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CATALOGUE THIRTY-THREE
Summer 2006
 JOSHUA HELLER
P O Box 39114 Washington D C 20016-9114 U S A
Telephone: 202/966-9411 Fax: 202/363-5658
E-Mail: HellerBkDC@aol.com
www.joshuahellerrarebooks.com

Catalogue Thirty-Three - Summer 2006

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

We had a big story to tell, but what with the publication of our
and the Barbara Fendrick a lot of wonderful books were
put on hold.

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

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

hold today.

We wish you a Happy and Joyful Summer.

Joshua & Phyllis Heller.

________________________

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

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

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

 Susan Allix -
First time winner of the prestigious Gregynog Prize for letterpress printing
of her new book Through Closed Doors. Oxford 2005.

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

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

2
 Egypt - seen through the eyes of a contemporary artist and traveler

Three images
from No. 2.

2. (Susan Allix) Egyptian Green. Artist’s book by Susan Allix. Text by various authors. [London. 2003.] 28 etchings made
from original drawings and printed in color, some with added watercolor and pencil, of various sizes. 129p.13" x 11".
Four etchings are on fine Japanese paper enclosed in folded sheets of natural Kozo. Various papers of Velin Arches,
blanc and crème; Egyptian papyrus; occasional colored Nepalese Lotka and Daphne sheets and Leauw Algae; also
Japanese Tosa Shoji and Kozo Natural.The typeface is 18pt. Verona Italic together with various sizes of Bodoni. Hand
set and printed by letterpress. Emerald green goatskin covers spine, fore-edge and remaining edges. Panels of small,
abstract cut-out shapes, through which is visible the textured, cotton-mesh orange paper which also frames a central
portrait of a shadow-print etching of the goddess Hathor. Small green and orange dots sprinkle over the cover. The
endpapers, doublures and fly-leaves are of Nepalese paper. Book in a green, felt-lined cloth box with printed labels
and a separate, decorative opening page. An edition of 24 signed copies. Fine. $5250.00
Allix writes: "The idea of this book is to link past with present and to make a picture; a limited one when looking at the richness of
Egypt, but a view that is seen and stitched together with a thread of green.
Green links together the progression of time; the fields beside the Nile are always brilliant emerald and the palms of a desert oasis
greenish-grey. Green indicates the protection of Osiris, God of the Underworld, and as a holy Muslim colour appears as a mosque
carpet. Likewise the luminous green sea and the smudges of paint remaining in tombs all take their place.
“At which exact moment, and why, I began to note greenness I cannot say. It is a colour not immediately associated with Egypt, but
with observation it is seen to be interwoven into many aspects of Egyptian life. The continuity of past to present became obvious
when I observed that the profile of
a man on a bus was exactly the
same as those in an ancient tomb
at which I had just been staring.
Naguib Mahfouz, the Egyptian
novelist, seems to echo this when
he says of one of his present day
characters in Adrift on the Nile –
"What is the point whether you
remain on this earth or depart?
Since historical time is nothing
compared to the time of the cos-
mos she is really a contemporary
of Eve."
The texts in Egyptian Green are
mainly drawn from travellers vis-
iting or writing about Egypt. The
earliest is a spell written inside an
ancient coffin; later writers
include Plutarch and Catullus,
also Leonhart Rauwolff, who
noted in 1672 that the water of the
Nile was "perfectly green", and
Amelia Edwards on the precise
colour of palm trees. There are
two calligraphic pieces of Kufic
script printed from the original
blocks found in Cairo." No. 2.

3
 Evocative images of tattoed women from the 1920s to the 1950s.

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

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

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

4
 All illustrations on
this page - No. 4.

Caren Heft writes to us: "I have three

brothers, all were in Vietnam and
Smokey was the best friend of one of
them. Smokey was a Blue Angel ... When
Smokey's body was returned to his fami-
ly, my brother went to the funeral (he
graduated from Annapolis, the Naval
Academy, where he met Smokey) as did
many of their other classmates.
Apparently it was a moving reunion."
On the left hand page of the book are the
names of women who died in Vietnam - whether it be of war, illness or accident, as well
as those missing in action. It also gives statistics relating to the losses suffered by all.
This moving work is about a pilot, LCDR Clarence "Smokey" Tolbert, whose remains were returned to his family in 1989. The differ-
ent versions of his death were the reason for this book, writes Caren Heft in the Colophon. There are also, at the end of the text, words
by an African American Army Chaplain interviewed by Govenar.
Alan Govenar writes about his own
gradual understanding of war, but the
text is mainly about "'Smokey' Tolbert,
born in Tishomingo, Oklahoma - the
pride of family, community - a boy
destined to be who he became.
Graduate of the U.S. Naval Academy,
Class of 19962 - Blue Angel ...
"Extroverted, gregarious, the kind of
person who made friends everywhere
... always willing to lead ... would not
admit defeat, even in seemingly trivial
pursuits such as a television appear-
ance on The Dating Game."
"... he made two combat cruises to
Vietnam ... He also made one
Mediterranean cruise ... He had 145
combat missions and 425 carrier land-
ings. He was awarded the Silver Star,
Distinguished Flying Cross, 14 Air
Medals, the Navy Commendation
Medal, the Navy Unit Citation, and
the Vietnamese Service and Campaign
Medals; all this before he joined the
Blue Angels in 1968."
In 1973 he was reported missing in
action, and his remains returned home
in March 1989. A true Americanhero.

5
 A Nobel Prize winner collaborates with unschooled artists
5. (Artist’s Press) The Ultimate Safari. By Nadine Gordimer. With original handprinted lithographs by Aletah Masuku,
Alsetah Manthosi and Dorah Ngomane. Published by The Artists' Press. Johannesburg, South Africa. 2001. n.p. 8" x
11.5". Twelve original lithographs drawn on ball-grained aluminum plates by the artists. Proofing and hand-printing
of the images was carried out by Mark Attwood, Joseph Legate and Peter Sekole at The Artists' Press. Printed on 250
gsm white Arches paper. The text was handprinted from polymer blocks on a Vandercook proof-press. Book design
and layout by The Artists' Press. Hand written text by Ella Topham, aged five. Wristwatch pattern lithograph endpa-
pers by Alsetah Manthose. Bound by Peter Carstens in cream textured cloth with letterpress printed paper title labels
on spine and front. Slipcase with sides of the same cloth, marbled paper trim and leather edges to the open side. One
in a limited edition of 100 books, signed by Nadine Gordimer. Plates signed by the artists. Fine. $875.00
Nadine Gordimer's story appeared in a collection of her short stories entitled Jump and other stories published in 1991 by Bloomsbury
Publishing Ltd. and David Philip. It is printed in its entirety here.
"The plates for this book were drawn in the village of Welverdiend, near the Kruger Park's Open Gate in the Northern Province, South
Africa, where the artists now live. This was done during a two week workshop facilitated by Tamar Mason and Paul Emmanuel in
1995. The women do not normally work as artists. They earn what money they can as seasonal labourers on nearby farms, and were
new to the lithographic printing process and the making of images on papers. The workshop was a difficult and sometimes traumat-
ic experience for the three women, as they closely identified with the story." - Colophon.

6. (Ashendene Press) A Treatyse of Fysshynge wyth an Angle by Dame Juliana Berners.

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

7. (Barton Lidice Benes) I have found a cockroach in your product! [By] Barton Lidice Benes.
Wedgepress & Cheese [Publ.] Published for an exhibition of B. L. Benes at Galleriet, Lund,
Sweden, November 1982. 10” x 8” Card wrappers. Signed by the artist. Fine. $25.00
Photographic reproductions of personal letters sent by Mr. Benes to several U.S. food companies com-
plaining of foreign matter in a commercial product, with responses. This artist has conceived several
No. 6. provocative small press editions, often in combination with his own graphic art.

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

9. (Bird & Bull Press) La Relieuse: The Bookbinder. Charles Meunier’s Plaquette, 1900.
Reproduction of a pewter plaquette of a woman bookbinder originally made by Maurice
Favre, a French sculptor, and exhibited at the Paris Salon in 1903. 3” x 2”.Laid in a tan board
folder covered with blue cloth; silver title on front. Notes on Meunier, a major bookbinder
of the early 1900s, by Marianne Tidcombe. Fine. $50.00
N.B. See Meunier binding - item #212.
No. 8.
10. (Bird & Bull Press) In Black & White. A wood engraver's odyssey by Wesley W. Bates.
Newtown, PA. 2005. 74p. 10.5" x 7.375". Wood engravings throughout, and a four-color fold-
out wood engraving. Printed on Zerkall mouldmade paper. Composed in Dante types by
Michael and Winifred Bixler. Bound at the Campbell-Logan Bindery in black Japanese cloth
with red leather title label and black and white woodengraving paper label on front board.
Red cloth slipcase. One in an edition of 140 copies. Fine. $275.00
Bates writes: "I was given a set of wood engraving tools for Christmas in 1980. I was married then and
on a whim, my wife gave me the tools and a couple of end grain blocks to see if I would be interested.
At art school I had been very involved in making woodcuts, so her gift was not far from the known, but
at that point in my life I was only aware of wood engraving as the name of a related medium." -
Prospectus.
“... Bates' work as a professional illustrator includes the medium of scraperboard, which produces an
image that can appear to be a wood engraving. The process ... is explained and a comparative example
is included.”
[See illustration top of p.7.]

No. 9.
6
 Item No. 10. Item No. 11. Item No. 12.

11. (Bird & Bull Press) My Log & Diary: 1994-2005. Interspersed with anecdotes and observations on book collecting, printing,
private presses and other bookish matters. By Henry Morris. Newtown, PA. 2005. 105p. 12" x 9". Printed on Arches
Mouldmade paper at the Bird & Bull Press in July 2005. Composed in Dante types by Michael and Winifred Bixler.
Color and black and white illustrations, tip-ins and photographs. Bound by the Campbell-Logan Bindery in Textured
dark blue Japanese cloth with gilt 'B & B' on front cover; tan/yellow leather spine with blue leather title label. Matching
blue cloth slipcase. One in an edition of 160 copies. Fine. $450.00
"This book is a continuation of the entries in Two Birds with One Stone, which was published in 1994 and covered the period between
1980 - 1993.
"These entries describe the day-to-day operation of a private press and include details of the making of many of my books which
would usually remain unknown. " - Henry Morris.

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

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

14. (Boss Dog Press) Rules for Bookbinders. In English & German by Fritz Eberhardt. [Plains. PA 2004.] n.p. 7” x 5.25”.
Illustrations are from Fritz Eberhardt’s original sketches. Calligraphy, presswork & binding by Don Rash. Line cuts
p rovided by Scranton
Engravings. Text paper of
Hahnemühle Ingres printed
damp on a Washington
handpress. Each binding of
original diff e rent color
pastepapers over board s
with inkjet prints of an
image from the text: with
leather strips at head and
tail. Spines stamped in gold
or silver foil. An edition of
100 copies. One of three
Special bindings made spe-
cially for us and signed by
Don Rash. Fine. $195.00
No. 14.

7
 John Eric Broaddus - Artist extraordinaire!

No. 15.

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

No. 16.

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

8
 Two images -
No. 17.

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

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

9
 Images printed from the original blocks for the first time for this Special Edition
19. (Lewis Carroll) Sir John Tenniel's Illustrations to
Lewis Carroll's Alice's Adventures in Wonderland &
Through the Looking-Glass. Ninety-one prints from
the original wood blocks engraved by the Brothers
Dalziel from drawings by Sir John Tenniel & one
print from an electrotype. Macmillan Publishers.
London. 1988. 92 prints in 2 sets of 42 and 50
prints. 9.5" x 7". Printed by Jonathan Stephenson at
the Rocket Press on Zerkall halbmatt mouldmade;
slip mount of Zerkall laid board, title and caption
on the mount in black. Each set housed in a drop-
back box by Fine Bindery of gray canvas with
maroon morocco spine; titling in gilt.
Together with:
A Study of Sir John Tenniel's Wo o d - E n g r a v e d
Illustrations to Alice's Adventures in Wonderland &
Through the Looking-Glass. By Leo John de Freitas.
Macmillan Publishers. London. 1988. 59p, illustra-
tions [tipped-in], bibliography. 10.5" x 7.75". Set in
Bell type, printed by Jonathan Stephenson at the
Rocket Press on Zerkall halbmatt mouldmade
paper. Bound by the Fine Bindery in gray canvas;
black leather gilt title label on the front cover. An
edition of 250 sets. Fine. $3500.00
In 1985 it was discov-
ered that all, except one,
of the original wood
engravings for Alice and Through the Looking-Glass were held in two deed boxes, belonging to
Macmillan Publishers, in the vaults of the National Westminster Bank. After consultation with schol-
ars and conservators, Macmillan Publishers decided to publish a limited edition of prints taken
directly from the blocks, so that scholars and collectors could see these famous illustrations printed
with the detail and quality which John Tenniel, Lewis Carroll and George and Edward Dalziel
intended.
Jonathan Stephenson of the Rocket Press designed the edition, and printed the engravings using a
hand-fed precision proofing press. Over two years of detailed, special preparation took place before
printing; even the shade of the paper, for the prints and study, was chosen to match that used in the No. 19.
original edition.

20. (Carteret Book Club) A Snuff-Boxful of Bibles. By

Wilbur Macey Stone. With illustrations from the author’s
collection. Newark. MCMXXVI. (1926.) 6.25” x 4.75”.
Printed by Douglas C. McMurtrie, Inc. Bound in brown
cloth spine and wood-veneer paper boards with paper
title label on front. One
in an edition of 200
copies. Very good condi-
tion. Prospectus laid in.
$225.00

21. (Chamberlain Press)

No. 20. The Three Bears. Wood
Engravings by Sarah
Chamberlain. 1983. n.p. 7.25” x 5.25”. Illustrated throughout in full and half page black
and white wood engravings. Printed in Bembo on Japanese Etching paper. Bound by
Barbara Blumenthal in brown and green paper with a bear footprint pattern. No. 88 in
an edition of 125 copies, signed by S. Chamberlain. Fine. $200.00

No. 21.

10
 A tour-de-force of contemporary bookmaking - a Ron King classic

No.22.

22. (Circle Press) Anansi Company. A collection of thirteen hand-made wire and card
rod-puppets animated in color and verse by Ronald King & Roy Fisher. The Circle
Press. [London.] 1992. 15 unbound sections 15.75" x 12". Designed, silk-screened,
hand-stenciled and letterpress printed by Ron King onto 500 gsm Arches rag-made
paper, held in a card wraparound and inserted into a heavily blocked solander box,
17.75" x 13.5" x 4.5", which is covered in three different colors of cloth. Thirteen of
the sections are French-folded and pocketed inside to hold the puppets and carry
the poems which are set in Monotype Walbaum. Puppets made from hand-bent
brass wire and card, measure 12" overall and are easily extracted from the box. An
edition of 120 numbered copies, signed by Ron King and Roy Fisher. Fine. $3600.00
This is the seventh collaboration between King and Fisher and undoubtedly the most elabo-
rate and ambitious one to date. The content is mainly derived from material gathered togeth-
er by Walter Jekyll for his book Jamaican Song and Story, published 1907 for the English
Folklore Society. This version is basically a contemporary rendering of aspects of those famil-
iar tales central to Caribbean culture, concerning Anansi, the spider-man, and his company of
animal friends.
The outside of the sections are cov-
ered with quotes in Caribbean patois
and lines of music set down by Jekyll
in his book and accompanied by a col-
orful carnival procession of figures and designs invented by the artist. The
book involved over 500 hand-workings and is one of the decade's most
remarkable and innovative artists' books.

A unique work of art from Ron King

23. (Circle Press - Ron King) Mounted Alphabet. Unique wall piece
made by Ron King. 1989. 37" x 30"- framed; 28.5" x 22.5" - image size.
A three-dimensional assemblage of cut letters of handmade paper
and solid wood carved shapes. The letters of wooden triangular
shapes have been mounted on heavy handmade paper, glazed and
painted over with PVA paint. The work has been mounted on beige
linen, backed and suitably framed and ready for hanging to show off
the beautiful blue-gray image to its full advantage. Fine. $4500.00
Ron King of the Circle Press, whose work is represented in numerous private
and public collections internationally, has been fascinated by the alphabet and
its forms. This original work is an excellent example of King as master of the
contemporary letterform.
No.23. - A rare opportunity to acquire a unique art work by King.

11
 24. (Thomas James Cobden-Sanderson) The Journals of Thomas James Cobden-Sanderson 1879-
1922. [Published by] Richard Cobden-Sanderson. London. 1926. Printed at the University Press,
Cambridge. 10" x 7". 2 vol. 340p, 437p. Black buckram boards with gilt title on spine. Edition of
1050 copies of which 1000 are numbered and for sale in Great Britain and America, this being
No. 405. Compliments Slip of R. Cobden-Sanderson laid in with handwritten comment.
Chipped photograph of Annie Cobden-Sanderson, dated September 13 1925 laid in, as well as
a photograph of Stella Cobden-Sanderson. Slight offset on f.f.e. Dust jackets chipped with
browned spines. Very good. $350.00

No. 24. Three fine examples of work from The Doves Press
25. (Doves Press) The Tragedy of Coriolanus. By William Shakespeare. Hammersmith. 1914. 155(1)p. 9.25" x 6.75". Printed in
black with red by T.J. Cobden-Sanderson from the Text of the First Folio, first imprinted in 1623. Bound in cream vel-
lum with title in gilt on spine; binding stamped 'The Doves Bindery' on inside back doublure. 200 copies on paper.
[Tomkinson: 41] Fine. $675.00

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

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

Three very special books from Enid Mark at her ELM Press
28. (ELM Press) Precessional. Poems by
Eleanor Wilner. Lithographs by Enid
Mark. Wallingford. PA. 1998. n.p. 20" x
13.5". Lithographs in black, blues,
ochre, purples and grays, hand-pulled
by Timothy P. Sheesley. Cast in
Monotype Garamond at the press of
Michael and Winifred Bixler and print-
ed 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 mid-
night-blue Japanese fabric, with title
stamped in silver onto an iridescent-
blue paper label. Lithographed endpa-
per of a star field. In an edition of 61
copies, this is one of only 45 numbered
copies for sale, signed by Wilner &
No. 28.
Mark. Fine. $1250.00
This book grew out of a collaboration between artist and poet, words and images developing into a suite of nine poems with com-
plementary lithographs. Eleanor Wilner’s vital and original voice is noted for its breadth of verbal effect, its intelligence, and high
allusiveness, being passionate, evolutionary, and elegant. She has won The Juniper Prize and is a MacArthur Foundation Award win-
ning poet. Eight of the nine poems were written especially for this book, and are previously uncollected. The mythic world of the text
is reflected in the accompanying lithographs. Photographic images of water, wood, trees, grasses and stars create shifting visual tex-
tures as they float across the pages to fade away at the letterpress printed poetry. A refined and handsome addition to the growing
list of Marks’ books which are produced in the best traditions of the finely printed and illustrated book.

The Elements awarded the Ninth Biennial Carl Hertzog Award for Book Design
29. (ELM Press) The Elements. A Poem by Susan Stewart with lithographs by Enid Mark. Wallingford. Pennsylvania. 2002.
n.p. 11.125" x 15.25". The type, 14 point Monotype Dante, was cast by Michael and Winifred Bixler, and printed 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 cam-
era but manipulated digitally with photoshop software in order to generate the films used to create the duotone and

12
 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 creat-
ed the book’s visual form. The poet, author of three pre-
vious 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 tradi-
tionally associated with the elements. ... The poem
unfolds in time as a meditation on time and mortality.
No. 29.
“Each of the sections of The Elements - Air, Fire, Earth,
and Water - is defined by a visual image. This image is introduced as a horizontal band that has its own rhythm, fading and increas-
ing in dimension and intensity as the pages turn. On the final page opening within each section, three-color lithographs bleed 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 vol-
ume with its wide format, become an integral part of the visual imagery.- Prospectus.
Susan Stewart received the 2004 National Book Critics Circle Award for poetry, for Columbarium, a trade edition published by the
University of Chicago Press. Columbarium features AIR FIRE EARTH AND WATER fromThe Elements.

Enid Mark’s very beautiful book of flower poems

30. (ELM Press) Ars Botanica. [A Compilation of fourteen poems] with Lithographs by Enid Mark. Wallingford,
Pennsylvania. MMIV. [2004.] n.p. 15.5" x 10.75". Fourteen 12" x 8" duotones created by scanning plant material direct-
ly onto a flatbed scanner and manipulating the resultant digital images with Photoshop software. These digital files
were used to prepare film positives that were transferred photographically to lithograph plates The duotones and
hand drawings, realized as hand-lithographs, embody both state of the art digital technology and traditional print-
making strategies. Papers are mould-made English Somerset and Denril drafting vellum. Type cast by Michael and
Winifred Bixler and printed by Arthur Larson, Horton Tank Graphics. Lithographs hand-pulled by Timothy P.
Sheesley. Calligraphy by Susanne Moore. Hand bound by Barbara B. Blumenthal in green Italian cloth lined with green
Japanese Echizen Saiko - giving the feel of grass. Recessed square of the Japanese Echizen Saiko with gilt decoration
on front cover. One in an edition of 40 numbered copies, and 10 artist's proofs. Fine. $2750.00

No. 30.

