. Fine.

$365.00

Based on the children’s nursery rhyme, the illustrations show pig heads on human bodies. An old rhyme redone for adults!

81 (Verdigris) Fig. Poem by D.H. Lawrence. Mezzotints & screenprints by Judith Rothchild. [Octon. France.] 2001.Loose in signatures. 11.25" x 10.25". 5 original round mezzotints and screen prints hand printed by the artist on Hahnemühle paper. Letterpress handset in Vendôme by Mark Lintott. Two-colored screen print of a fig leaf facing the colophon. Wrappers in Somerset Velvet Black, and slipcase hand screened by the artist, with green fig leaves. Of 48 numbered copies, this is one of 35 thus, signed by the artist. Fine.

$900.00

The beautiful mezzotints show the whole fig ad then ripe figs in various states of bursting.

82 (Verdigris) Pomegranate. [Poem by] Ruth Fainlight. [Images by] Judith Rothchild. Editions De L’eau. [Reynes. France. 1997.] Original text with 6 mezzotints by Judith Rothchild. Loose in signatures. 15.5" x 10.5". Text printed by Albert Woda and the mezzotints by the artist. The four larger mezzotints are on loose sheets, also signed and numbered by the artist.Cream wrappers with mezzotints on both covers. Red dropback box with title in black on spine. One in a total edition of 50 copies signed by the poet and artist. Fine.

$600.00

Pomegranate, the prose poem by Ruth Fainlight, was written after she and her husband, Alan Sillitoe, returned on a visit to Majorca where they had lived nearly thirty years earlier. The pomegranate and its reference to mythology is a recurring thread throughout the text which dwells on aging, friendship, and the passing of time. 

83 (Laura Wait - Bookbinder) Heaven & Earth. Unique artist’s book by Laura Wait. [Denver. Colorado.] 1999. 11.5" x 8" x 1.2" Multimedia paintings with many thin layers of acrylic paint on mylar endpapers, and acrylic paint and various writing instruments on Arches cover paper in many colors. Quarter inch midnight blue stained oak boards made into a medieval structure, with exposed sewing of yellow cord. Sewing supports are riveted with small square copper plates onto three blue leather strips painted yellow on the inside. Copper triangle on front board hammered to a design and with a patina by the artist. Black cloth dropback box with paper title label on spine; lined with padded black suede. Unique variant titled, signed and dated by Laura Wait. Fine.

$3,500.00

This binding was exhibited at the Arvada Center for the Arts in Colorado in the winter of 2002, and recently at the Sun Valley Arts Center, where Wait had been invited to participate. She states: "My work is also about color. I like to paint. I like textures and fluid paint, and the shapes provide a format for the paint. The structure of book allows the incorporation of many related images in one object. They do not necessarily go in order like a written text, but more like a sculpture to be walked around and looked at from different aspects. some words are in the book, partly to give a key or title; as way in to relate to my thinking. The text is not the most important part of my work, just an important part of the whole. Words are also interesting as independent graphic elements within the pages."

84 (Anna Wolf) Koan-Box. Artist's Book by Anna Wolf. Berkeley. California. 1996. 7.75" x 5". Box opens to reveal 4 leporellos which contain one Koan, each opening in a different direction. Silkscreened text. Covered with black and gray-white Momigami paper. An edition of 5, signed by Anna Wolf. Fine.

$380.00

85 (Arne Wolf) From the Revelation of St. John the Divine. Artist’s book designed and produced by Arne Wolf. Berkeley. California. 1996. 28p. 13" x 10" closed; 13" x 20" open. Printed in red and black throughout. Hand set in metal and wood type and printed letterpress on Rives Lightweight. Black Japanese paper board folder with the word 'Revelation' on the paper cover wrapper showing through and forming part of the design. An edition of 25 numbered and signed copies, with 4 artist's proofs. Fine.

$890.00

86 (Arne Wolf) The Battle between David and Goliath. From: 1. Samuel 17. Artist’s book by Arne Wolf. [Berkeley.CA. 1992-1993.] 25.5" x 15". A portfolio containing 15 prints, of which ten are relief cuts, and five are typeprints from woodtype. Printed letterpress in red and black on Rives BFK. In a black and red cloth over board portfolio with Japanese bone clasps. One in an edition of 10 signed and numbered copies. Fine.

$1,450.00

A powerful and dramatic set of prints in which the lettering becomes an intrinsic part of the design.

This book, with its use of typography as design, reminds one of the Bauhaus and Constructivist work. The design, with lettering and lines, balanced by the strong abstract black and red pages, is successful and very powerful in conveying the majesty of the words. Arne Wolf received his early art training in Germany and started his professional life as a designer in New York in the mid-fifties. After five years as head of the Department of Design at the Atlanta Art Institute he became Assistant Professor of Design at UCLA, Berkeley. A period of teaching in Toronto followed. In the late 1970s he was visiting Professor of Visual Design in the Department of Architecture, UCLA Berkeley. He retired after heading the Art Department at Cal State, Hayward. Arne Wolf is now using his design expertise, his art and architectural experience in making small edition artists' books that he says are influenced by the great painters, Matisse and Tapies. He has had numerous one-man exhibitions in the USA and abroad and is represented in collections both public and private here and in Germany.

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