13
 Poems by Diane Ackerman, Betty Adcock, Nathalie Anderson, Annie Boutelle, Rachel Blau
DuPlessis, Daisy Fried, Celia Gilbert, Maxine Kumin, Heather McHugh, Constance Merritt,
Alicia Ostriker, Susan Snively, Susan Stewart, Eleanor Wilner. Inspired by a long tradition of
herbariums and botanical books, especially those published in Europe from the 7th century
onward. In this contemporary edition the scientific description of flora presented in such early
volumes is replaced by poetry. Enid Mark invited the various poets to participate in the book.
Each was asked to write a poem in which a flower or plant served as the central image or
metaphor. The collected poems, with one exception, were written specifically for Ars Botanica.
... The poems reflect the broader concerns of each individual writer.
" ... the images ... describe more than one aspect of the featured plant specimen. Facing each
poem is a photo-based duotone lithograph of the plant, printed in warm gray and black tones.
A second lithograph, derived from a hand-drawing of the same plant, printed in glowing flo-
ral colors that vary from page to page, appears on a translucent sheet tipped into the gutter
between the duotone and the poetry.”

31. (Evergreen Press) Punctuation: A Printer's Study. Preface by John Grice. Text from
the Authors' & Printers' Dictionary, published by The Oxford University Press, 7th
edition, 1933. Stroud. [U.K.] MMI. (2001.) 29(6)p. 20.75" x 7.25". Set and printed by
No. 31.
hand. Bound by The Black Cat Bindery. Gray cloth board with inset paper title label.
No. 115 in an edition of 200 copies. Fine. $225.00

32. (Andy Farkas) Four Stories. Four original

stories and wood engravings by Andy Farkas.
[Pennsylvania. 2004.] Over 28 original wood
engravings, printed directly from the block by
the artist. 72p. 9" x 10.5". Printed letterpress in
Garamond and hand bound in collaboration
with Egress Press and Blue Barn House. Each
story is set within a different color paper, and
the whole bound in blue cloth with a partially
opened spine, which displays the four different
color backings. The spine has four decorative
stitchings - two above an open area and two
below. Paper title label on front. Slipcase. One
in a signed, numbered and dated edition of 50
copies. Fine. $1500.00
Farkas writes: "I prepared endgrain maple and each
is carved using an array of tools including burins and
Japanese carving knives & chisels."

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

No. 33. No. 34.

14
34. (Fleece Press) Bookplates and Labels by Leo Wyatt. [By] Brian North Lee. Introduced by Will Carter. [Wakefield, West
Yorkshire.] 1988. 79p, plus copper engraved bookplates. 10.75” x 6.75”. Tipped-in images of Leo Wyatt, various equip-
ment, and studio. Wood and copper engravings in black red and brown. Printed in Didot Spectrum on a special Zerkall
mouldmade paper, dampened before use. The blocks were all printed from the wood on a handpress, with the excep-
tion of that of Claire Wyatt, which is a lineblock. Bound by Smith Settle in brown cloth spine with paper title label, and
green patterned boards. Grey slipcase. In an edition of 300 copies, this is one of 270 thus. Fine. $200.00

Three creative titles from the much admired team of

Ines v. Ketelhodt & Peter Malutzki

35. (FlugBlatt-Presse/Unica T.) Leporello 1 + 2. A collaborative

work by Ines v. Ketelhodt and Peter Malutzki. Werkstätte von
Unica T./FlugBlatt-Presse. Offenbach /Lahnstein. 1989. 8.25"
x 5.5". 2 vols. Accordion fold with images on both sides of the
book. Both books with gray boards, black titling and details
on front. White paper band fits round the books. No. 1:
Fotografie & Typografie: Ines v. Ketelhodt; text passage by No. 35.
Joachim Schumacher. Handset and printed, with offset pho-
tography. No. 2: Fotografie by Ines v. Ketelhodt in offset.
Handset and letterpress printed by Peter Malutzki with lines
in different colors. With text from Natürliches Zauber-Buch oder
Neueröffneter Spiel-Platz rarer Künste, Nürnberg 1745. 60 num-
bered copies, each book signed by the relevant artist. $495.00
Together v. Ketelhodt and Malutzki selected 18 black and white pho-
tographs which were composed into a sequence depicting movement,
enhanced by the concertina form. Where Ines v. Ketelhodt has used
letterpress text to complement her photographs of a figure in motion,
Peter Malutzki has used color lines to form his design on the page. A clever and successful concept, and what adds to the appeal is
the way both artists have often chosen the same place on the spread to add their text or design.

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

No. 36.

15
 No. 3: grün. Poems about the four seasons by Friedrich Hölderlin. 96p. 8" x 6.5". Poems are printed onto a background
of leaves. Original leaves of four different trees (maple, ash, beech, oak) were used. They are printed green onto green
kraft paper.Green printed paper over board with title and leaf illustrations all in green.
No. 4: gelb, ‘isch.’ 48p. 13" x 9". Printed yellow onto yellow kraft paper. Thin card covers with title and thick yellow
line across card. The volume takes rhymes with the ending »isch« out of a German rhyming dictionary (Willy Steputat,
Deutsches Reimlexikon, Leipzig. 1896.) and set it in relation to colored spaces printed with linocuts. Cut-out sheets add
to the complexity of the design.
No. 5: blau - Eduard Mörike, Die Historie von der schönen Lau. 60p. With 17 illustrations. 9.75" x 7.125". Underwater pho-
tographs by Malutzki. Printed blue onto blue kraft paper; with shaded blue paper boards, title on front and spine.
Bound by Ines v. Ketelhodt. Mörike is one of Germany’s greatest lyric poets of the 19th century. His story tells about a
water nymph (the beautiful Lau) who could not get pregnant because she never laughed. Once she had laughed five
times, then she would become pregnant.
No. 6: weiß. [Poems by] Rafael Alberti, Blanco/Weiß. 76p. 6.875" x 9.5". Printed white onto white waxpaper. Title in
white on translucent wax paper over thin board. 33 poems about the color white (from the cycle ‘A la pintura’) in the
Spanish original with a German translation. The translucence of the paper allows the next page to be viewed as though
in shadow.
This series of six monochrome books by Peter Malutzki follows (concerning the chosen colors) the theory of colors by Goethe who
takes green also as a primary color like red, yellow, and blue. They are put between the black and white books.
A wonderful typographic feat! Peter Malutzki can do
impeccable letterpress printing on any kind of paper!

37. (FlugBlatt-Presse) Von Anton bis Zeppelin. An

alphabet by Peter Malutzki composed of sculp-
t u res made mainly of concrete and steel.
[Lahnstein. 1995.] Concertina printed on both
sides. 9.5" x 6.25". Hand set letterpress with black
and white photographs in offset. Photographs of
the sculptures were complemented by texts that
contain the respective letter as a single letter. Grey
linen end boards, with the Alphabet in block letters
across both boards. One of 100 copies, signed by
Malutzki. Fine. $325.00
A list at the end of the book states where the texts come
from. In English, German, as well as German translations
No. 37.
from Russian and Italian, the texts vary from the Brothers Grimm, Hans Arp, Lewis Carroll, to Italo Calvino and many others. An
amusing alphabet beautifully presented in a unique way.

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

38. (John Gerard) Alpha Beta. Artist's book by John Gerard.
[Rheinbach, Germany.] 2005. 20 leaves.10.75" x 6.75".
Handwritten black ink letters of the alphabet and red let-
terpress on handmade paper. Light salmon endboards with
white sewn coptic binding. Illustrated label on front. In a
natural thin card envelope folder with the title written in
ink. A unique variant in an edition of 20 similar copies.
Signed, numbered and dated by Gerard. Fine. $450.00
A homage to the alphabet and the golden section.
A new illustrated
edition of a Poe
classic
39. (John Gerard) The
No. 38. Pit and the Pendulum. By Edgar Allan Poe. Illustrated by Thomas Rug. Rheinbach.
2005. 28p. 7.25" x 9". Printed on paper handmade by John Gerard in 12pt
Garamond-Antiqua. at the Copernicus Graphische Werkstatt, Alfter. Paper French
fold. Open sewn binding with black linen spine and black thread, natural paper
boards with black title on front. In a black linen dropback box with title in blind
on front and spine. An edition of 25 copies, plus 5 artist's proofs, signed by
Thomas Rug and John Gerard. Fine. $900.00
First published in 1842, this is one of Poe's best known works, illustrated here with new
etchings by Professor Thomas Rug.
No. 39.
16
 A Private Press classic from 1927
40. (Golden Cockerel Press) The Trve Historie of
Lvcian the Samosatenian. Translated from the
Greek into English by Francis Hickes with an
Introduction by J.S. Phillimore M.A. LL.D
together with the Greek and decorated with
Wood Engravings by Robert Gibbings.
[Waltham Saint Lawrence.] 1927. 44p. 12.75"
x 9". The Greek was set with the assistance of
the Oxford University Press from the Jacobitz
edition of 1852; English from the first edition
of 1634. Printed by Gibbings on English
handmade paper. Quarter bound by
Sangorski & Sutcliffe in brown morocco and
linen over boards. Spine with 5 raised bands and title in gilt. T.e.g. No. 56 in an edition of 275 copies. With the No. 40.
Bookplate of The Golden Cockerel Press. Minor rubbing to spine, corners slightly bumped, but still a very nice copy.
[Chanticleer: 53] $750.00
41. (Golden Cockerel Press) Gray’s Elegy Written in a
country Church-yard. With a Foreword by Christopher
Sanford and Eight Engravings by Gwenda Morgan.
London. 1946. 19(1)p. 7.5” x 5”. Edited, designed,
produced and published by Christopher Sandfort in
Caslon’s Old Face type on Arnold’s mouldmade
paper. Printed at the Chiswick Press, London. In a
total edition of 750 copies, this is No. 48 of 80 copies
specially bound by Sangorski & Sutcliffe in green
leather with gilt title on spine, gilt urn with foliage on
front, and a lyre and foliage on the back. T.e.g.
Original green cloth slipcase faded at edges.
Bookplate of previous owner on front pastedown;
offset on f.f.e., else very good. $350.00 Item No. 41.

42. (Thomas Gray) Poems By Mr. Gray - A New Edition. Printed for J. Dodsley, in Pall Mall. London. MDCCLXX (1770.)
120p. 7.25” x 2.5”. With an Ode written out by hand over four free endpages at the back. Rebound in full brown calf
with five raised bands and black title label on spine. Marbled endpapers. All edges colored. Pocket in back cover con-
tains a section of original similar marbled paper and signature of a previous owner dated 1814, as well as the
Bookplate of a previous owner. Also in the folder is an article from a newspaper dated 1823, which discusses Gray and
his work, and comments on the fact that until 1799 there had not been “even the slightest memorial”, when a neigh-
bor erected one. Book in extremely good condition apart from offset of a flower which had been pressed between pages
64 and 65. $250.00
43. (Joan Hassall) Flow gently, Sweet Afton. Matted and mounted original woodengraving by Joan Hassall. Undated.
Actual engraving - 1.625” x 3.25”. With matting and mount - 9” x 10.75”. Titled and signed by Hassall in pencil. $125.00

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

No. 43. No. 44.

17
 A selection of work by one of America’s most creative Book Artists
Mary Heebner is an internationally exhibited artist and published writer whose paintings and artists books are in collections here and
abroad including the San Francisco Museum of Modern Art, Santa Barbara Museum of Art, The United States Embassy in Moscow,
the National Archive of Iceland, the University of California Special Collections at Los Angeles, the University of Alberta, Edmonton,
Canada, University of Reno, and the Fiske collection at Cornell University. She collaborated with photographer Macduff Everton in
writing the text for The Western Horizon (Abrams, 2000).

No. 45.

45. (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, New York City. The poems are digitally typeset using Adobe Jenson for the English
text and Arrighi for the Spanish; Trajan titles. 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 pig-
mented 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 title page, introduction, table of contents,
colophon and acknowledgments. In a handmade case constructed with imported Japanese blue flecked silk book cloth
over boards with Birch wood sides. Title on spine; fasteners are silverplate. Cases were produced at The Lumino Press.
An edition of 50 copies; the first 22 are Special copies each copy containing one of the signed, original watercolor paint-
ings from the Isla Negra series mounted in a self-standing mat. 10 hors commerce copies were also produced. Fine.
One of the special edition copies, with the original watercolor painting laid in. $3800.00
Regular edition without the signed original watercolor laid in. $3000.00
On the Blue Shore of Silence is Heebner's fifth editioned artist's book.
Heebner states: “It was Alastair Reid who ... enabled this project to come alive by agreeing to work with me and let me use his trans-
lations. The unexpected joy of producing this book was the time spent listening to Alastair spin stories about his friendship 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 been brought out as a trade book by HarperCollins).

46. (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 Giclée images created in response to the set of ten poems. The edition of

18
 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 beau-
tiful book, with jewel-like images.

47. (Mary Heebner) Folio No. Two: Scratching the Surface.

No. 46.
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 press-
mark. An edition limited to 50 signed and numbered boardsides. Fine. $95.00

A Sacred Geography: Sonnets of the Himalaya and Tibet

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

No. 48.
19
 A portion of sales will help support projects in the Himalaya and
Tibet through DROKPA.
“The natural colors of the landscape, and, in particular, a sinuous,
thousand-foot long wall of boulders etched with Tibetan prayers -
mani - and washed in streaks of sacred mineral colors, that I encoun-
tered in Mustang, Nepal, remained vivid memories. With the mani
wall in mind, I hand formed sheets of paper from abaca and cotton
fibers at Dieu Donne Paper, New York City, with Jan Drojarski assist-
ing and pulp painting each sheet with earthen and metallic pigment-
ed linen pulp, in variations of these striped patterns. The drawing of
an ammonite fossil or saligram - relic from an ancient sea that preced-
ed the birth of the Himalayas - is debossed onto each hand formed
sheet.” - Heebner.
The Sonnets: “The first six poems are named after places in
Mustang District, Nepal, a region I first visited in 1993, and to
which I have been returning since.
“Lubra is a small village of fourteen households located in the
Panda Khola river valley. It is a settlement defined by in part
No. 49. by Bön, the pre-Buddhist religious tradition of Tibet. The hills
around Lubra testify to the region’s geological history, to a
time when the whole of the Himalaya and Tibetan Plateau was ocean.” - Sienna Craig.

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

For Alice lovers - a treat!

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

No. 50.

20
 Three great books from the doyen of American printmakers - John Ross

51. (High Tide Press) Patterns of Morocco. Prints by John Ross. Text by
Various Authors. [New York.] 2002. 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 tipped-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 slip-
case. An edition of 14 signed copies. Fine. $2500.00
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 sim-
ple upright loom. Each binding is a unique variant containing a differ-
ent textile fragment on the front panel.
John Ross was one of 13 printmakers invited to work in the printshop of
the Assilah Forum Foundation in the summer of 2001. A wonderful, com-
plex, and colorful book, which brings alive the sights and textures of
Morocco.
No. 51 -
binding -
above;
double-page
spread - left.

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 Mohammed Benaissa for the Foundation. The work in this book represents some of the impres-
sions that I received as a result of the visit to Morocco. The complete reliance on an abstract, geometric concept of art has led to 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.”

52. (High Tide Press) Typopolis: A Journey to the city of type. Designed and printed by John Ross. Tipoteca Italiana Fon-
dazione and the High Tide Press. [Italy. East Hampton, New York. 2002.] Accordion fold. 13.5" x 9.5". Printed in 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, bril-
liantly colored, full page title label. One in an edition of 25 copies, signed by John Ross. Fine. $2000.00

21
 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: " ... [I heard of]
a newly forming type museum in a town about one hour north of Venice.
"... Clare Romano, my artist wife, and [I went] to the town of Cornuda, ... to visit the just
organized Tipoteca Italiana, a foundation created for the purpose of collecting and pre-
serving the type and presses used in the letterpress printing industry. ...
"The driving force behind this new museum of type and presses is Silvio Antiga, 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 effi-
ciently into one of the most complete collections in Italy.
"Antiga wrote to over sixty of the most prominent printing firms in Italy to ask if 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 recon-
structed a deconsecrated church nearby, erected new structures and designed new and
efficient spaces to show some of the collected equipment. Several warehouses are stor-
ing more presses and type. Each press is repaired to working condition before it is dis-
played, a job which challenges their dedicated mechanics and technicians.
"I suggested to Antiga that a working printshop could be used to produce artists books,
posters or prints to keep the letterpress tradition alive by artists and designers using the
equipment collected in the Tipoteca. He agreed and this book is one of the first efforts to
No. 52.
produce new work using old technology."
A tour de force by Ross using old type to form not only text, but brilliantly colored illustrations.

53. High Tide Press) The Art of Fruit Desserts. Prints by John Ross: Recipes by Sam Joffe.
East Hampton. New York. [2003.] n.p. 11.75" x 9". Fruit wrappers used on the title 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 poly-
mer 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. An edition of 36 copies signed by John Ross. Fine. $1250.00
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 Ross and Joffe to collaborate in this tribute to fruit desserts. The idea is simple; make a book that
combines the art of printmaking and the art of baking.
“Sam is the baker, the recipes are his. John is the artist-printmaker, the visual images are his. Working together for the past three or
four years has enabled both of them to appreciate the problems as well as the joys of their separate endeavors, a humbling yet grat-
ifying experience." - Introduction by Ross & Joffe.

No. 53 -
above
and right.

22
 A tribute to a mother
54. (Linda Hoffman) Winter Air: A Journal. Text and prints by Linda Hoffman. 2001. Nine
archival digital prints by Linda Hoffman. Printed letterpress in Monotype Bembo on
Cave paper of 100% flax. Text printed at Wolfe Editions, Maine. Twenty loose folded
sheets with text and images laid in a cream double-thickness paper folder with a decora-
tive blue strip down the front. Matching cream dropback box with blue paper strip incor-
porating silver title on spine made by Praxis Bindery. An edition of 200 copies signed by
Linda Hoffman. Fine. $500.00
This is a journal Hoffman "began one winter when [she] walked daily on an uninhabited island in
the middle of the Nashua River”. Not only are the images very beautiful, but the text is simple and
straightforward, moving as only good prose or poetry can, in this wonderful journey of tribute to an
outstanding woman and scholar - Hoffman’s mother.
This book is in the collections of the Pierpont-Morgan Library; New York University; The Houghton
Library, Harvard; the Boston Public Library; Kalamazoo College, and The Cary Collection, R.I.T.

55. (Douglas Holleley) Secrets of the Spread. [By] Douglas Holleley. Clarellen. [Rochester. New
York. 2005.] Accordion fold book of 36 pages. 5.875" x 4". The book was photographed
with a Canon Digital Camera. Printed on an Epson 2200 printer on Epson Archival Matte
paper with Epson Ultrachrome inks which are considered to be permanent. Bound with
black binder's cloth endboards; title and illustration on front. The accompanying accor-
dion fold booklet, Revisiting Secrets of the Spread, 2006, (11.75" x 8") is also photographed
and printed in the same manner on the same paper. An edition of 33 copies, signed by No. 54.
Douglas Holleley. New. $445.00
The images of the gutters and spreads in this book are photographed
from: Les Mille & un Tours, ou Experiences de Physique Amusante et de
Magic Blanche; Publié par Ana-Gramme Blismon, Paris, 1869. The
images of the eyes and mouths are from: Descriptive Mentality from the
Head, Face and Hand by Holmes W. Merton; David McKay Publisher,
Philadelphia, 1899.

56. (Incline Press) The Book Decorations of Thomas Lowinsky. [By]

Colin Myers. With a Memoir by Katherine Thirkell. And an
Annotated Checklist by Oliver Clark. Oldham. 2001. 122p.13" x
9". 90 illustrations in total; including all his surviving unpub-
lished illustrations, an autograph poem and an ink sketch, 2
woodcuts, all his patterned paper designs and publishers’
devices. 2 Double Crown Club menus are reproduced, one of
which is hand colored as is the original. 35 illustrations in the
text and tipped in full page facsimiles of a further 26, including
another hand colored plate, matched with the original. Cloth No. 55.
spine and boards covered with a new printing of one of his Curwen designs. Text on acid-free Magnani paper, with
facsimile pages and plates on a range of hand and mould made papers to approximate the originals. Slipcase. One in
an edition of 250 copies. Fine. $325.00
Lowinsky was born in India; schooled at Eton; spent a year at
Oxford; two at the Slade; followed by active service in France
and Germany with the Scots Guards, where he also assisted ...
as a war artist: he was one of the circle of friends and support-
ers of Charles Ricketts, and a founding member of the Double
Crown Club. A man of independent means, Lowinsky was also
a man of independent mind. He was intimately involved with
the production of most of the books he illustrated for he worked
with his friends, as authors or publishers: Sacheverell and Edith
Sitwell, Frederick Etchells of Haslewood Books, Oliver Simon at
Curwen, Francis Meynell at Nonesuch, and through Albert
Rutherston for the Shakespeare Head Press. Among the full
page facsimiles are ten illustrated title pages, nine of them inte-
grated with the full checklist prepared by Oliver Clark. There is
also a previously unpublished studio portrait of Lowinsky, and
a family group drawn by their friend, Albert Rutherston.
Katherine Thirkell is the daughter of Lowinsky, and has intro-
duced the book with recollections of life with him. A fine book
on a long neglected figure in the British private press world of
No. 56.
the first half of the Twentieth Century.

23
 57. (Incline Press) Art for Life: The
Story of Peggy Angus. By Carolyn
Trant. With an introduction by Tanya
H a r rod. [Oldham.] 2004. 242p.
Includes Index and Chro n o l o g y.
14.25" x 10.25". Main text cast in
Monotype Scotch. Design and letter-
press printing by Graham Moss and
Kathy Whalen. Magnesium blocks
for illustrations printed in the text by
made by the Block Shop in
Manchester. Illustrations and tip-ins
throughout in color and black and
white, as well as printed sample of
wallpaper. Printed on Magnani
paper specially made for this book.
Chapter headings on different color
papers. Binding by Stephen Conway
No. 57 - above and below.
in half tan binders cloth with
tan/brown patterned paper sides and title in red on
front. Together with: Tan/brown patterned portfo-
lio with tan cloth spine containing the following - a)
A facsimile booklet Indonesian People's Art by Peggy
Angus in a paper pocket; b) a transparent plastic
holder with a specially made CD on Peggy Angus
which includes some of her singing; and c) a pocket
containing 10 varied items by Angus, as well as a
cream brochure explaining what all the items in the
portfolio are about. Llaid in a red/beige patterned
board slipcase with red cloth sides and trim. An edi-
tion of 350 copies. Fine $595.00
This book was judged to be one of the 'Five Best Books' of
the Fine Press Book Fair, Oxford Brookes University,
November 5 & 6, 2005. An excellent and comprehensive
production detailing the life and work of a very special
woman artist who deserves fuller recognition.

58. (The Janus Press/The Theodore Press) Dido and

Aeneas. An Opera Perform'd at Mr. Josias Prinst's
Boarding-School at Chelsey by Young Gentlewomen. The Words by Mr. Nahum Tate. The Musick composed by Mr. Henry
Purcell. Bangor, Maine, and Newark, Vermont. April 1989. 37 printed surfaces. 14.875" x 6.5" folded, 14.875" x 70.25"
unfolded. Accordion fold pulp painted base sheet with pulp painted and shaped insert pages on which the text is
printed. Each opening of the accordion
No. 58. forms a stage set for one of the opera's five
scenes. With a wraparound title sheet
which forms the cover and spine.
Typographical design by Michael Alpert;
book structure and box by Claire Van Vliet.
Pulp painting by Claire Van Vliet with
Bernie Vinzani and Katie MacGre g o r.
Supplemented with other papers fro m
MacGre g o r- Vinzani, Tw i n rocker and
Barcham Green. Text handset. Enclosed in a
doubletray box covered with black
Japanese cloth. With a compact disc record-
ing of the opera enclosed in a removable
chemise located inside the box. One of 150
copies. Colophon states that this copy is for
the previous owner, inscribed with the
words 'with all good wishes Claire'. Fine. Scarce. $1000.00
The book may be opened in the normal way, arranged in a zig-zag line, or a star-circle shape to display all the scenes at one time.

24
59. (Janus Press) A Scribe of Kloster Eibingen. [Poem by] W.R. Johnson. Broadside. [2005.] 20" x 14". The letters are from
Hildegard's lingua ingota and are silkscreened on paper pulp painted with Kati MacGregor in Whiting, Maine. One in
an edition of 75 copies. Signed and dated by Claire Van Vliet. Fine. $150.00
A Scribe dreams of letters like snowflakes falling on a snowy field.

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

No. 61.

Fizzles - one of the great Artist’s Books of the latter half of the Twentieth Century
61. (Jasper Johns) Foirades/Fizzles. [Texts in French and English.] Five prose fragments [”Foirades”] by Samuel Beckett,
selected from his Pour finir encore et autre foirades. Original prints by Jasper Johns. Petersburg Press S.A. London. 1976.
13.5” x 10.5”. 57 pages [on double leaves]. 13” x 10”. Twenty-six lift ground aquatints (most with etching, soft ground
etching, drypoint, screenprint and/or photogravure); five etchings (some with soft ground etching and/or drypoint);
one soft ground etching and one aquatint. Color lithographs for endpapers and box lining on Richard de Bas Auvergne
paper. Text pages handprinted at the Atelier Crommelynck, Paris, on handmade Richard de Bas Auvergne paper
watermarked with the initials of Beckett and the signature of Johns. In a beige linen-covered solander box, with pur-
ple silk tassel. With an internal case lining of color lithographs by Jasper Johns. With original interleaving tissues. One
in an edition of 250 copies. Signed by both Beckett and Johns. There are also 30 artist’s proofs and 20 “hors-commerce.”
Fine. $20,000.00
“Two of the most enigmatic artists of our time, Samuel Beckett and Jasper Johns, collaborated on this complex yet elegant artist’s
book. Originally written in French ..., the brooding essays were rewritten in English by Beckett for this project. Nevertheless, Johns
decided to include both texts that expanded his own involvement to thirty-three etchings and aquatints plus color lithograph endpa-
pers. Johns’ imagery is based on a major four-panel painting, Untitled (1972), along with his classic imagery related to numbers and
body parts. This cerebral volume that provokes more questions than it answers is considered one of the greatest artists’ books of the
second half of the twentieth century.” - Artists’ Books in the Modern Era 1870-2000, The Reva and David Logan Collection of Illustrated
Books, p. 254-5.
“The prose pieces of Beckett in Fizzles were mostly written in French in the 1960s and early 1970s, some of them for Jerome Linton’s
periodical Minuit. Beckett’s links with Linton went back to 1951, when the Editions de Minuit published Molloy and Malone Meurt.
The author described his method of producing Fizzles as ‘breaking wind quietly, hissing, spluttering; a failure or fiasco.” - From Manet
to Hockney, Modern Artists’ Illustrated Books, p. 354.
Considered one of the great artists’ books of the latter half of 20th Century, Fizzles developed an international reputation for its com-
plexity. It was included in the important Museum of Modern Art exhibition, A Century of Artists’ Books (1995). Copies are in major
institutions worldwide.

25
 62. (Ines v. Ketelhodt) architektur / baukunst. [By] Ines v. Ketelhodt. Offenbach
am Main. 1987. 48p. 11.5” x 6.5”. Concept, design, typography, photography
and binding by Ines v. Ketelhodt. 22 black and white photographs. Phototype-
set and offset. Transparent and opaque paper. Binding of white paperboard cov-
ered with transparent paper with title and illustration on front. The photographs
were photocopied to take away the smoothness of the photographs. The texts
and photography fragments are interrelated and given equal value by being set
in vertical and horizontal alignment and juxtaposition. 70 copies, signed and
numbered by v. Ketelhodt. Fine. $175.00
v. Ketelhodt writes: "Space in architecture. Architecture in space. The space assumed by a
book. The space inside the book: layers of opaque and transparent paper - creating new
space. Twenty-two photography fragments show sections of the architecture from the
Museum für Kunsthandwerk in Frankfurt am Main, conceived by Richard Meier. The
No. 62. black-and-white photographs were taken in1985, the year the museum opened."
Text fragments are by Le Corbusier, Demokrites, Theo van Doesburg, Naum
Gabo, Hans Hollein, Yves Klein, Rob and Leon Krier, Richard Meier, Antoine
Pevsner, Hans Poelzig, Mies van der Rohe, Werner Ruhnau and Louis
Sullivan.

63. (Angela Liguori) The Jumblies. [By] Edward Lear. Illustrated by

Fabian Negrin. [Translation from English into Italian by Damiano
Abeni.] Milan. Italy. 2004. 16p. 8.5" x 7.25". Letterpress printed on
Italian Fedrigoni paper. Text in Proforma. A single signature pam-
phlet with exposed stitching on a folded black Fabriano paper.
Bound with grey Japanese Obonai paper on the boards, with paper
title label on front; Japanese hand made paper end sheets. A num-
bered edition of 150 copies, signed by the illustrator. Fine. $180.00
"The Jumblies" by Edward Lear is part of a collection of "Nonsense Songs,
No. 63.
Stories, Botany and Alphabet" published in England in 1871. This delightful
presentation of his work is a collaboration of graphic designer Silvana Amato, illustrator
Fabian Negrin, printer Lucio Passerini, and book artist Angela Liguori. Text is in Italian as
well as English.
Born and raised in Rome, Italy, Angela Liguori currently teaches classes in book arts at
several colleges in Michigan, where she now resides. Her work has received national and
international recognition.
Silvana Amato , born in Rome, Italy, graduated in graphic design from Istituto Europeodel
Design, in 1988. She works in her own studio, specializing in publishing design. In recent
years she has been involved in different projects with other book artists in Italy and
abroad. She is a professor of Graphic Design at the University of Rome, La Sapienza.
Fabian Negrin, born Laos, studied design and fine arts in Mexico, and has lived in Milan,
Italy since 1989. He works as an illustrator for many Italian magazines and newspapers,
also for) children’s books and for numerous publishers in Europe and the United
No. 64. States.Recently he has started to write and illustrate his own books.

64. (Angela Liguori) Insettario/Insectionary. [Poemry by] By Elio Pecora. [Italian with English translation.] Illustrations by
Fabian Negrin. Edizioni Almenodue. Italy: December 2005. 5.75" x 8.25". Designed and hand-bound by Silvana Amato
and Angela Liguori . Printed in offset on Fedrigoni Italian paper.Text composed in Sator ("unpublished" font by
Sumner Stone, 2005). Hand-bound on a dos å dos book structure, with three holes pamphlet
stitch. The endboards are covered in Japanese Tairei paper; handmade paper endpages. An
insect illustration on both boards. Numbered and signed edition of 100 copies. Fine. $160.00
Elio Pecora graduated Laurea Honoris Causa, from the University of Palermo, Italy. Translation from
Italian into English by Alessandra Nicifero.The English version is on the one side and the Italian version
on the other!

65. (Logan Elm Press) 7 Poets: Samuel Johnson - John Milton - John Dryden - Joseph Addison -
Jonathan Swift - Alexander Pope - Thomas Gray. Sidney Chafetz & James L. Battersby. The Ohio
State University Library. Columbus, Ohio. 2005. Loose in portfolio. 20.25" x 13.25". Printed on
Rives Heavyweight mouldmade paper on a Vandercook No. 4 Proof Press. The seven four-
and five-color reduction woodcut portraits were produced by successively cutting away por-
tions of each woodblock's surface after each color was printed, repeating this process for each
portrait, cutting and printing until very little of the woodblock surfaces remained. Text print-
No. 65. ed from photopolymer plates made at Boxcar Press. Loose in a handmade heavy card port-
folio with paper title label on front. One of 75 numbered copies, signed by Robert Tauber, James L. Battersby, and
Sidney Chafetz. Fine. $250.00
26
Robert Tauber designed and printed this portfolio. James L. Battersby, Professor Emeritus of English at the Ohio State University, has
published extensively on 18th century literature and criticism, the work of Samuel Johnson, and modern critical theory.
Sidney Chafetz, Professor Emeritus of English at the Ohio State University, has produced an extensive body of work as a printmak-
er, including numerous portraits of authors and cultural icons.

A tribute to Angela Lorenz

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

No. 67.

“Artist’s books are well-suited to conceptual art as the possibilities are limitless. My personal perception of infinite exploration came
through an unusually early exposure to a dozen printmaking techniques in boarding school at Phillips Academy, Andover. The
astounding variety within printmaking furnished me with an open mind toward process. Also, as prints are generally endowed with
the ability to be produced in editions and often created in sequences, the progression to artist’s books was instinctual. The first book
I created in high school, for a trimester independent study course, in hindsight was prescient of the conceptual approach to come.
The book was a 12-foot mixed-media scroll without text titled The History of Technology(1982). Technology, from pre-history to the pres-
ent, is represented as a dragon. While I chose the dragon because I could adapt its physical aspects to the landscape(jagged spine
camouflaged in the mountains, nostril smoke alongside smokestack emissions), I was astounded to discover how appropriate the
dragon was symbolically a year later in a Brown University philosophy course. The dragon, it turns out, is a potent Taoist symbol of
change. While interesting accidents have continued to manifest themselves in my work, the dragon revelation alerted me to the
power of emblems and knowledge represented conceptually.
“The conceptual approach is a purposeful one. In my own editions, each aspect is carefully considered to see how it may contribute
to the whole. In my serious, at times ridiculous, pragmatic approach, while consumed with how to convey information, I long neg-
lected to notice that my methodology served unwittingly as a way for me to remember what I researched. Rhyme has always been
an aid to memory, at least since the time Simmias of Rhodes made rhyming shape poems in 300 B.C. Many of my works contain con-
cise rhyming texts which synthesize non-fiction research, but other memory techniques are more subtle. My hidden mnemonic
devices have turned out to be self-serving, mirroring memory techniques taught in ancient Greek and Roman rhetoric texts or in
Renaissance tracts on “Theaters of Memory”. Mnemonics didn’t progress a great deal from the ancient practice of assigning a strik-
ing imaginary symbol or tableau to each room of a familiar building to facilitate delivering a lecture or a lawyer’s argument. But in
the Renaissance, religious scholars and scientists began making diagrams and models as knowledge memory-aids, sometimes with
the aim of attaining enlightenment, often incorporating mystical and occult traditions, like cabala.
“ I presumed my primary goal was to enhance the artist’s book with knowledge contributing to the whole, challenging myself to com-
municate in the most interesting and unconventional ways possible, it turned out that my methodology was even more practical than
earlier warranted. My attempts to construct each artist’s book as a totality, as a framework to attach information to, meant that each
time I was creating an individually-tailored memory theater, layered with symbolic meaning. In my search to express ideas in an
appropriate way I stumbled on a way to appropriate knowledge, invented several thousand years ago. That said, this is not so dis-
tant from the typical grade school shoebox-diorama book reports of my youth.

27
 “This way of working serves me ultimately as the Classical masters of rhetoric intended: to facilitate public speaking. When I pres-
ent an array of books in public, my mind recalls the various elements of each work - the edition size, the name of the typeface, the
name of the paper or fabric, the materials and processes used – to which historical and cultural facts are attached. Advocates of mem-
ory techniques in the past suggested that students use a real building as a structure for laying knowledge in, but that if they ran out
of places, they could invent them. Inventing the structure involved even more memorization, so it was considered more difficult and
less effective. The custom-built artist’s book is even easier to use than a building as it is portable and visible to the eye.
“Thus, I will remember an Eye For an Eye(1994) is an edition of 20 copies for 20/20 vision. I will also remember that Binding Ties(1997)
is in an edition of 30 copies, because of the obscure fact it is tied to: that the modern necktie took shape dur-
ing The Thirty Years’ War in 17th century France. Using river water to wash the text of “The Strength
of Denham” reminds of how Sir John Denham used the physical landscape and architecture of the
Thames River valley in an allegorical and emblematic way, interpreting symbolically every
aspect of this geographical area to convey England’s history and politics from Henry the VIII
to Charles I in his most famous poem “Cooper’s Hill”. But I used Bologna’s Reno River, not
the Thames to wash the inkjet text. I wasn’t conscious when I collected the water that
Reno, pronounced in English, elicits the idea of gambling, Denham’s nemesis. Dyeing the
etching paper for The Nomad’s Chair(1998) with tea and that of The Theater of Nature(1999)
with calendula flowers recalls, respectively, that tea is very important in nomad rituals
of hospitality and that medicinal plants, or simples, had a primary role in the first
European museums. Choosing to letterpress The Nomad’s Chair without ink, known as
blind stamping, reminds that desert nomads have to read nearly invisible clues in their
changing landscape in order to orientate and survive. Text that contrasted strongly from
the pages seemed inappropriate for a book about cultures defined historically through
descriptions generated by foreign observers. Nomads themselves have always relied on
oral transmission, not the printed word.
“The conceptual book’s layering of information may even be evinced through the process of
handling the book, which in the case of Chewing Tzu(1993) and Soap Story(1999) involve chew-
ing and washing the book, respectively. Four volunteers from the audience read aloud, in turn,
one of the four Taoist phrases printed with food coloring on the gum. They must then chew the gum
No. 69.
in order to discover the flavor, so that the public may ruminate over the relationship between flavor and
text. Washing with pieces of letterpressed soap to release, in six installments, the cloth pages of the artist’s
book “Soap Story” parallels how the protagonist of this true story washes away her own woes. Putting on latex gloves before stretch-
ing the latex pages of the book “Lay Text”, prevents the oils of our hands from hastening the demise of the book, and calls attention
to the perils of obstructing communication. The pages, when stretched, transform their messages regarding the sensitive nature of
censorship in art and public health. Even with proper care, the latex book’s shelf-life is necessarily circumscribed.
“But materials must be used carefully, not only regarding archival concerns. Whether or not materials are used conceptually, pre-
cious materials can overpower concept or content. Janet Zweig made that clear in her “concrete books” course at Rhode Island School
of Design. She encouraged us to take the idea one step beyond the obvious. I often make facsimiles of materials that they may relate
more closely to the world of the book and gain new life once-removed from their origin. It seemed fitting that a writer be described
with writing materials: color pencil on paper jeans with a paper button. Though they appear to be silver jeans buttons, these are tem-
pera on watercolor paper, with a cast-bronze embossing. The four layers of paper, painted and sanded, incorporate a bookbinding
screwpost to attach them to the jeans, or inside the box of edition numbers 13-54. While initially I only intended to make buttons for
the 12 jeans, I decided one should be included with every copy, along with a scrap of the trousers. Many of these works are used in
teaching liberal or fine arts. I felt the button and the scrap would invite closer inspection into the world of the mysterious, influen-
tial, yet forgotten poet and spy Sir John Denham. The jeans function as an emblem of Denham’s life and work, a paper theater of
memory for a once budding dramatist, who had to re-invent himself when Cromwell outlawed the theater.
“Most of the ancient texts on memory techniques were lost. Much of what Renaissance intellectuals and occult philosophers tried to
teach through memory tracts, diagrams and emblem books is indecipherable today, defeating the purpose of these mnemonic
devices. I hope to avoid the same demise. Accordingly, one of my maxims states in the second ribbon-spool volume of Maxims by the
Yard – Some in Meter Vol.II(2005), “I may be obscure, but never opaque.”- Angela Lorenz.
Note: This essay waswritten especially for us for this catalogue. Most images courtesy of Angela Lorenz.

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

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

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

28
 He chooses to avoid the technological era, limiting himself to more playful and less automated activities.” - Lorenz.

68. (Angela Lorenz) Pandora's Hieroglyphic Primer. By Angela Lorenz. Bologna, Italy 1992. 6" x 10" in its case. Silkscreened
on cotton cloth in Century Schoolhouse at Edizioni Grafiche Il Navile and cut by the artist with pinking shears. An edi-
tion of 45 copies. Fine. $600.00
“Pandora's Hieroglyphic Primer is a poem of words and hieroglyphics colored by hand. Text is based on information from history and
mythology concerning prototypes of women responsible for propagating evil in the world. This work was originally inspired by
images of the snake in the Garden of Eden in the Sistine Chapel and elsewhere ...
“Pandora was familiar to me from childhood as the Greek woman who opened
the box, letting evil into the world. So it seemed appropriate that Pandora's box be
the idea behind the project, which led me to the concept of the sewing basket. It is
ironic that a female figure let evil out of a box, yet her descendants have been con-
fined to it. Representations of and restrictions on women limited their choices at
times, but with limitations people often become even more resourceful. With that
idea in mind, I restricted myself to the materials available in a woman's work box.
Some women, from ancient Greece onward, were able to sculpt in marble and
paint oils, but most were not. They were largely restricted to their homes and to
the so-called "minor arts," which were executed alone or with groups of women in
seminaries and community gatherings. Within the confines of their sewing boxes
they composed embroidered rhymes and imaginative designs that endure.” - No. 68.
Lorenz.

69. (Angela Lorenz) Paper Plates - She’s a Dish. By Angela Lorenz. Bologna, Italy 1993.
14"x14"x1.2" box, 10.5" plate diameter. The work consists of six round collagraphs,
which slot into two sets of paper triptychs resembling wooden cupboards. The
brown frames of the cupboard are also collagraphs. The six plates may be removed
from their triptychs, revealing a handmade triangular brass hook at the top of each,
which allows the plates to be displayed individually on a wall. In a narrow wooden
crate suitable for shipping glass or china, with faces peeking through the slats on
both sides. The top edge of the crate is hinged, and upon opening it, a yellow cord
with a tassel may be pulled to extract the "menu" or colophon. The colophon was
printed by Stamperia Valdonega in Verona, Italy on archival paper produced by
Cartiere Fedrigoni. An edition of 24 copies. Fine. $5000.00
“The collagraphs are relief prints which may be made from any variety of collaged materials,
including cardboard, paper, cloth, or string. But as these particular plates are copies of Italian
ceramic Fourteenth and Fifteenth Century, dishes known as "Belle Donne" or "Coppe
Amatorie," depicting portraits of women, it seemed appropriate that spaghetti should be used
to create each woman's image. Instead of explaining the process in an expository fashion in the
colophon, it is presented as a recipe with ingredients and directions. The spaghetti was cooked,
strained, carefully glued onto cardboard and sealed with vinyl glue. The plates were printed
after a lengthy inking and wiping of each one, involving both intaglio and toprolls. Each plate
has a minimum of six colors applied and wiped before printing with brushes of different sizes, No. 69.
rags, paper, and cotton swabs. The poetic text surrounding the portraits was cut from cardstock
and glued down to resemble the painted scrolls of the original plates which indicated the woman's name followed or preceded by
the adjective "bella.” - Lorenz.

70. (Angela Lorenz) Noticing Death. By Angela Lorenz. Bologna,

Italy 1993. 14.1"x10". Seven transfer prints, originally in the form
of slides, were printed with an instant slide printer and trans-
ferred onto damp etching paper with a roller. The text and
friezes were printed by Stamperia Valdonega in Verona, Italy on
archival paper produced by Cartiere Fedrigoni. The photo-
graphs were taken over a four year period by Angela Lorenz and
Gianni Figliomeni. Packaged in a heavy paper envelope with a
black line printed across the upper left corner, like the announce-
ments handed out to friends and relatives when someone dies.
Inside such an envelope is a card containing a photograph on the
left and a short text or poem on the right. The envelope contains
the seven Polaroid transfer prints and one photo paired with
eight letterpress cards with printed phrases that refer to each
image. The cards, or broadsides, resemble the death notices com- No. 70.
monly plastered throughout the towns of Southern Italy and small towns even in the north, with black cornices or dec-
orative borders, and bold sans-serif typefaces. An edition of 20 copies. Fine. $1200.00

29
 “Visibility is the main concern, in order to inform as many people as possible of the
death or its anniversary. This means the notices are collaged over and beside circus,
advertising, film and shark-show posters, or even on dumpsters. For the residents,
it is merely information - the location is of no importance. Taken out of context,
these images surprise them, but in daily life, the irony passes unnoticed.” - Lorenz.

71. (Angela Lorenz) An Eye for an Eye. By Angela Lorenz. Bologna, Italy
1994. 1.6" box diameter, 3.1"x3.1" paper opened. The edition of 20 copies
represents the standard measure for vision. Printed on a single piece of
vellum cut to form nine circles folding into one behind the eye. The eye
rests on a black satin cushion with a ribbon tab in a gold box, with a cover
resembling a round gold picture frame in acrylic gesso. The tab facilitates
the opening of the box, or it may be used to thread a cord that could hang
from the neck. Etched eye and photo-etched text printed on vellum by
Giorgio Cardarelli of Stamperia Bentivoglio. Fine. $1000.00
“Miniature eye portraits are a rather obscure phenomenon of the late 18th century
and early 19th century, and their history is even more curious. For that reason, the
photo-etched poem, to be read clockwise from the title, may seem entirely cryptic,
necessitating a brief explanation.
“Supposedly, the first eye miniature in England was commissioned by Mrs.
Fitzherbert, to be painted by Richard Cosway as a present for the Regent Prince. In
No. 71. return, the Regent Prince presented her with a ring containing a portrait of one of
his eyes on her next birthday. This represents the genre of eye portraits adopted as tokens for lovers, eyes revealing their true identi-
ties to only a select few, and often remaining anonymous in posterity. In that way, sweethearts were reminded of their lovers' ever
watchfulness. However, some artists, such as Sir
Gardner D. Engleheart, painted eye portraits for
many members of the same family, and at times
both the right and left eye separately. Perhaps these
curious mementos served years later, in moments of
mourning. Occasionally they contained human hair
in a separate compartment.” - Lorenz.

72. (Angela Lorenz) Riddle. By Angela Lorenz.

Bologna, Italy 1994. 6.6"x5.3" book;
8.4"x10.3"x2.2" box. Letterpress in Caslon, an
English typeface accused of imitating Dutch
p redecessors, at Stamperia Valdonega in
Verona, Italy. In a dark blue cloth dropback
box. An edition of 21 copies. Fine. $1200.00
No. 72.
“In order to remain a riddle, this book should not
have a prospectus. However, once the work has been viewed, further description may be helpful. The colophon divulges that Riddle
is about wallpaper, and sample books, researched in the print room of the Victoria and Albert Museum as well as in published
sources. The format of this book draws upon experiences viewing wallpaper and sample books in the V&A. Pieces of gray foam are
brought out with each work to protect the prints or books, and the material to be viewed arrives in mysterious clothbound clamshell
boxes. Until the box is opened, it is not known whether what inside corresponds to what was ordered, and how it will appear. These
elements are present here, and this format allows the viewer to read the text of Riddle once through, before seeing a single scrap of
wallpaper. In that way, it succeeds in being a riddle, without premature clues.
“Once the book is discovered within the foam, the text unfolds line by line, this time illustrated by a piece of wallpaper, except for
the first page, which shows a reproduction of a wallpaper tax stamp from the 1700s. This excise duty stamp is composed of the mono-
gram of The Georges, and is one of several stamps occasionally
found on the back of wallpaper from circa 1712-1812. Wallpaper
manufacturers that did not comply to the taxation laws were subject
to the death penalty.” - Lorenz.

73. (Angela Lorenz) Binding Ties. Artist’s book by Angela

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

No. 73.
30
 silkscreened and die-cut regimental ties, from regiments sent to colonial territories of
Britain, bound in a panorama format. Only the word "pull" is visible at the top of each
tie. When the white interlining is pulled up slightly from its armature, the words grad-
ually appear. The text is not chronological. It travels East, starting with the Wahgi in
Papua New Guinea. Subsequent stops are made in the Pacific at the Marchesan Islands,
South America, Africa, the Middle East, and East Asia.
“The reverse side of the book shows four die-cut rectangles in the shape of tie labels.
Once again, the interlining of the ties shows through, this time displaying four words:
RUBBER, SILK, COTTON, and COPPER. The importance of textiles in trade from pre-
history onward cannot be overemphasized, and copper, Africa's most important miner-
al export, gave rise to the Age of Electricity, enabling trade to advance at lightning pace
via the telegraph. But when the interlinings are pulled up again, they form the colophon.
Rubber becomes "Rubber stamp and" "silk screen on" "cotton rag paper with" "copper
wire and raffia binding." Copper wire was even used as currency in West Africa, so in a
sense, the book is bound with money: hand-made staples of pinstriped copper electrical
wire. The rubber stamp text is printed in the typeface New Caledonia, a place once vis-
ited by James Cook and later colonized by the French. No. 74 -
The ties, left to right: 17th/21st Lancers, Royal Corps of Signals, Colonial Police, Irish Stiff
Guards, Calcutta Light Horse, and Kenya Police. cloth
VIEWER BEWARE: The blades of the ties will spear through the bottom of their sheath with
if they are put point down. sewn
Published together with Sintesi Edizioni, a press created by Guido Tucci dedicated to text
producing artists' books in Bologna, Italy. above
and
74. (Angela Lorenz) Where's The Button? By Angela Lorenz. Bologna, Italy, 1997. side of
7"x11" box, 6.5"x9.8" book. Edition of 9 copies. $4000.00 box
“12 images accompanied by poetic text describing the use of common buttons in differ- below.
ent cultures over the last 100 years. These are buttons as they were not intended to be
worn - none of them function to keep garments closed. Each example is depicted with
an embossed relief print printed on an etching press, a sort of bas-relief in the sense that
the images, and the buttons, are raised, not recessed in order to best recreate the origi-
nal object or textile. A novel technique was devised in order to do this, and to reproduce the extremely fine textures in each example;
those of wool, felt, cotton, leather, feathers, horsehair, and embroidery. Normally, the textures would be collaged onto the printing
plate to make what is known as a collograph. In this case, a cast or mold of each image was made by pressing the textures and but-
tons momentarily into sheets of plastic modeling clay, flattened out into rectangles by the artist. Then the plastic was hardened in the
oven, just as real plastic buttons, the most common by far, are formed through heat with molds, creating a symbolic relationship
between the work of art and the buttons of which it speaks. Each image is bound with a thread and two buttons to a piece of stiff
cloth, with rhyming text created by hand and sewing machine in buttonhole stitch. The colors of thread used and complementary
stitching all relate to the material culture of each place. The letter "O" throughout the text is represented by buttons similar to those
used in the original context, which means there are roughly 50 buttons sewn onto each work. The edition is housed in a handmade
archival box, with buttons attached to the front with brass wire and linen ribbon glued inside to facilitate opening the box and remov-
ing the work. The box mimics the way buttons are displayed and sold in shops, with even a reproduction of an Italian button box
label for the pertinent information about the edition on the back.
“A stitch in time saves nine perhaps-there are nine copies in this edition - but with the help of the artist's sister-in-law Anna
Figliomeni much time was saved sewing the text.” - Lorenz.

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

No. 75 -
two
views.

31
 borders. Vellum cover with leather labels and clothbound slipcase. An edition of 12 copies. Fine. $8000.00
“The "book" has the appearance of a traveler's elegant 19th century exotic novel. ... it unfolds panorama style to reveal a short poem,
blind-stamped in letterpress, about nomads and rugs. The etching paper has been hand-dyed with tea, not only to evoke the desert
but also to incorporate a substance and ritual central to the daily lives of many nomads.
“The two printed triangles visible represent two nomad tents in barren surroundings as well as pyramids, often depicted alongside
nomads in exotic 19th century illustrations. The rug slips out of its case to be viewed or displayed flat or vertically, ...” - Lorenz.

76. (Angela Lorenz) Artificial Hills. By Angela Lorenz. Bologna, Italy

1998. 7.4"x5.7", 87.2" fully extended. Each of the 12 images was orig-
inally printed in black and white in different versions, manipulated
by Guido Piacentini in the printing process to evoke the peculiarities
of 19th century photographs. The artist further manipulated them
through painting, tearing, folding, and collage. These definitive
images were then re-photographed, and it is this subsequent print-
ing that involves unusual processes. This book was printed in
Garamond by Stamperia Valdonega on Fabriano museum board
and bound with strips of bookbinding cloth in a panorama format.
Corners rounded individually with a 19th century manual cutting
machine. In a red cardstock box with real gold lettering also printed
by Stamperia Valdonega and die-cut to show the first hill presented
of the book inside. The photographs are a collaborative effort
No. 76. between the author and Guido Piacentini, who hand-printed each
one. An edition of 20 copies. Fine. $2500.00
“This work has the appearance of a travel souvenir book, but it functions as a vehicle for an urban studies exploration of man-made
hills in the city of Bologna. "Artificial" hills are the only hills in the center of Bologna, as the area from there to Venice is largely a flat
plain which was once an inland sea. From the perspective of a native of New England, these strange little hills are perplexing, as they
are not the result of glacial activity. The hills have been photographed at the end of the 20th century, but the images appear to be much
older, to create a feeling reminiscent of 19th century photographs. The chemicals and the
printing processes used, requiring two printings and four baths for each of twelve photo-
graphs, are historical themselves, as well as being extremely archival. Under each photo-
graph, a text on the left printed in letterpress describes what each hill was and what it has
become, while a rhyming poem on the right gives an amusing description of the nature and
evolution of these various categories of hills, largely unnoticed by Bologna's inhabitants.
“The images for Artificial Hills were photographed using a Nikon F3 camera with various
lenses on Ilford Delta 400 film, developed in Ilfosol, and printed on AGFA Classic 118 FB pho-
tographic paper.
“The process used to create the final prints is among the oldest still in use after its invention
in the 19th century. The sepia toning creates prints which last longer, in archival terms, than
those in black and white. For Artificial Hills, which mimics a 19th century panorama tourist
album, this process was chosen not only for archival reasons, but because it is appropriate
conceptually.” - Lorenz.

77. (Angela Lorenz) Theater of Nature or Curiosity Filled the Cabinet - Trade Edition.
No. 77.
Written and illustrated by Angela Lorenz. Novelties of Purpose. A division of
Angela Lorenz Artists Books. [Italy. 2002.] Pop-out book. 6.75” x 6.5”.Fine. $40.00
This pop-up museum housed in a magic lantern box is an amusing introduction to the history of museums from Ancient Greece
through the 18th century. The artist’s hand drawn copperplate etchings, based on old engravings depicting the earliest museums in
Europe, are reproduced here in a facsimile version of the original limited-edition artist’s book. Inside, a rhyming poem recounts the
rise and fall of cabinets of curiosities, illustrated with nine watercolors based on 16th and 17th century manuscripts commissioned
by Ulisses A l d rovandi (1522-1605) housed in the
University of Bologna Library, and by Manfre d o
Sertala (1600-1680), now housed in the Biblioteca
Estense of Modena, Italy.

78. (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 Ve rona on acid-fre e
No. 78. cardstock manufactured by Cartiere Fedrigoni.

32
 Spool die-cuts created and executed in Bologna's industrial quarter. Ribbon woven in Capri, 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. 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 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.” - Lorenz.
N.B. There is a Vol II of Maxims by the Yard in deep orange, as against the red of the first volume. It, too, is in an edi-
tion of 100 copies. Fine. $375.00

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

No. 80.

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

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

33
 Introducing the work of an important Russian artist and lithographer -
the doyen of the artist bookmakers working in Russia today
“Mikhail Karasik is an acknowledged leader in the movement in Russian art
known as the artist’s book. This unique phenomenon in Russian art would not
exist in its present form were it not for his vital contributions. Karasik’s works
have been acquired by some of the world’s leading libraries and museums. ...
Karasik regularly contributes to international projects, special auctions and
fairs. The western image of the modern Russian artist’s book is, to a large
extent, synonymous with his name and work. ...
“Like Maxim Gorky, Mikhail Karasik can rightfully confirm: ‘All the best in me
I owe to books.’ He could even go so far as to say: ‘What I am I owe to books.’
... As the artist himself correctly says: ‘Bookishness is a personality trait, a men-
tal state, a psychological attitude.’ His path in life was predefined by his Jewish
background and his childhood.
“Mikhail Karasik claims - and his works confirm this claim - that each new
book begins with an image that appears in his head, tow hich a text is then
selected or written.”
“... Karasik employs devices not commonly used in the book form, printing on
primed canvases, utilitarian paper forms and real objects. The best example ...
is his non-traditional approach to lithography. [He] has worked without a
printer for many years, performing all the technical operations himself.
“ ... “I always think the same thing, holding onto the lever pressing the stone
and slowly turning the handle setting the roller in motion. I imagine I am turn-
No. 82. ing the handle of an old village well, slowly raising a heavy bucket hanging
from a rusty chain and filled to the brim. It is as if I am part of this primitive
instrument. My hands are a continuation of the handle and I am a living engine, the power of which depends on how I am feeling
and the result of my work. Although such work might seem arduous and monotonous, it gives me a chance to think.” - Self-Portrait.

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

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

No. 83.
34
 No. 84.
Far left - cover:
left - double-
page spread.

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

85. (M.K. Publishing) Acts. Dedicated to Bloom. Tableaux after James

Joyce's Ulysses. Artist's book by Mikhail Karasik. Translated into
English by Kenneth MacInnes. St. Petersburg. 2003. 36p. 20" x 13.5".
English text silkscreen printed. 15 colored lithographs featuring turn-
of-the-century erotic postcards. Frontispiece of monochrome litho-
graph. Brown board cover with black title and decorative border on
the front. Pink paper covered slipcase. One in an edition of 12 copies,
signed by the artist. Fine. $3000.00
“Dedicated to Bloom employs old erotic
postcards, which would not initially
appear to bear any direct relation to the
artist’s own life. In this way, however,
Mikhail Karasik recalls the secre t
d reams of his tender years and
indulges in his own reminiscences of
‘another, distant life - childhood.’
“Bloom takes a pack of postcards from
the bureau. He studies his collection of
pornographic postcards. He probably
remembers when he was a boy. In the
evening, on the seashore, he watched a
girl in white stocking sitting across
from him. ... Life passes so quickly. All
that remains are a few smudged pic-
tures. Yet for some reason these pic-
tures - the silliest naïve, useless ones -
always seem the most important.” - Self
Portrait.

No. 85.

35
86. (M.K. Publishers) Board of Honor. Artist's book by Mikhail Karasik. St. Petersburg. 2004. 16.75" x 13". 15 manipulated
color images of various public and private figures on canvas. A contents page is bound in giving the names of the var-
ious people; on the verso Karasik discusses the concept of this book and his reasons for using these particular images.
Illustrated boards with gray spine; metal studs for binding. In a gray slipcase with a white metal oval plate on front;
titled and dated in black on the spine. One in an edition of 25 numbered and signed copies. Fine. $1500.00
Images of Stalin, Brezhnev, Karasik's grandfather, parents and himself, El Lissitzky, Danil Kharms, Marc Chagall, Kazimir Malevich
and Boris Pasternak, among others. Karasik talks about his 'imaginary portrait gallery', and how he replaced older images with newer
names. He writes: "All that now remains of these people - talented and untalented, good and bad, kind and cruel - whom I either
looked up to or disliked with all the hatred of a child, are photographs in family albums, old books, encyclopaedias and calendars.
... They all now belong to history. All that remains are shadows and photographs.
“... Part of them only exist in my mind and memory. Yet isn't a memory all that is needed by those who are no longer with us?" -
Karasik. [Cover - above left: images of Chagall and Pasternak - center and right.]

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

No. 87.

36
 Inscribed by Wolpe for John Ryder
88. (Merrion Press) Wolperiana. An Illustrated Guide to Berthold L. Wolpe. With various
Observations by Charles Mozley. Introduced by E.M. Hatt. London. 1960. n.p. 8” x 4.75”.
Set in Hyperion and ‘Monotype’ Albertus, both designed by B.L. Wolpe. Twenty-three
full page caricatures of Wolpe in black and white. Printed on Basingwerk Parchment
with binding by James Burn. Title and illustration of Wolpe on both front and back
boards, title in gilt on spine. T.e.g. First edition limited to 335 numbered copies, with this
being No. 44 of 150 copies signed by Charles Mozley. Frontispiece photograph of Wolpe
has been signed and inscribed for John Ryder by Berthold Wolpe. Fine. $85.00

Two elegant books by Harriet Bart

89. (Mnemonic Press) 13 ÷ 14.
No. 88. Poem by Wallace Stevens. Artist's
book by Harriet Bart. [Minneapolis. MN. 2004.] 64p. 14" x 10".
Designed and printed in collaboration with Philip Gallo at The
Hermetic Press. Handset type printed in Delphin I and II, with
Trump Mediaeval used for display, on Magnani Pescia. Figures
and poem printed on rectos, stanza numbers on versos. The thir-
teen figures scanned and converted onto polymer plates, from
which they were then printed. Book printed in black, gunmetal
blue and a fugitive gray. Bound with black goatskin spine and
boards covered in iridescent blue/black cloth with a blackbird
foil-stamped in matte black. Slipcase of grey cloth. One in an edition of 50 copies
signed by the artist. Fine. $1400.00
“13÷14 is a book of startling contrasts and exquisite beauty. It is the confluence of a poem and
a puzzle, bringing together the fourteen polygonal forms of The Loculus of Archimedes and
the poetic vision of the Wallace Stevens poem, Thirteen Ways Of Looking At A Blackbird. The
book pairs disparate found objects, images, and texts to create unique contexts and give new
meanings to everyday objects. Bart has inventively used the fourteen shapes that comprise the
ancient puzzle to create dynamic silhouette figures for each of the thirteen stanzas of the
poem.” - Prospectus.

90. (Mnemonic Press) Punica Granatum. A Conceptual Work by Harriet Bart. [Text by
various authors.] Minneapolis MN. 2005. Thirteen spreads.14.5" x 10.5". Designed
and printed in collaboration with Philip Gallo at the Hermetic Press. Text printed in
No. 89.
handset Torino on Magnani Pescia with Greek text created electronically to match the foundry Torino. Text printed in
three colors throughout in muted tonalities. Title page and colophon are handled in an allusive typographic style, emu-
lating that of the engravings. Bound by Jill Jevne in the Coptic manner with textured apricot cloth over board and the
spine of each page reinforced with a silk hinge. Open sewn spine. A ribbon, serving as a marker, is adorned with two
ruby pomegranate seeds. Housed in a clamshell box, with the monogram ‘PG’ on its spine. One in an edition of 35
copies, all press numbered and signed by the artist. Fine. $2400.00
"Punica Granatum was inspired by Harriet Bart's travels through Israel in 2000 & 2001. The profusion of pomegranate trees, and the
many images of them inscribed on ancient stone fragments, fired her interest in this fruit of the gods. In 2002 Bart cast a series of
pomegranates in bronze. That work led to the creation of this book.
"In Punica Granatum the pomegranate is presented as the fruit of love & seduction. Excerpts from classical & contemporary sources
are threaded together to form a new text, which speaks, as it were, in the manner of a Symposium and extols the mythic powers of
the pomegranate. The text itself is then ingeniously fitted around embossed images of Aphrodite and a nineteenth century botanical
engraving of a pomegranate." - Colophon.

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

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

37
 93. (Lois Morrison) Geryon’s Country. Artist's book
by Lois Morrison. [New Jersey.] 2005. Tunnel book
format. 9" x 5.5". Color copied from crayon draw-
ings. Gocco-printed and color penciled onto digital
color Supreme Glossy recycled, Arches text wove
and Fabriano Tiziano Lava Red. Typeface is Font
Lister. Together with the colophon in a red folder at
the back of the book are three handcut and mov-
able grommeted figures of two Geryons and a dog.
These figures can be placed between the layers of
the book to form an interactive scene. Laid in a pat-
terned tan cloth wrapper lined in deep red with a
t h ree-button closure. One in an edition of 25
copies, signed by Lois Morrison. Fine. $750.00
Inspired by the Greek myth wherein Hercules is caught
stealing Geryon's herd of red cattle and kills him as one
of his labors. "Geryon is described as being red, incredi-
bly strong and having six arms and six legs" - from the
text. Lois Morrison has again created a clever contempo-
No. 93.
rary visual book inspired by a classic text.

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

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

Jan Owen
No. 95. at work.
95. (Jan Owen) Garden Library. Mixed media sculptural book by Jan Owen. [Bangor. Maine.] 1996. 8" x 11" x 3". Open 'book'
on board covered with paper of reproduced text and old botanical illustration. The covers of the 'book' itself are cov-
ered in decorated paste paper of various colors with paste-ons of xeroxed text relating to books and gardens. Thin
strips of xeroxed decorated papers and and strips of white paper with text form a pop-up display from the center of
the book. Laid in an archival box with paper title label, giving the edition number, as well as a large illustrated paste-
on. One in an edition of 10 copies, signed by Jan Owen on the base of the inside back cover of the book. Fine. $250.00

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

38
 No. 96
- detail.

97. (Jan Owen) Love's Not Time's Fool. Sonnets by Shakespeare. Set of three unique
calligraphic hanging book panels by Jan Owen. [Bangor. Maine.] 2003. 20" x 12.5".
Open - each 20" x 44". Acrylic, ink and gold leaf on paper with woven Tyvek deco-
ration. Written in brown, black, gray and blue inks. Each panel with a different
color background: the first in salmon tones, the second in shades of yellow, and the
third in tan/brown. Each panel with a paper title label and white cord for hanging.
Laid in a rose colored cloth portfolio case lined with rose decorated paper and fas-
tened with white cords. Paper title label on front and spine. Unique panels signed
No. 96. by Jan Owen. Fine. $3000.00
Twenty-nine sonnets by William Shakespeare. The three panels form a complete overall design, although they can be viewed
separately, with the colors deepening from the first through the second to the last panel.

No. 97.

39
Item No 98.
Item No 100.
Detail below.
Item No 99. Detail below. Detail below.

40
98. (Jan Owen) Seek Words. Unique calligraphic panel by Jan Owen.[Bangor, Maine.] 2005. Single panel hanging accordion
fold book. 21" x 10.75". Open - 42" x 21". Painted in shades of purple, blue, orange and black, with black and brown
calligraphy. Acrylic, sumi ink and gold leaf on paper with woven Tyvek which has writing in some places. Thick white
cord for hanging. Orange-brown cloth covered portfolio case with paper title label on front and small title label on
spine; string ties. Text by various authors. Unique piece signed by Jan Owen. Fine. $975.00
Authors include Lu Ji, Helen Keller, A. Sullivan, Eudora Welty and James Kilpatrick.

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

100. (Jan Owen) There is a Field. Unique calligraphic panel by Jan Owen. [Bangor. Maine.] 2005. Hanging accordion fold
book. Closed - 19.5" x 11.25". Open - 19.5" x 42". Acrylic on paper with gold leaf and gold painted woven Tyvek as dec-
oration. All backed with Tyvek. Painted in blues and green with blue and green inks. Boards and back of panel paint-
ed light green. The front board has a colored paper title label and white hanging cord. Laid in a textured green cloth
portfolio case lined with hand decorated blue paper. Paper title label white cord closures. Unique signed work. Fine.
$1500.00
The visual image and the words on this panel evoke the seasons of spring and summer and the beauty of nature. Texts by Emily
Dickinson, Rumi, Proust, Joseph Conrad, Elmer Diktonius Jay, John Tagliabue, Juan Ramon Jimenez and Robert Frost.
Owen writes: "There is a Field began in the spring with the silvery greens of new grass and trees that glitter in the longer days. This
amazing newness also reminds [me] of the cycle, of what is to come. The challenge is sometimes to just be in that field. The block of
text going from light to darker is to be like a carpet, a blanket to lie on and be present."

101. (Pacific Editions) The Mappist. Story by Barry Lopez. Images by Charles Hobson. [San Francisco.] 2005. Concertina
binding attached to the back cover. 11.25" x 10". Printed letterpress on BFK Rives with transparent sheets with pigment
prints and a monotype with hand coloring reproduced as a pigment print. Original US Geological Survey maps are
used for the concertina binding and selected pages. Bound in boards covered with 1911 map of Bogotá. Slipcase cov-
ered in wood grain paper to suggest the map cabinet which plays a pivotal role in the story. A metal label holder acts
as a label on spine of slipcase. Corrugated card outer cover. An edition of 48 copies, signed by Lopez and Hobson. Fine.
$2100.00
The concertina binding, when looked at from its edge, takes on its own topography of mountains and valleys. The book can be
opened from the inside back cover to display a three-page wide image of USGS maps with topographic symbols. Images of hands
emulating gestures of a mapmaker at work have been reproduced as digital pigment prints on transparent film. When opened the
images of hands at work drawing a map adds visual impact to the text. Lopez’s story tells of the protagonist's lifelong quest to find
a reclusive master mapmaker, who has inspired his own career as a geographer and urban planner.

No. 101.
41
 102. (Papermaking) From Fiber to Paper. Text and samples by Dianne L. Reeves. Houston. Texas. 1991. n.p. 7" x 9.5".
Designed and printed by W. Thomas Taylor in Austin, Texas. Printed in Nideggan mouldmade paper, with title page
calligraphy by Jeff Jeffries. Stab-sewn binding made from Ogura natural Japanese handmade paper by BookLab in
Austin. An edition of 200 copies. Fine. $200.00
30 different samples of paper made from various natural fibers such as hibiscus, banana, ginger & gladiolus leaves, cornhusks, rice
straw and blue jeans. Information and basic recipes are given for the making of the papers, as well as detailed specifications for the
making of the 30 different samples shown. Reeves states: "... this book should serve as a guide for all persons interested in the process
of ... handmade paper from natural fibers."

103. (Pear Tree Press) Voluntary Poverty.

F rom a talk by Gandhi at the
Guildhouse, London, England on
September 23, 1931. This edition printed
for The Green Leaf Press. New Zealand
by The Pear Tree Press, New Zealand.
2000. Illustrated by Tara McLeod with
woodcuts depicting Gandhi’s last pos-
sessions. 4 leaves. 6.25” x 8.5”. Printed
on cream Evergreen aspen, with tan
cover wrappers of Evergreen butternut
cord. Edition of 150 numbered copies.
Fine. $35.00

No. 103. 104. (Perishable Press) Reflections on a

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

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

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

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

108. (Purple Goldfish Press) Tale of the Last

Star. By Jodi Hoover. [Baltimore. 2004.] 8
French-fold leaves (glued together in part).
10” x 5”. Pages screenprinted, with collages,
and some hand painted elements on Rives
BFK Newspring Gray in the printmaking
department at the Maryland Institute College
of Art. Typeface is Amery. Open spine bind-
ing with two Tyvek painted strips and boards
covered with Tyvik, painted a shimmering
turquoise, with a recessed painted title label
on front. An edition of 12 copies, signed by
Jodi Hoover. Fine. $250.00
No. 108. This is the delightful first book of the Purple
Goldfish Press. .

42
 “walking hand in hand across the most beautiful bridge in the world”

109. (Red Angel Press) The Bridge. Three poems by Hart Crane
from his collection, The Bridge. Illustrated and designed by
Ronald Keller. New York. 2004. 12.5” x 7.5”. Printed in
American Garamond 648 type on Saunders Waterford
paper. To illustrate the first two poems three relief print
images of the bridge’s stone arches and steel suspension
cables are printed in six colors in a style reminiscent of
early 20th century poster graphics. The prints are printed
on Sekishu. The third poem is printed on four hinged
leaves that extend to 42 inches when opened and create a
pop-up design of the cables and supports. Cover designed
to represent abstractly the bridge’s suspension cables. An
edition of 100 copies signed by Keller. Fine. $900.00
The last poem, To Brooklyn Bridge, has a typographic layout to
form the bridge’s roadway and is bordered by a depiction of the suspension cable (the poet’s ‘choiring strings!’) that rise up from the No. 109
pages when opened.
“Much of Crane’s poetry in this collection was written while Crane lived in Brooklyn Heights, certainly within sight of the Brooklyn
Bridge. Critics contend, however, that his early conception of a bridge was metaphorical, not specific. It was at this time that Crane
fell in love and work on The Bridge intensified. In 1924 he wrote [to] Waldo Frank, ‘... the ecstasy of walking hand in hand across the
most beautiful bridge in the world, the cables enclosing us ...’. The specificity of the Brooklyn Bridge seems to take hold now, but is
symbolic of his new lover, not just a paean to a monumental structure.” - Prospectus.

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

No. 110.

43
 A photographic walk through Middletown
111. (Red Charming) Walking Middletown. Artist’s photographic book by Emily K. Larned.
Brooklyn, New York. 2002. 3.25” x 3.25”. Color photocopies of 24 Polaroids. Images
mounted on Black Mulberry-covered 2-ply museum board, and hinged with the same
Mulberry. The front title and back colophon are printed letterpress on handmade brown
St. Marmand paper. The blue sleeve is also printed letterpress in two colors on handmade
blue Khadi paper. One in an edition of 50 numbered and signed copies. Fine. $200.00
Polaroid images taken in 1998 show various close-ups of one of the 14 Middletowns in the USA. (It
happens to be Connecticut, but the sad shabbiness of the sagging porches, peeling paint, innocuous
architecture, abandoned factories, and gutted cars could be anywhere.)
The book opens in different directions, so that unfolded to 18” x 36” on a flat surface it takes the shape
of a town’s geography with its many blocks and dead-ends.

112. (Red Charming) Galois Fields. Text & design by Emily K. Larned. [Brooklyn. New
York. 2004.] 13 unique silkscreens created especially for this book, utilizing the concept of
Group Theory. 32p. 9” x 9”. Researched, written, designed, illustrated, silkscreened, type-
set, printed letterpress, and hand bound by Emily K. Larned. Paragraphs on Galois’ life
are set in Garamond Bold, printed in black, and illuminated by Dutch Initial caps printed
in dusky gold. Details of the Theory are set in Stephenson Blake Grotesque no.10 and
printed in deep magenta, in long lines at the bottom of the page. On every doublepage
spread is a full-bleed pattern of fleurs-de-lys, silkscreened in white, which radically trans-
forms into 12 different mathematical patterns with each turn of the page. Silkscreened
magenta and white paper over board, title
stamped in 22 karat gold on front. An edition of
55 numbered and signed copies. Fine. $850.00
“Before he was 21 years old, the 19th century French
mathematician Evariste Galois failed classes and expe-
rienced his father’s suicide, published a revolutionary
treatise and was expelled from school, joined the
National Guard and threatened the life of the king,
No. 111. narrowly escaped cholera and died in a duel. He also
discovered the mathematical concept of Group Theory,
which has served as a model for the solution to the Rubik’s Cube and the World War
II Enigma Code, as well as a crucial background theorem for Einstein’s General Theory
of Relativity.
“Galois Fields tells both these stories: the life lived as well as the life of the ideas, liv-
ing on, even now, 172 years after the death of young Galois. It is a romance of ideals &
ideas told in 3 ways: through a stunning biography, a fascinating exploration of Group
Theory’s many applications and implications, [and the book itself.]”- Emily K. Larned.
No. 112.
Fine drawing, fine draughtmanship - a unique work of note

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

No. 113 -
Binding - right:
Double-page
spread - far
right.

44
 on Hahnemühle calligraphy paper. Bound in brown leather with gilt title on front cover. In a brown cloth dropback
box. Fine. $1500.00
“Los Galanos is a collection of drawings that portrays the knight's knight, or shield bearer, in a variety of armorial configurations. The
squire was truly an important thread in the fabric of feudal military society. There are many men that could be noted as examples of
this rank during and even beyond the medieaval era. Sancho Panza stands as the most memorable of latter day examples." -
Introduction. Unusual - never simple - intricate and complex.

No. 114.

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

Deb Rindl - Paper Architect & Artist

115. (Deb Rindl) Night Flyer. Artist's book by Deb Rindl. [London.] 2002.
8.5" x 2.375". Printed laserjet. Opens into a fanlike shape, with gray
cloth covered endboards. One endboard with orange/red round paper
decorative inset. Gray cloth slipcase with paper title label on spine.
One in an edition of 30 copies, initialed by Rindl. Fine. $92.50
Rindl writes: "I am always struck by a certain beauty in the symmetry of palin-
dromes. In this Ancient Roman example, I found the poetic quality of the
English translation particularly evocative. It conveyed to me notions of being
cleansed and reborn, which I feel I must be prepared for to move on in life, even
though sometimes this can be painful." No. 115.

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

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

No. 117.

45
 An artist’s response to the ongoing conflict in Afghanistan

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

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

120. (Deb Rindl) Capital Connections. Artist's book by Deb Rindl. London. 2004. 4.25" x
2.5" x approx. 6". Designed and printed laserjet by Deb Rindl. Names of underground
tube stations printed on edges of pages, which have two punched holes with blue
threads through the holes to hold the book together. Some text on the back. Accordion
fold between blue endboards with paper title label on front board. Laid in a blue card-
board box - 10" x 5" x 3". One in an edition of 30 initialed copies. Fine. $92.50
Rindl writes: "A journey along the Thames as it makes its way through London, going east to west
or west to east as you prefer. The capital is in the space beyond." [Illustrated left.]

A group of great books from a truly creative hand

121. (sailorBOYpress) Cloister. Artist’s book by Jeffrey Morin. [1993.] 20p. 8.5"
x 6". Set in Craw Clarendon on various papers. 6 pop-ups in paper and 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.

122. (sailorBOYpress) The Jester’s Shadow Being excerpts from the Journals &
Letters of Lester Raymer. Artist’s book by Jeffrey Morin. [Georgia. 1995.] n.p.
9.75" x 6.25". Printed on paper from China, with type from Quaker City 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. Sensitive and successful. [Illustrated top of p. 47.]

No. 121.

46
123. (sailorBOYpress) T-Pallidum. Visual collaboration between Jeffrey Morin
and Ron Buffington. [Stevens Point. Wisconsin. 1996.] Accordion fold. 8.25"
x 8.25". Buffington’s visual images are placed on the left side of the spread,
and Morin’s type constructions are on the right side of the spread. 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."

No. 122.

A very beautiful homage to the

Alphabet
124. (sailorBOYpress) Sacred Space. Book
No. 123. 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. [2003.] 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 decorations, as well as on the front cover. Open spine sewn with brown cord, brown cloth cov-
ered boards with title and design on front board. Endpapers of handmade paper from Nepal. The box lid is the 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 paint-
ed with copper leaf. An edition of 35 copies, signed by Steven
Ferlauto and Jeffrey W. Morin. Fine. $1750.00
"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; The Jack
G i n s b e rg Collection,
Johannesburg, South
Africa; The Arthur &
Mata Jaffe Collection,
Florida Atlantic Univ-
ersity, Boca Raton;
Harvard, Graphic Arts
Collection; Wheaton
College Library, Nor-
ton, MA, and Hofstra
University Library,
Hempstead, NY.

No. 124.

47
 Martyr, Mercury and Rooster - A contemporary trilogy on the theme of ‘Ars Moriendi’
A new interpretation of 15th century texts now seen through modern eyes.
“In fifteenth century Europe, the level of literacy had been on the decline. ‘Ars Moriendi’ are picture manuals for one’s
preparation to meet death. On one level they are intended to ease the transition and prepare one’s family for the com-
ing loss. On another level, these manuals are a form of propaganda, advising the soon-to-be-departed to give heavily
to the Church to guarantee a better place in Heaven or at least a seat further from the flames of Hell.” - Colophon,
Rooster.

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

48
 1. Shahida - The factual story of the first Palestinian female suicide bomber. No. 125 -
Three details.
2. The Dancing Cats of Mercury - Mercury and its destructive effect on the lives of fish, animals
and humans.
3. Sibongile and the Murderous Rooster - tells of the spreading of HIV in Southern Africa through
the means of a fable.
"The way the project worked, we decided on scale, paper, and page count first. We spent last summer
hand-sizing many papers with gelatin and pigment, and then moved on to text. The first and last books
are our own individual attempts at sticking to the format while the middle book is a project that went
back and forth between the two of us until it was completed." - Letter from Jeff Morin.
"The collaboration between two printers, ... came out of Walter Hamady's 1983 letteress class." -
Colophon, Martyr.
This series of books dealing with contemporary ways in which people 'prepare' to meet death in vari-
ous forms in different societies is a moving treatise, without sentimentality..It is thought-provoking and
important as a document on the state of man and our civilization to-day. We believe it should be read
and shown to as wide an audience as possible.
In the collections of The Library of Congress; Rochester Institute of Technology; The Bruce Peel Special Collections
Library, University of Alberta, Canada; the Jack Ginsberg Collection, Johannesburg, South Africa; Wheaton College
Library, Norton, MA; Smith College, Northampton, MA; Scripps College Library, Claremont, CA, and Wellesley
College Library, MA.

World War II remembered in a series of letters home

No. 125.-
126. (sailorBOYpress) My darling, My reason. Text from letters by Roger D.N. Design and construction by Jeffrey Morin. Detail.
[Stevens Point, Wisconsin.] 2006. 7" x 10". Letterpress printed in 20th Century Light, which was purposely chosen not
to emulate script or typewriter, both formats of the original letters. Gelatin-sized Hahnemuhle watercolor paper in blue
with gray. Black and white and sepia reproductions of photographs of sailors from the World War II period, as well as
two photo postcards from the same time. Illustrations, postage stamps of the period and some cut-outs throughout.
All photographs placed with black photographic album corners, reinforcing the idea of an album. Bound in brown
mottled paper endboards with postage stamp on the right hand side of front board. Four signatures with open sewn
spine. Brown cloth dropback box with airmail stamp of the period on side of lid. An edition of 48 copies. New. $750.00
Morin writes: "Every project starts with a type of predicted vision but they never become what was envisioned."
"The photographs, with the exception of two obvious photo postcards, have never been published and are part of my large collection of such images of
sailors. They are editioned using an archival inkjet process on Kodak Ultima paper."
Morin also states in the Colophon: "The letters came to me in an anonymous way with no knowledge of the author or the relationship with his wife.
This book has evolved over time from the original intention of a photo album to that of a book which presents the possible thoughts of Roger D.N. who
wrote to his wife faithfully while a sailor during World War II. Misspelling and grammatical oddities remain from the original letters."

No. 126.
49
 Introducing the work of Ilse Schreiber-Noll - in the great German Expressionist tradition

No. 141.

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

50
 First collaboration

No. 127.

127. (Ilse Schreiber-Noll) Hamba Kahle Solomon Malangu. Poem by Dennis Brutus. Printed and illustrated by Ilse Schreiber-
Noll. 1987. Color woodcuts. n.p. 22" x 15". French fold. Printed on black Arches Cover paper. The poem is cut out of
the woodblock and is printed in white ink over a populated green and brown landscape, which is continuous over 18
pages. In a dropback box covered with dark brown handmade paste paper. Small woodcut inlaid into the front cover.
One in an edition of 10 copies signed by the poet and artist. Fine. $2250.00
Dennis Brutus was born in Zimbabwe in 1924 to South African parents. He attended university in South Africa. Political campaigns
led to his being banned from all political and social activity. When held captive on Robben Island, near Cape Town, South Africa, he
spent time breaking stones with Nelson Mandela. After leaving South Africa, he made his home in England until 1983, when he won
the right to stay in the United States as a political refugee. He is an Emeritus Professor at the University of Pittsburgh, and has also
taught at NorthwesternUniversity, Swarthmore College, the University of Denver, as well as other major universities. He was the
recipient of the Langston Hughes Award in 1987 (the first non-African American to receive that award) and he was also honored with
the first Paul Robeson Award in 1989 for “artistic excellence, political consciousness and integrity.” Brutus’ first collection of poetry,
Sirens, Knuckles and Boots (1962) was published in Nigeria while he was in prison. Although his work is protest poetry, there is a matu-
rity and restraint in his poems that prevent them for ever becoming self-pitying.
Schreiber-Noll writes: “I encountered the poetry of Dennis Brutus the first time in 1987. ... I read the poem “Hamba Kahle Solomon
Mahlangu” in a magazine and was so moved that I decided to contact the poet, who was teaching at the University of Pittsburgh. That
is how my first collaboration with a contemporary poet started.

128. (Ilse Schreiber-Noll) Homage to Friedrich Holderlin. Poetry by Friedrich Hölderlin, Robert Kelly, Justus Noll, Nathaniel
Tarn. [In German and English. German poems translated by Richard Sieburth.] Illustrated by Ilse Schreiber-Noll.
Woodcuts and Monoprints. n.p. 19.75" x 13.75". Printed letterpress in Baskerville and Universe on Domestic Etching
paper. Laid in a cloth dropback box. An edition of 20 copies, signed by the poets, artist and translator. Fine. $2500.00
A tribute to Friedrich Hölderlin (1770-1843). The text includes two poems by Hölderlin and three tributes by modern poets, this being
the first printing of these works. The book opens with Hölderlin's last poem, "Die Aussicht" (The Prospect), and is followed by
"Hölderlin", a tribute
poem by Justus Noll, a
German musician and
writer. The poem by
Nathaniel Tarn is based
on a theme from a
Hölderlin poem. The
work by Robert Kelly is a
"sound hearing" of a
Hölderlin poem. The
final poem, Columbus, is
taken from a manuscript
of Hölderlin. The
changes he made over
years in his manuscript
are re p resented with
changes in type.
No. 128.
No. 128.

51
 129. (Ilse Schreiber-Noll) "1972". [In English and Russian.] A poem by Joseph Brodsky. Printed
and illustrated by Ilse Schreiber-Noll. 1989. Six color woodcuts. 23.5' x 15.5". Printed on white
Arches Cover paper. The artist wrote out the English translation by hand while Ardis Press sup-
plied the Cyrillic type for the original Russian. The two manuscripts were then engraved and
printed in black and red, respectively. The two versions appear side by side. The unbound sheets
are laid in a brown linen covered dropback box lined with a monoprint.The book also contains a
handwritten poem by Ilse Schreiber-Noll "For a Fraction of Time", which she wrote after Brodsky's
death in 1996 and added to the book in his memory. One in an edition of 8 copies, signed by the
poet and the artist. Fine. $2750.00
No. 129. Schreiber-Noll wites: “My first meeting with Joseph Brodsky was in a small coffee shop on Hudson Street in
the West Village in the late 80’s. I did not know then who he was and found out only several months later. I
had read his poetry and written to him whether or not I [could] illustrate his poem “1972” and produce a limited edition. After get-
ting to know my work he agreed. ... Joseph died in January 1996. I mourn his early death.”

No. 129.

130. (Ilse Schreiber-Noll) Reading John Cage. By Octavio Paz and White on Blanco by John Cage, translated by Eliot
Weinberger. Printed and illustrated by Ilse Schreiber-Noll. [In Spanish and English.] 1989. Woodcuts and monoprints.
22" x 15". Printed in Baskerville. John Cage hand wrote the mesostic for this book, which then was reproduced from
the original manuscript by photo offset. Printed in Baskerville on Rives Lightweight paper. Some pages are stained in
yellow-orange. Housed in a sepia linen dropback box with two small woodcuts inlaid in the front cover. An edition of
14 copies, signed by the poets, artist and translator. Fine. $3000.00
In this book all participants join voices in a complex bilingual counterpoint of mutual admiration. Octavio Paz's poem Reading John
Cage is responded to by Cage, himself, in verses titledWhite on Blanco. Cage terms his handwritten poem a "mesostic", a form which
permits reading down through the center of the verse as well as left to right. Eliot Weinberger completes the triad with his own
"mesostic" on Paz and Cage.
Schreiber-Noll writes: “I had listened to the early piano pieces of John Cage and read his books. At the same time I found Octavio
Paz’s poem dedicated to John Cage. I thought that I would like to make a book, which [would] be a mutual admiration of [two] great
artists for each other, Paz and Cage. After getting permission to use Paz’s poem I contacted John Cage asking him if he would write
something dedicated to Octavio Paz. [He agreed to re-write White on White which he had written for Paz’s 80th birthday,] but Octavio
never responded to it. Maybe he will this time, we thought. And he did when I met him at his home in Mexico City to bring him his
book and to sign the others. He seemed to be pleased.”
The collaboration between the artist and Galway Kinnell
Schreiber-Noll writes: “Since 1995 I [have] stopped working with any other
poets but Galway Kinnell. My first meeting with Galway Kinnell came
through both of our involvement with the Apartheid movement. ...
Galway’s poetry has over the years greatly influenced my work and even if
often invisible has become the voice which speaks underneath the surfaces
of my paintings and prints together with the voices of Pal Celan, Rilke,
Brecht and Ingeborg Bachmann and other great poets.

131. (Ilse Schreiber-Noll) When One Has Lived a Long Time Alone.
Poem by Galway Kinnell. Printed and illustrated by Ilse Schreiber-
Noll. 1995. 18" x 13.25". Handwritten introduction by the poet.
Baskerville type on Mulberry paper. Kinnell's poem is printed in
silver ink over monoprints of a rural landscape in brown, black,
midnight blue, and ochre, which is continuous over nineteen pages.
No. 131.

52
 No. 131.

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

No. 132. No. 133.

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

133. (Ilse Schreiber-Noll) How Could She Not. For Jane Kenyon (1947-1995). A Poem by Galway Kinnell. Printed and illus-
trated by Ilse Schreiber-Noll. 1998. Three woodcuts, two in color.. n.p. 11.75" x 8.75". The titles, reproduced by photo-
engraving, were handwritten by the poet. Printed in Garamond on Rives paper. One of 12 copies in a special wrap
around board cover in an edition of 50 copies, signed by the poet and artist. Fine. Without cover - $175.00:
With cover - $200.00

134. (Ilse Schreiber-Noll) Die Erste Elegie - The First

Elegy. [German and English.] By Rainer Maria
Rilke. English translation by Galway Kinnell and
Hannah Liebmann, with six color woodcuts by Ilse
Schreiber-Noll. Music by Dary John Mizelle. 2001.
22" x 13". The English translation was printed on
the letterpress and the original German was cut
out of linoleum. The music score was handwritten
by the composer and reproduced by photoengrav-
ing. Loose in wrappers. Cloth dropback box. O n e
in an edition of 10 copies, signed by translator,
artist and composer. Fine. $2500.00

No. 134.

53
 135. (Ilse Schreiber-Noll) When the Towers Fell. A poem by Galway Kinnell. Concept, illustration, design and binding by
Ilse Schreiber-Noll. 2005. 30" x 20". Woodcuts on paper and cheesecloth and mixed media on paper. In two parts. The
handwritten manuscript, which contains the first stanza and seven lines of the eleventh stanza of the poem, was writ-
ten by Galway Kinnell for this project in January 2005 and was reproduced, slightly enlarged, from the original. The
entire poem was printed letterpress in a wrappered book. The excerpts in the second part of the book were cut from
linoleum. Housed in a cloth dropback box. One in an edition of 8 copies, signed by the poet and the artist in both parts.
Fine. [Two double-page spreads above and one below left.] $2950.00
“Galway and I have collaborated on five artist’s books ... Our last
collaboration is a poem Galway Kinnell wrote in response to 9/11
entitled When the Towers fell. It took me two years to complete the
final version of this book. My first attempt failed. I disregarded the
first version since I felt that the destruction and horrors and the
senseless war in Iraq, a consequence of 9/11 cannot be conveyed
on beautiful white paper. The surface had to be destroyed to
become the reflection of the despair and destruction.
”This book to me became not only a memory of 9/11 but also sym-
bolizes the uselessness of war, and with this becomes a call for
peace.”
Gallway Kinnell was born in Providence, Rhode Island, and stud-
ied at Princeton and the University of Rochester. He was influ-
enced by and participated in the civil rights movement, and much
of his work deals with social issues, as well as with the spiritual
dimensions of poetry. Kinnell is the Erich Remarque Professor of
Creative Writing at New York University and a Chancellor of the
American Academy of Poets.
In the collections of The Library of Congress Rare Book Division, Dartmouth
College Library and the Arthur & Mata Jaffe Collection, Florida Atlantic
University, Boca Raton.

136. (Ilse Schreiber-Noll) Der Mensch in den Flüssen [The Man in the River.] Artist's book by Ilse Schreiber-Noll. 1998. 12" x
8.75". 11 double spread painted images, plus painted cover boards. Woodcuts in
orange, brown, black, green and blue on painted thin card. Handwritten title on both
front board and title page. No. 2 of 2 unique
signed variants. Fine. $650.00

137. (Ilse Schreiber-Noll) The Night. Unique

artist's book by Ilse Schreiber-Noll. 2002. 5
doublepage spreads. 10" x 7.5". Mixed media
collage and drawings on paper. Constellations
of the stars in silver with other color and the
name written in silver. Dark blue painted
boards, with silver handwritten title on front.
Dated and signed by the artist on the back
cover. Fine. $850.00
Rilke - “Oh, and the night, the night, when wind full
of cosmic space ...”
No. 137.
No. 136.
54
 A cry for peace
138. (Ilse Schreiber-Noll) History Destroyed [Tausend Jahre eines Volkes getöted -Thousands of years of history of a country
destroyed.] Unique artist's book by Ilse Schreiber-Noll. 10 paper leaves and 4 gauze leaves. 20" x 14". Mixed media and
collage on paper with some handwritten text. Linen leaves with a poem and/or holes. Heavily painted board covers
with black cloth spine. German title in red on front board. Laid in a linen-covered box with a separate lid; title in black
on top lid. A unique signed book in a series of 10 books entitled Verloren in Sand und Asche (Lost in sand and ashes.) Fine.
[Binding and two pages illustrated above.] $5250.00
"The books "History Destroyed" and "Die Blumen Vergehen" belong to a larger project entitled "Only History Remains" on which I have
been working since 2000. The focus lies [in] the devastation and environmental destruction inflicted upon countries through war,
which I try to show in paintings, artist's books and installations.
"The heavy textures and collages of the surfaces of my paintings and book symbolize burned soil, decayed forests and lands, and
speak of the pain of the people, which once inhabited them and now have been lost in the ashes.
"This work is dedicated to those who have died and [is] a reminder for us who are alive and a call for a joint effort to help and con-
tribute to a more peaceful world." - Schreiber-Noll.

No. 139.

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

55
 140. (Ilse Schreiber-Noll) Orpheus, Eurydice, Hermes. By Rainer Maria Rilke.
[German and English.] English translation by Galway Kinnell, with 5 encaustic
woodcuts by Ilse Schreiber-Noll. 2005. 20" x 14". Dropback box. One in an edition
of 5 copies signed by poet-translator and artist. Fine. $1750.00

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

No. 140.

Carol Schwartzott
C a rol Schwartzott holds an MA in
A n t h ropology and Fine Art from the
University of Buffalo and her profession-
al portfolio lists many honors and
exhibits. Her bookworks created over the
last twelve years are in many museums,
libraries and private collections. These No. 141.
include the Joseph Cornell Center of the Smithsonian Institution; The National Gallery of Art, Washington, DC; Yale University;
Harvard University; The Arthur and Mata Jaffe Collection, Florida Atlantic University, Boca Raton; Toronto Metro Library, Special
Acquisitions; and the Victoria and Albert Museum, London. She is the recipient of a New York State Fellowship for the Arts, and an
Arts International/NEA Grant.

142. (Carol Schwartzott)

Kimono/Kisode: A Decorative
Study of the Kimono. Artist’s
book by Carol Schwartzott.
[2001.] Designed and bound by
C a rol Schwartzott. 6 double-
fold-out spreads. 9.75" x 5.5".
Printed by Blacks Corner
L e t t e r p ress in Monotype Gill
Sans Light cast by Bixler Press
& Letterfoundry. A rc h i v a l
b o a rds and Japanese
Chiyogami papers with a piano
hinge binding design by Heidi
Kyle. Seven wooden rods held
No. 142. together with strips of various
multi-colored Japanese papers
form the binding. Title on front board. Heavy board slipcase covered in various Japanese papers with paper title label
on spine. An edition of 125 signed and numbered copies. Created for and supported by the Library Fellows of the
National Museum of Women in the Arts, Washington DC. Fine. $425.00
Each fold-out spread has a cut-out in a kimono shape which allows the different Japanese papers lining the back sections of the fold-
out to show. Text on the history of the kimono is on the back of the first fold of each section. Informative, colorful and tactile.

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

56
 double fold pages. Each black fold
displays a colorful, 5 layer, cut-paper
illustration. The black Japanese cloth
binding contains an insert of an actu-
al Mola sample - appliquéd cloth
with embro i d e r y. Matching black
slipcase with red paper title label on
spine. One in an edition of 50 signed
copies. Fine. $250.00
“Ola Mola introduces the history, geogra-
phy, religion, customs and aesthetic of
the Kuna Indians of the San Blas
Archipelago, a group of some 300 islands
off the coast of Panama. The Mola, a sim-
ple female garment, is fashioned out of
No. 143.
two stitched and appliqued cloth layers
front and back, with an addition of sleeves and yoke. This fabric panel will often contain historical designs representing the identity
of Kuna women in sociological and ethnological ways. My book is an attempt to follow the scholarly study of the garment, from the
earliest contact to recent critical feminist views.
“As an artist I tend to concentrate within the art and aesthetic areas of what I study. I collected my first Mola in 1970, and as a ‘sewer’
I have always been fascinated by their innovative and skillful construction, as well as the wonderfully simple, yet complex imagery.
I wanted my little book to show their detail, the textures formed by layering and the lush and vibrant use of color. I began the illus-
trations by scanning fabric, then considered photographing them or using actual samples. At one point I had a wild notion of sewing
my own.
“As the project moved along many techniques were employed and discarded. Finally, I decided on cut paper. Cutting the tiny, intri-
cate patterns would be easy for one book, but what about 50? To the rescue came my daughter Gretel, an industrial designer work-
ing in an architects office. She suggested the interesting solution of laser-cutting. So, with her dedicated help ... the colored illustra-
tion became my own stylized interpretations of classic mola design.” - Schwartzott in the Prospectus.

The fine art of Fish Illustration

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

No. 144.

57
No. 144. No. 145.

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

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

Illustrated with original graphics by Sean Scully

146. (Sean Scully) Heart of Darkness. By Joseph Conrad. With etchings by Sean Scully. Limited Editions Club. New York.
[1992.] 121p. 12.125" x 10.125". Four full page etchings that bleed off the edges, and four half-page etchings, on all cot-
ton paper specially made in Pescia, Italy, at Cartiere Enrico Magnani. Set
in Fournier at Golgonooza Letter Foundry by Dan Carr and Julia Ferrari.
Text printed on Lana Royale at Wild Carrot Letterpress. Bound in black
Nigerian oasis goatskin with 22-karat gold title on spine and front board
by Kim O’Donnell at Garthegaat Bindery and Carol Joyce at Academy
Books and Bindery. Black linen dropback box with leather title label on
spine; lined in gray. No. 243 in an edition of 300 copies, signed by Sean
Scully. Prospectus laid in. [The American Livre de Peintre: 48.] Fine.
$4000.00
Sean Scully was born in Dublin in 1945. The family moved to London in 1949, and
lived in a poor area still scarred by ruins from the war. This marked Scully’s attitude
to artworld styles and pressures; he stated "I don’t get nervous about whether or not
someone’s going to like me ... Nobody asked me to be an artist.” He moved to New
York city in 1975 and became a U.S. citizen in 1983.
Scully came of age during the heyday of "stripe painting", and he adopted this mode
and stuck with it. Supportive critics praise the artist for his ever-inventive explo-
rations of a specific tradition: ..."
Scully has had numerous one-man exhibitions in galleries in Europe and the United
States. He was the subject of a retrospective at the Whitechapel Art Gallery in
London, as well as the Phillips Collection, Washington DC, and is the recipient of
many fellowships from various foundations and the National Endowment for the
Arts. His works are in major institutional and private collections internationally.
No. 146.

58
 Introducing the work of Brian Borchardt

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

148. (Seven Hills Press) Two Saints: The Martyrdom of St. Sergius & St Bacchus. No. 147.
[Wisconsin. 2004.] Illustrated. n.p. 9" x6". Printed primarily in Garamond on
paper made of cotton, abaca, and iris leaves from the garden. Cover wrappers dyed with
black walnut stain and with a small red figure on the front cover. Open sewn signatures. An
edition of 35 copies, signed by Brian Borchardt. Fine. $125.00

149. (Seven Hills Press) 7: the seven deadly sins. [Artist's book by] Brian Borchardt. [Text from var-
ious sources.] [Wisconsin.] 2005. Linocuts by Brian Borchardt. n.p. 6" x 4.25". Printed main-
ly in Cheltenham, with woodtype letters in silver and gold. Illustrations include linocuts
and collages, one with gold and silver sewn stitches. Papers are a mixture of Abriano Uno,
Gutenberg, Hahnemuhle Ingres, and Canson Mi Tientes. All were pigmented and gelatin-
sized with the help of Caren Heft and Jeff Morin. Cover wrappers are of Fabriano Ingres.
One in an edition of 35 copies, signed by Brian Borchardt. Fine. $125.00
"[The concept of] The Seven Deadly Sins reached the height of acceptance in the Middle Ages, but they
fell out of favor during the 18th century Age of Enlightenment. Today, most people find it difficult to
name even a few of the Sins, let alone all seven." - Colophon.
No. 148.

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

150. (Seven Hills Press) Word Play. Artist's book by Brian Borchardt. Fond du Lac, Wisconsin. 2005. n.p. 10" x 5.75". Papers
are a mixture of Indian Village handmade watercolor paper, papers made by the printer of raffia and cotton rag, and
pages from an 1825 letterpress-printed book. The Indian Village cover stock has been gelatin-sized and pigmented in
various colors. Papers are not all the same size. Body type is Cheltenham; larger fonts are culled from the Lydian and
20th Century families. Illustrations, collages, metal and plastic onlays, wood type overlays on some pages. Laid in an
oblong white card envelope-type folder which ties with string. One in an edition of 32 copies. Fine. $295.00
“Word Play” is a look at the nature of words illustrated by random phrases and random images, some containing type and letterforms.
The reader should not spend a great deal of time trying to establish a relationship between the words and the images, although that
relationship does exist - albeit loosely - in the imagination of the printer." - Colophon.

151. (Seven Hills Press) Beyond the Great Stone: The Story of Jonathan and David. Extracts from the Book of Samuel: interpreta-
tion by Brain Borchardt. [Fond du Lac. Wisconsin. 2006.] n.p. 7.25” x 7.7”. Printed letterpress on a Vandercook SP15
test press. All text handset in Cochin Light and Futura Extra Bold Italic on Hahnemule watercolor stock, which has
been gelatin-sized and pigmented by the printed. Gray Fabriano Roma endpapers. Mottled tan paper over board, with
white open sewn spine, showing four signatures. Neat brown wavy three-line pattern on front board. In dark brown
card stock envelope type folder. One in an edition of 40 numbered copies. New. $350.00

59
 152. (Douglas Shafer) Signatura-Rerum. Unique manu-
script book by Douglas Shafer. [Portland. OR] 2000. 10"
x 8.125”. Six handwritten and decorated pages, using
watercolor, pencil, ink and gold leaf on Fabriano water-
color paper. All page edges decorated with a border of
brown finished with a black line. Bound by Shafer in
binder’s boards with exposed sewn spine painted gold
using acrylic, pencil, ink and gold leaf on paper. T.e.g.
Slipcase. Fine. $2000.00
From the text: “Yes, I know that we are only empty forms of
matter, empty ~ yet sublime for we have invented God ~ our
soul.” - Stéphane Mallarmé.”

153. (Shirley Sharoff) Les Amazones. [The Amazons.]

Artist's book by Shirley Sharoff. Text by Françoise
Séloron. [Paris. 2005.] Four color engravings of differ-
No. 152. ent sizes placed in descending size by Shirley Sharoff:
two in blue, one in orange and one in red. 16.375" x 6.5".
Loose in portfolio with one illustrated sheet. The wraparound cover has a cut-out of an Amazon with a spear and
shield. Wraparound fits into a black card cover with a slit allowing a portion of an Amazon in red to show through
on the front cover. The portfolio fits into the back folded cover which contains an English translation of the text The
Amazons are Amongst Us. Typography by Jean-Jacques Sergent. Printed on Rives white. The engravings are on differ-
ent sizes of paper with text on the reverse. Gray dropback box
with red paper lining and black title on front inside cover. An
edition of 25 copies, plus 3 H.C. copies, signed by Sharoff and
Séloron. Fine. [Illustrated left.] $600.00
Sharoff writes: "When breast cancer struck, Françoise Séloron, author of
The Amazons, discovered that she too was an Amazon. In fact, through
her lifestyle, she recounts, she had always been an Amazon, a clandes-
tine Amazon. Françoise is an old friend who I met during my early days
in Paris in the '60s. Her combative attitude towards her illness so
impressed me that when she told me that she was doing research on the
Amazons, I decided that cooperating on an artist's book would be my
way of helping to keep up her morale and of pulling something positive
out of the negative. The text, adapted from her book, The Amazon of ‘48’
deals with the myth created by the ancient Greeks who celebrated the
strength and independence of this tribe of women yet set them apart as
being warlike and 'unfeminine'. The four etchings in descending size
give form to the book, and integrated the Amazons into our contempo-
rary world where they - like all of us - are bombarded by labels, images,
advertising, pictograms, tourist signs, warnings, instructions and grafit-
ti."
This book relates the legendary Amazons of the past - women who had
a breast removed to that they could improve their archery and javelin
throwing skills - to the women of the present who have a breast removed for medical reasons.

154. (Reynolds Stone) A Year of Birds. Poems by Iris Murdoch. Engravings by Reynolds Stone. Chatto & Windus: The
Hogarth Press. London. 1984. (Originally published in 1978.) n.p. 6.75” x 5.25”. Green paper boards. Illustrated dust
jacket. Fine. $40.00
“Originally conceived as a calendar, the collection consists of one poem for every month of the year, each illustrated with a wood
engraving.” - Dust jacket.
Lynn Sures
Lynn Sures lectures and demonstrates at international symposia, gives workshops, and has curated several national exhibitions of
paper and artists’ books. Her work is in many collections including the US Department of State and Yale University. In 2006 she was
an "American Artist Abroad" in Colombo, Sri Lanka, for the US Art in Embassies Program. In 2005 Lynn created a large-scale pulp
painting for “Paper Now-2005” in Kyoto, Japan. She is an Associate Professor at the Corcoran College of Art & Design in Washington,
DC, and a visiting lecturer at the University of the Arts in Philadelphia. In 2005 she was Visiting Artist in Residence at Columbia
College Chicago Center for Book and Paper Arts. Fiberarts Magazine featured VARIATIONS on the Dialectic between Mingus and
Pithecanthropus Erectus, in An Art Form Learns to Fly by Debra Riley Parr, 2005. The Penland Book of Handmade Books featured If I
Had Nine Lives and Water-Wheel Book in 2004.
Her books were recently included in The Bibliotheca Alexandrina 2nd International Biennial for the Artist’s Book, Alexandria, Egyp
and Plane and Form Invitational exhibition, Minnesota Center for Book Arts, Minneapolis. Recent solo exhibitions: 2005 Body Art
Arte Contemporanea Cortona, Fortezza Medicea Girifalco di Cortona, Italy, and 2004 Architecture, Sandler Hudson Gallery, Atlanta.

60
 Inspired by the musician
Charlie Mingus
155. (Lynn Sures) VARIATIONS on
the dialectic between Mingus and
P i t h e c a n t h ropus erectus”.
Conceived by Lynn Sures & Rick
Potts. Text by Rick Potts.
[Wheaton, Maryland.] 2000-
2005. Two-sided accordion fold
book. The woodcuts on the
reverse are with color.
10.5”x7.5”x.5"; opens to 58.5”.
Lynn Sures designed the book;
d rew and carved the wood-
blocks from basswood (Japanese
shina) panels; made the paper,
pulp paintings & watermarks at No. 155.
the Pyramid Atlantic Art Center,
of Silver Spring, Maryland; and bound the edition with assistance from Maria Burke & Jill Christian. Lynn also worked
on the text design with Terrence Chouinard and designed the wrapper with assistance from Shawn Sheehy. Harold
Kyle produced the photopolymer plates at his Boxcar Press of Syracuse, New York. Printing by Terrence Chouinard.
All text and images are letterpress printed, all paper is handmade. Accordion fold with 16 pages of abaca, pulp-paint-
ed paper. Eight consecutive pages are printed with woodcuts and polymer-plate text, eight are printed with woodcuts
alone. Three pamphlets of abaca and hemp papers are sewn into the accordion; each contains two polymer-plate
images and one essay, plus a watermark image. The title and colophon are printed on the front and back of the wrap-
per, which is a single folded sheet of abaca paper with a woodcut and polymer-plate text. An edition of 55 copies,
signed by Sures on both the back of the wrapper and the side of the front cover. Fine. $800.00
Inspiring this book is the musical work entitled “Pithecanthropus erectus” written and performed by twentieth-century musician
Charles Mingus. Mingus speaks in the album liner notes about the stages of evolutionary development and the self-awareness of
humans. Book artist Lynn Sures and paleoanthropologist Rick Potts use images and words to weave Mingus’ musical tale together
with the poignant factual story of early hominid P. erectus. The dialectic between Mingus and P. erectus addresses fragility, the power
of creation, the hand played by chance, and the blank slate of the future.

156. (Tern Press) The Witness. Selected poems by Miklos Radnoti [and others.] Translated from
the Hungarian by Thomas Orszag-Land. Woodcuts by Nicholas Parry.[Market Drayton.
Shrop-shire.]1977. Black & white woodcuts by Nicholas Parry. n.p. 9.5” x 6.125”. Printed
in Centaur on Charles 1st paper. Green cloth spine. Gray boards with illustration and title
on front. An edition of 90 copies, signed by Mary and Nicholas Parry and the translator.
Fine. $110.00
“Miklos Radnoti (1909--1944) fell victim to Hitler’s ’final solution’ shortly before the close of the
Second World War. These last poems, recording the victim's view of the storm in a universal appeal
to humanity, have made him a beloved national figure. Read in chronological order, this selection fol-
lows the author to his clearly anticipated death. The work tells the story of a man stripped of all the
security and comfort of civilized existence, caught up in history’s inhuman march to destruction, who
maintained his personal dignity and concern for the future. A notebook, containing his final and most No. 156.
moving poems, found ... on his body, had been going around from hand to hand, giving encourage-
ment to fellow prisoners.
“ Born in Budapest and educated at Szeged University, he was prevented from pursuing an academic
career because of his religion and openly declared views. He was forced to make a meagre living by sell-
ing what are recognized today as brilliant translations from classical Greek and Latin, as well as from
English, French and German poetry. The final ten poems were found by chance in the communal grave of
twenty-two Hungarian prisoners executed because they were also Jewish. These poems are treasured as
some of the most flawless modern additions to their country’s rich poetic heritage.” - From the Forward.

157. (Tern Press) A Country Boy. Seven short stories by Ronald Blythe. Illustrated by Nicholas Parry.
[Market Drayton. Shropshire. 2004.] 93p. 6” x 7.75”. Printed in Caslon with wood engravings
on Whatman paper. Light green cloth spine, with boards of dark green background against red
and white flowers. Light green endpapers. One in an edition of 65 copies signed by Nicholas
and Mary Parry, as well as by Ronald Blythe on the title page. Fine. $175.00
Ronald Blythe is a very well-known British writer whose stories are often broadcast on the radio. The sto-
ries were first published by Chatto and Windus, The Hogarth Press, and Harcourt Brace Jovanovich. No. 157.

61
 A remarkable and unique group of over
50 original drawings, illustrating a classic text
158. (Tern Press) August 1914: Reynard the Fox or The Ghost
Heath Run 1918. [Poems by] John Masefield. Illustrated by
Nicholas Parry. [Market Drayton. Shropshire. May 2005.] First
title page portrait of John Masefield plus 55 full page black and
white illustrations. 174p. 11" x 9.75". Set in Caslon type on
Magnani paper with pencil illustrations reproduced by North
Shropshire Print. Brown cloth covers, with paper title label on
spine and front. Tan endpapers. An edition of 40 copies, signed
by Nicholas Parry and Mary Parry. Fine.
Together with: Over 50 original graphite drawings by Nicholas
Parry used in the book. Drawings on card. Includes original of
first title page illustration of John Masefield. All in a tan cloth
dropback box with toning leather title label on spine. Fine.
[All illustrations on this page - No. 158.] $7000.00
John Edward Masefield was born in 1878 and died in 1967. His idyllic
early childhood was vital to his later work. His prolific writing career encompassed some 50 volumes of verse, over 20 novels and 8
plays. He became British Poet Laureate in 1930 and received the Order of Merit in 1935. August 1914 is a moving poem of the First
World War. Reynold the Fox is a verse-tale set in the rural world of Masefield's childhood.

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

62
159. (Tern Press) Twenty Poems of Elizabethans. [Poems by] Ivor Gurney.
Selected with an Introduction by R.K.R. Thornton. Prints by Nicholas
Parry. [Market Drayton, Shropshire. July 2005.] Eight full-page litho-
graphs. 37[1]p. 10.75" x 9". Set in Poliphilus on Magnani paper with
single color lithographs printed from the stone. Flecked cream paper
spine with red title; cream paper sides overprinted with red type
forming a decorative pattern over both covers. Rust endpapers. One
in an edition of 30 copies, signed by Nicholas Parry. New. $195.00
"Ivor Gurney's powerful and idiosyncratic poetry is one of the major literary
rediscoveries of the late twentieth century. Its character owes much to the
Elizabethans, whose influence opened up new possibilities for his work, both
music and poetry." - From the Introduction. [Illustrated right.]

160. (Tern Press) Brief

Comments From the
Old English Herbals.
Selected & translat-
ed by Bill Griffiths.
Illustrated by Mary
Parry. [Market Dray-
ton. Shro p s h i re . ]
2005. n.p. 11.25" x 8".
Handprinted on
Whatman paper.
Illustrations hand
watercolored. Bound in half light green binders' cloth with natural
flecked paper over board sides. Paper title label on spine and front
cover. One of 25 copies, signed by the Parrys. New. [Two illustra-
tions above right.] $375.00
This selection of brief comments from the Old English Herbals may serve
as a pleasant reminder of how practical and whimsical (and visually aware)
the Anglo Saxons were in their science." - Introduction.

161. (Tern Press) Matheu: The Taaris of the Feeld. [By] John Wycliffe.
[Market Drayton.] 2005. n.p. 11.25" x 8". Handprinted. Etched
linocuts printed in black and hand colored with watercolor by
Nicholas Parry. Bound in cream cloth with a pattern of beige flow-
ers. Paper title label on spine and front. One of 25 copies, signed by
the Parrys. New. [Illustrated right.] $375.00
162. (Larry Thomas) School Days 1948-49. Grand Avenue. Artist’s pop-up book by Larry Thomas. [Athens. Georgia. 2004.]
Three double-page spreads, one pop-up and two pull-out with a string. 8.25” x 8.25”. Color and black and white xerox
images, with onlaid xerox text. Grey cloth endboards with recessed image and title label on the front. An edition of 3
signed copies. Fine. $395.00
163. (Larry Thomas) Ewe See. Artist's book by Larry B. Thomas. [Athens. GA. 2004.] Accordion fold. 7.5" x 4". Five xerox-
ed pages in shades of brown and tan with amusing framed inset images of a face - sometimes partly or fully covered
by a brown bag. One lifts to show an infant in a high-chair. Two textured gray boards form covers; cords sewn through
top board, cord to hold book, two brown oval buttons, and painted toy eye with small metal plate of a sheep form dec-
oration to front board. Unique book signed and dated by the artist. Fine. The images are, of course, of Larry B.
Thomas! $375.00

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

63
 Leonard Seastone and his Tideline Press
Founded in 1972 with a name that plays on the Seastone name as well as the space between earth and sea that is always changing.
So Tideline Press books visually change within themselves as well in relation to each other. While mostly letterpress, handpulled off-
set-lithography, Xerography, and non-silver photographic methods are also employed. All are handbound. The press has received
several Type Directors Club Awards, an AIGA 50 Best Books Award, a several New York State Council on the Arts Grants.
Leonard Seastone lectures and gives demonstrations on handpress printing, the history of paper, the book arts and graphic arts in
workshops at universities, colleges, libraries and historical societies across the USA. In addition to his occupation as proprietor and
printer of The Tideline Press, Seastone often collaborates with artists and other publishers. His career has included professorships in
visual arts and graphic design at several universities.
Seastone earned a B.A. from FDU in 1974 and an M.F.A in 1988 at theState University of New York, Purchase. He has won numerous
awards and grants from the Printing Industries of Metropolitan New York, Inc., the New York State Council on the Arts (to The
Tideline Press); the Type Director’s Club (TDC), and the Book Show Award of the American Institute of Graphic Arts (AIGA).
The following list of Tideline books will add a further interesting dimension to work featured in our catalogue.

No. 167. 164. (Tideline Press) Wyoming Circuit. [Poems by] William
S t a ff o rd. 1980. Accordion fold. 8" x 5". Designed and
Vandercook printed in handset Garamond and Carolus, with
dampened Barcham Green handmade paper. Brown and gray
paper boards with relief title on front board. One in an edition
of 125 copies, signed by William Stafford. Fine. $200.00

165. (Tideline Press) Second Nature. 7 Poems by Wendy

Bishop. Tannersville, N.Y. [1980.] n.p. 8" x 6.5". Designed and
handpress printed by Leonard Seastone utilizing Delphin.
Printed on Amatruda text and bound in red Fabriano Cover
sewn wrappers with a white paper title label. Title in relief on
title page. In a total edition of 75 copies, this is one of 70 thus,
signed by Wendy Bishop. Fine. $65.00

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

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

168. (Tideline Press) The Bottle Hill Studio Pottery of Arthur W. Rushmore and Delight Rushmore Lewis. By James H. Fraser.
2003. Seventeen duotones of the pottery, as well as tip-ins of two Golden Hind Press broadsides reproduced only for
this edition, and reproductions of Bottle Hill Pottery pots and documents tipped-in as well as bound-in. 34(2)p. 12.25"
x 9.5". Designed, printed and bound by Leonard Seastone. Handprinted on handmade, dampened, vintage Fabriano
Pace paper utilizing a Vandercook 215 press. Monotype Bembo cast by Michael Bixler and Weiss Initials handset at The
Tideline Press. Duotone printing by The Stinehour Press. Maroon cloth spine with brown paper title label; matching
brown paper boards.
Together with: A brown paper envelope on a free back endpaper holding an eight page small booklet Pottery by Delight
Rushmore, The Rushmore Pottery at the Fortuny Shop, 1934. [6.25" x 4.5"] Three black and white photographs and text.
Handset in Weiss Antiqua at the Golden Hind Press, Madison, N.J. Photographs by Ingemann Sekaer, printed by The
Harbor Press, New York. An edition of 75 copies, signed by the potter, Delight Rushmore Lewis, in the week of her
90th birthday.. Fine. $325.00
This book is the first in a series on Book Arts and Art by Tideline-Phaedrus.
"Founded in 1916 and still in operation today, Bottle Hill Pottery is the oldest, continuously operating studio pottery in New Jersey
and one of the oldest in the United States.

64
 "This illustrated history outlines yet another chapter in the larger creative undertaking of the Rushmore family which has included
the Golden Hind Press, its paste paper production - the "Fairview Papers," and other contributions to the decorative and printing arts
in the mid-twentieth century." - Prospectus.

169. (Tideline Press) Good Movies. A

Film Noir in Book Form by
Leonard Seastone. 1988. n.p. 21"
x 14.5". A black and white visu-
al book with some minor text
incorporated in the images.
Printed by the artist on a
flatbed Mailänder press at the
Center for Editions, Division of
Visual Arts, State University of
New York at Purchase. Red
leather spine with silver title;
blue gray and black paper over
board covers with title on front.
Aan edition of 30 copies, signed
by the artist. Fine. $1000.00 No. 169.
Good Movies is a montage, a visual rewriting of the Kodak manual How To Make Good Movies.

170. (Tideline Press) White Tulips. Ninety-nine haiku by Ronald Baatz. 2003. n.p. 5.25" x 4". Double title page fold-out.
Single and fold-out pages alternate throughout the book. Designed, handset in Elizabeth and Carolus type, printed on
dampened, vintage Barcham Green Hayle paper, and bound by Leonard Seastone. Cream wrappers with blue title on
spine and three cream strips of ribbon as a feature of the binding. One in an edition of 30 copies, signed by Ronald
Baatz and Leonard Seastone. Fine. $250.00
"As these haiku unfold and move through the seasons so has the making of this book" - Colophon. An elegant and beautifully print-
ed book.
A tribute to the hat!
171. (Tideline Press) The Hat. A Book of Woodcuts by Seymour Chwast & The Tideline Press. [2004.] Accordion fold. 11"
x 7". The woodcuts are handpulled on a Vandercook No. 4 and a SP-25. The woodtype is from the collection at The
Center for Editions, The School of Art & Design, Purchase College, S.U.N.Y. Color woodcuts throughout. Dust jacket
with an original woodcut illustration of a large hat covering both the back and front wrappers. An edition of 100
copies, signed by Seymour Chwast and Leonard Seastone. Fine. $750.00

No. 171.

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

65
172. (Tideline Press) In a Clay Pig's Eye. [By] Ronald Baatz. Seastone Editions. 2005. n.p. 6.5" x 4.75". Design of the book, as
well as the black and white relief prints, by Leonard Seastone of the Tideline Press. Computer set in Garamond LIght
Condensed. Titling handset in Metropolis Bold and letterpress printed on a Vandercook number 4. Wrappers with title
in black on spine, and red title with black and white relief print on the front. Blue endpapers. An edition of 100 copies,
signed by Ronald Baatz and Leonard Seastone. Fine. Short Haiku-like poems. $100.00

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

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

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

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

The truly unique work of a great creative force where color, texture, calligraphy and binding all come together
177. (Laura Wait) Open Road: Vol. 1 - The Mountains and Deserts, Vol. II - The Pacific Coast. Artist’s book by Laura Wait.
Denver. Colorado. 1997. Accordion fold. 7.5” x 22”. Open - 15’. Hand colored lithographs printed on Saunders
Waterford paper. Concertina binding on yellow and black cloth bristol boards which hold the prints in place. Title page
contains a ‘Legend’ of words having to do with road signs, and as keys for the images. End boards of yellow cloth with
hand-colored acrylic stencils of road signs. Black dropback box with recess containing handpainted road signs in yel-
low and black. One in an edition of 12 signed sets. Fine. $3500.00

No. 177.

66
 “These images were developed over a twenty-five year time period. I used to draw in the car while driving across the west, and
include the mirrors and road signs, as they are an inseparable part of the view. The postcards were collected along the way, or sent
by friends. Together, these images provide a better feeling of the journeys than photographs, which are so important in recording
modern travels. This book is meant to be traversed: stand it up on a big table and walk along it.” - Wait.
This interesting work contains drawings from sketchbooks, and postcards collected on the trips, the 15’ opening gives some feeling.

No. 178.

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

179. (Laura Wait) In the Garden. Text, illustrations and binding by

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

180. (Laura Wait) The Goddess in the Garden, #1. A Palimpsest No. 179.
Alphabet of World Symbols. Artist's book by Laura Wait.
[Steamboat Springs. 2005.] 10.125” x 5.75” x 1.75”. Endleaves and various pages throughout book are painted mylar.
Stencils used to create letter forms. Multimedia painting on BKF Rives paper using acrylic, paste, Akua color, ink, and
offprints of woodcuts from In the Garden. Layers of handwriting using a ruling pen and traditional pointed pen. Green
stained mahogany wood board cover. Copper “X” inset into front cover. Text sewn on thick linen cords with green
linen thread laced through boards. Copper triangles on inside of board to cover ends of laced in cords. Black cloth
dropback box lined with padded black velvet; paper title label on spine. Unique variant signed by Laura Wait on the
title page. Fine. [Illustrations top of p. 68.] $3750.00

67
 No. 180 - binding and double-page spread.

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

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

No. 181 - binding and double-page spread.

68
 ed using handwriting in books, as a way of incorporating the hand and more personality into the book.
"Finally this past summer, I decided to finish the book. I edited the text even further and noticed how many references there are to
bricks and trains, thus the title. I decided to use handwriting on paste papers, so I made more. ..
."Finally I made endpapers in terra cotta, browns, and black, all the colors of bricks. Early on, about 2002, I had decided to make the
cover with embossed bricks, and had made a test woodcut to see if this worked. I made a large woodcut of bricks, and ran the leather
through the etching press. I enhanced the color with a little acrylic and paste, also to protect the cover."

No. 182 -
No. 182 - binding. interior.

182. (Laura Wait) Abstract Illegible #1. Unique variant artist's book by Laura Wait. Akimbo Arts. [Steamboat Springs.] 2005.
11.125" x 6.5" x 1.5". Pages of mixed media: acrylic paint, ink, stencils and paste on Arches Cover paper and mylar.
Handwritten words are employed as imagery, with textual reference, but not necessarily legible. The abstract shapes
are similar to the word shapes. Bound in medieval stylered painted cedar wood boards, sewn on linen cords with col-
ored linen cords. Colored anodized aluminum letters on both covers are drawn from stenciled letters used inside the
book. Black cloth dropback box lined with blue padded velvet and paper title label on spine. Signed by Laura Wait on
the title page. Fine. $3500.00
Wait writes: "The mylar pages were the inspiration for this book. They sat in the cupboard of partially made items for several years.
I have been working with words and shapes in combination for the past few years, and decided to make a book with abstract shapes
throughout the book, combined with illegible writing. The writing is used as a layer of abstraction, not as an explanation for the paint-
ing. The book is slightly crude, and the cover is meant to be a continuation of that characteristic, but in contrast decorated with metal
letters which are based on the stencils used to create the mylar.
183. (Laura Wait) Four: Book II. Fire, Water, Air, Earth. Or 'The Elements.' Unique variant artist's book by Laura Wait. 2005.
n.p. 15" x 11". Beginning with several intaglio printings, monoprints were printed in several layers, using Akua-color.
The pages were then organized according to promising relationships. Painting with acrylic ink, paste, and paint fol-
lowed. Images in the prints were obscured or enhanced, and additional writing was added to finish the pages. Bound
by the artist in black Harmatan goatskin tooled in gold and blind, with leather onlays. The design of the cover was
inspired by the book pages. Black dropback box with paper title label on spine. A unique book in a series of five, with
painted pages and leather binding, signed by the artist. New. $5750.00
This book explores symbols of four, such as fire, earth, air, and water.

No. 183 -
binding.
No. 183 - double-page spread.
69
 184. (Laura Wait) X: letter of dan -
ger, sex, and the unknown. Artist's
book by Laura Wait. A k i m b o
Arts.[Steamboat Springs.] 2006.
12 painted leaves. 15" x 7.75".
Collographs and paste stencils
used to create shapes through-
out the book. Multimedia paint-
ing on BFK Rives paper using
acrylic, paste, Akua color, ink on
top of offprints of woodcuts and
text from In the Garden. Layers
of handwriting using a ruling
pen and traditional pointed pen.
Bound in brown leather with
No. 184. gold and color tooling. The
designs are based on the 'x' forms throughout the books. Handsewn endbands, brown Cave paper endpapers, with
leather joints. Black cloth dropback box made by artist, lined in light brown Kurzuyu paper. No. III in a series of seven
unique books, numbered Volume I-VII, signed by the artist. Fine. $4000.00
Wait states: "An investigation into the uses, development, and meaning of the letter X throughout history.”
"The introductory text reads "X", the 24th letter of the English alphabet. The West Greek letter sound "ksi" became "x" in words of
Greek origin when used by the Etruscans. "X" was the last letter of the Latin Alphabet from about 750 BC to about 100 AD when "y"
and "z" were added. "X" became an English letter used for words with "ks" sounds at the end - like 'mix' and 'ox'. "X" is usually only
found at the beginning of words of foreign origin like xerography."
The inner text reads: "Descartes introduced the use of "x", "y" and "z" for unknown variables in geometric equations. Röntgen discov-
ered electromagnetic radiation and named it "x-ray" for the unknown substance. Words of common usage are used through the books
as text and repetitive pattern writing. These include: X-ray, Xena, Planet X, Xtreme, Xgames, X box, Mac OSX, Xenon, Xmas, X rated,
X men, X marks the spot, XX dos Equis, xoxox, Xtra large." - Wait.

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

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

70
 At last - after two years of perseverance -
a new work of great creativity
and a major contribution to the art of the book
186. {Wayzgoose Press) D o rothy Lamour’s life as a phrase book. By Noëlle
Janaczewska. Introduction by the author. Katoomba. Australia. 2006. Bound
as a concertina, the book consists of 11 triple-gate pages, folded to approx.
17” x 12”; opened each page measurs approx. 24” x 17”.This typographic ren-
dition of Noëlle Janaczewska’s play was conceived, designed and illustrated
with multi-colored linocuts by Mike Hudson. Hand set in a variety of types
by Jadwiga Jarvis. The book was printed in numerous colors with further
illuminations by hand on some pages making each copy in the edition
unique. Hand printed letterpress on Magnani Incisioni 220 gsm on a Western
proof press, the book is contained in a brightly patterned cloth-covered box
with the title printed on a recessed label and a purple ribbon tie. An edition
of 30 numbered copies, signed by the poet, Jarvis and Hudson. Numbers I-V
are not for sale. Of the remaining 25 copies, three are in designer bindings.
Fine. $3800.00
“Noëlle Janaczewska is an award-winning Sydney based playwright whose work
has been staged locally and internationally, as well as broadcast on radio. Her
play, Dorothy Lamour’s life as a phrase book, is the third in a series of monologues
inspired by Hollywood heroines of the 1930s, 1940s and 1950s,and was written for
a solo performer. In it, the 'glamour girl’ made famous by her ‘road movies’ in
which she co-starred with Bing Crosby and Bob Hope, finds herself in a poem
instead of a movie and marooned in a dingy Sydney hotel. However, as
Janaczewska’s characters do not conform to the romantic air-head type assigned
to them in their films, Dorothy’s miscasting leads to much reflection and soul-
searching.
“In order to maintain the spirit of a performance, we have given the book a the-
atrical setting; the hotel room, which appears on every one of the 11 gate-fold
pages, is its ‘stage’. Onto this stage various scenarios (suggested by the text, but
not a literal depiction thereof) are introduced. We aimed for the contradictions,
confusions and contrasts, for the elusive and enigmatic, the tangential and
bizarre. The ‘props’ range between curious and surreal, and include a chessboard,
a maze, a giant pineapple, a clapperboard, and an overweight Ronald McDonald.
(Oh yes, there is also Dorothy’s trademark hibiscus.) The introduction and
colophon pages feature the same room/stage, but on these the set is empty and
shown as if unlit, alluding to the characteristic hiatus of a theatrical presentation
both before curtain-up and after the final curtain.” - Prospectus.
[An exhausted Jadwiga and the open book - right; a page - below; box - upper
right.]

71
 187. (Wayzgoose Press) Private Impressions (No. 5-8).
Plus I n t ro d u c t i o n. Written by Mike Hudson &
Jadwiga Jarvis. Katoomba. NSW Australia. 2000-
2001 n.p. 11.75" x 8.25". Each 20 page monograph
was written by Mike Hudson & Jadwiga Jarvis.
Illustrated with appropriate examples of printing
from the periods under discussion, hand set &
printed letterpress in several colors on Mohawk
Superfine 148 gsm. and stitched into stiff printed
wrappers. One in edition of 60 signed and num-
bered copies. Fine. $450.00
No. 187. Introduction by Mike Hudson & Jadwiga Jarvis.
No. 5: Evolution (including Introduction.) June 2000. Tells
the story of the early Greek convention of ‘aural reading’ from papyrus rolls, through the Dark Ages and the monastic traditions. The
‘invention’ of the Carolingian manuscript style and the rise of secular, silent reading practices in the early Renaissance.
No. 6: Revolution. Presents the Gutenberg Bible as the beginning not just of a new technological age but as the start of the compro-
mise work practices that mass production activities encourage.
No. 7 discusses the fits and starts of the book trade and the drive for rationalization of techniques at the expense of the creative poten-
tials of authorship throughout the 20th century. The value of Stanley Morison’s & Beatrice Warde’s sobering influence is examined
and questioned. No. 8: Re-evaluation. Weighs the benefits to text and reader of an individual and creative approach to book design,
typography and illustration against the losses inflicted by mass production principles.

Two very special unique pop-up books in vibrant colors

No. 188. No. 189.

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

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

190. (Windowpane Press) The Seasons. Designed and conceived by

Bonnie Thompson Norman. [Seattle. 2003.] 5” x3 .75”. Set of four hard-
cover handbound booklets, letterpress printed in black, in a printed
gold card folder. Each booklet is covered in a different color paper over
board with different decorations indicating a season. Each has a single
double- page opening with a quotation relating to the relevant season.
An edition of not more than 100 copies; one of 50 for sale. Fine. $45.00
A collaborative project produced in a class taught by Bonnie Thompson
Norman. [Illustrated left.]

72
 A major collaboration by two brothers - an artist and a poet

No. 191.

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

192. (Richard Zauft) Threatening Heaven. Twelve Poems in German and

English. By Rainer Maria Rilke. Introduction and Translations by
Robert Bly. Design and Printing by Richard Zauft. Printed at Innerer
Klang Press. Boston. 2004. n.p. 10" x 6.75". Designed, illustrated, letter-
press printed, and bound by hand by Richard Zauft in 2004 during a
sabbatical leave granted by the University of Wisconsin-Milwaukee.
The monotype illustration and Gothic letters were executed specially
for this book. Printed on Johannot in Diotima and Palatino. Covers are
brown handmade 'leather' paper; white spine with title in black. The
text is attached to both the back and front covers, allowing it to be
viewed in two double-page spreads. A double-page spread of the
monoprint is viewed when the two signatures of the book are closed
outwards. A numbered and signed edition of 50 copies. Fine. $150.00
"Thanks to Robert Bly for providing these translations, writing an introduction,
and waiting twenty years for me to receive my first sabbatical to complete this
project." - Richard Zauft in the Colophon. An usual and successful structure to a
beautiful and elegant production, with the Rilke poetry movingly translated by
Robert Bly. Highly recommended!
No. 192.

73
 A GALLERY OF FINE BOOKBINDING

193. (James Brockman) Leon Underwood: His Wood-engravings. With

an introduction by George Tute. Wakefield. 1986. 13.25" x 10.5". With
the frontispiece 'Yucatecas.' Title-page in red and black. Printed one
side only on Barcham Green Sandwich paper. Bound by James
Brockman in his own abstract design of full black leather, onlays of
black, white and grey leathers, tooling in gilt on the front cover; title
in gilt on spine. Housed in a dropback box lined in black felt. No. 6
of 12 special copies thus in an edition of 200. Fine. $2000.00
Leon Underwood (1890-1977), an important but perhaps the least known
artist-engraver of the 1920's, was a teacher to artists such as Blair Hughes-
Stanton, Henry Moore and Gertrude Hermes. In his introduction, George
Tute, Chairman of the Society of Wood Engravers, 1984-86, examines
Underwood’s influence on British engraving. Influenced by paleolithic,
African and Pre-Columbian Art, the artist displays technical brilliance with
his own distinctive imagery in this selection of his best work .
James Brockman, Fellow of Designer Bookbindfers and Past President of the
society, bound 12 copies of this book to his own design.
See Item #33 for interior woodcut illustration.
No. 193.
Margaret Chandler
Margaret Chandler studied at The Camberwell School of Art, London, where she obtained her Diploma in Fine Binding and Book
Restoration after initial studies at the Birmingham School of Art and the Stanhope Institute, London. She was elected a Fellow of
Designer Bookbinders in 1984, and she has had extensive teaching experience in various art schools in the United Kingdom. Her
work has been exhibited widely in the U.K., as well as in France, Belgium, The Netherlands, Switzerland, Ireland, Denmark, Canada,
Australia and the U.S.A. Her work is in the collections of the Victoria and Albert Museum, London; The Keatley Trust, England; the
Lilley Library at the University of Indiana; Nymiten University, Holland; and other public and private collections internationally.
Ms. Chandler writes: “My last binding was in 1999 & I gave up teaching the following year due to health problems ...”
“My first bookbinding experience was at Art School ... Years later I was in a 2nd hand/antiquarian book shop, looking for a particu-
lar copy of a second hand book & came across a Victorian leather bound book with a gilt spine. It was so lovely I bought that instead
& then thought I would like to learn how to repair books - little realising what I was in for, after many years of repairing and rebind-
ing, I wanted to do my own thing. I never really enjoyed & felt trapped with a style that was expected of me; I began teaching mod-
ern & traditional binding which I enjoyed. This gave me the freedom to buy my own books & experiment.
“Although my sketches & designs have been destroyed, I still have most of my slides. The Wind in the Willows was bound in 1985. ...
the original sketches were reflections in water then ‘computerized’ as I remember all computer images were squares ...”

A Special copy signed by both Grahame and Shepard

194. (Margaret Chandler) The Wind in the Willows. By Kenneth Grahame. Illustrated by Ernest H. Shepard. Methuen & Co.
Ltd. London. [1931.] First edition illustrated by Shepard. 312 p. 9” x 7.25”. Text illustrations throughout. Folding map.
"This Edition on Hand-made Paper, published in 1931, is limited to 200 numbered and signed copies, of which this is
No. 140". Signed by both Grahame and Shepard on recto of title page. Unique binding by Margaret Chandler. (1985.)
Stamped "MC" on inside rear suede doublure. Full green morocco binding with a multi-colored inlaid design on the
front cover which allows the long gray and dark
green strip inlays to continue across the spine and
back board. Dark green suede doublures. Gray
cloth dropback box with long leather title label on
spine; lined in gray felt. $8500.00

No. 194.
No. 194.

74
 Interesting examples of the bookbinder’s art from the new generation of bookbinders

A composite of work
by Mark Cockram.

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

A contemporary binding on a Poe classic

195. (Mark Cockram) The Raven. [By] Edgar Allan Poe.

Engravings by George Tute.The Folio Society. [London.
1995.] n.p. 4.5” x 3.25”. Set in Monotype Bulmer and pro-
duced offset on Japanese laid paper. Unique binding by
Mark Cockram in 2001. Full leather, using a lady’s glove;
with inlays and onlays of emulsifiedleather dust, with
additional hand stitching to form a design in natural,
black, red, and yellow. Leather jointed mottled grey endpa-
pers with leather spine inlet, and cream suede panel inlay
with stitching on back and front doublures. All leathers
and papers hand colored and dyed by binder. Book laid in
black and natural suede tray, with ribbon for ease of
removal from frame. Display frame forms a unique wall
hanging if desiered. An oak frame with a window mount
in leather, with the tray and book fitting in from the back.
Binder’s stamp at back of book. Fine. $2000.00
A wonderful binding, with a clever framework which extends the
scope of the binding and allows the book to be viewed without
handling.
No. 195.

75
 No. 196 - Bindings - above right:
Illustration - above left.

196. (Mark Cockram) Ten nudes. Mono Prints by Mark Cockram. [Studio 5. London. 2001.] n.p. 9.625” x 5.75”. Illustrations
are offset from a soft plate using a technique so that no two prints are identical. Bound by Mark Cockram in 2001.
White, grey and black paper over board with black leather spine. Endpapers of patterned black, grey and white paper.
Paper board decoration based on the original binding. Light grey cloth dropback box with black side trim and lined
with black suede. Paper title label on spine. Limited edition of 10 variants signed by Mark Cockram on the title page.
Fine. $1050.00
A/P in a limited edition of 10 variants signed by Mark Cockram on the title page. [Illustrated right above.] $975.00
This is a series of 10 variants based on a single theme. The paper used in the binding shows sections of hands, feet, or legs, which fol-
low the theme of the book.
197. (Mark Cockram) The
Best of Beardsley. Collected
and edited by R.A. Walker.
Spring Books. [Feltham.
Middlesex.] This edition
first published 1956; fourth
impression 1967. n.p. 10.5" x
8.25". Unique binding by
Mark Cockram. Bound in
2004 in full black leather
with relief tooling, gold leaf,
scrim and egg shell.
Secondary sewing with full
linen board attachment,
leather jointed painted
gauze endpages. First and
No. 197.
last free endpapers with yel-
No. 197 -
Illustration
low and black Beard s l e y
design. All edges red. Laid
in a yellow cloth dropback box with black leatherette spine, relief title and eggshell design on spine: lined with rose
suede and an inset design of eggshells. Signed in blind on the back cover. Fine. $1200.00

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

76
 The text is derived from Samuel Taylor Coleridge's poem 'The Rose', with images
and additional text from Minuit-Cinq reproduced and offset printed with addition-
al manipulation.
"When many people think of a rose they think of a red rose, often used as a sym-
bol of love and fidelity. However, should we think of a yellow rose, often thought
of as a symbol of infidelity, lust or jealousy, Coleridge's words take on a different
meaning. "The idea behind the work is to explore the word, image and subject with
a different agenda that looks from a different angle." - Cockram.

199. (Mark Cockram) A Series. An artist's book by Mark Cockram. [London.]

2005. 9" x 8.75". A fixed multiple board binding in a dropback blue cloth
box with black leather spine and red leather title label. Materials used are
leather, antique and 1930s printed text, antique pressed flowers and a col-
lage. Fine. $1000.00
"A series of questions and answers that may have a reason." - Cockram.

200. (Mark Cockram) The Eroded Steps. [Il Vluoto Dei Passi.] In English and
Italian. [By] Giuseppe Penone. Aegis Publishing and Henry Moore
Sculpture Trust. 1989. 66p. 11.5" x 10" (at it's widest point). A unique
binding by Mark Cockram. Bound in 2005, this fixed board binding with
leather jointed endpapers, secondary sewing, and full linen board attach-
ment, is made with leather, leather dust, pewter, papier maché, and gesso
over paper maché. Front board in shaded cream to brown, with black No. 198.
trim; the back board is sculptural with white, black and sil-
ver metal onlays with black leather spine. Grey endpages,
edges painted grey. Laid in a black leatherette dropback box
lined with black suedette and a sculptural shape on the
righthand side of the base to hold the book firmly and to
extend the sculptural feel. White paper title label at base of
spine. Fine. $2500.00
The sculptured outline and profile, with the metal indicating the
industrial and worked gesso over the papier maché panel gives
warmth and texture to a fascinating and suitable binding on a book
about a sculptural project.

201. (Mark Cockram) Sir Patrick Spens & other Ballads.

Engravings by Jane Lydbury. The Folio Society. [London.
1994.] Five full-page black and white wood engravings.
32p. Book - 4.25" x 3". With irregular shaped binding - 6..75"
x 5.25". Set in Monotype Joanna and printed by Mandarin
Offset on Japanese Laid paper. Unique binding by Mark
Cockram. 2005. Book bound in navy leather with all edges No. 199.
navy. Both boards incorporated with cut-out irre g u l a r
shaped antique paper and book cloth boards with all edges in
navy. Construction technique is with link stitch with secondary
sewing and full linen board
attachment, leather jointed
endpapers. Endpapers of
decorated blue and black
paper, with the same paper
on the side of one board as
well as laid into the box so
that the book can fit in
comfortably. A fixed board
binding. Blue cloth drop-
back box, navy leather
spine with simple gilt tool-
ing,white title label in gilt No. 200.
lettering.Fine. $1800.00
A subtle binding coupled with
shapes that echo the sails of a
No. 200. ship. The antique paper lends
tone and texture. [Illustrated top of page. 78.]

77
 No. 201.

202. (Stephen Conway) The Pied Piper of Hamelin. [By] Robert Browning. Engravings by John Lawrence. The Folio Society.
[n.p.1992.] n.p. 4.25” x 6.25”. Set in Monotype Blado and printed on Fabriano Ingres Laid Paper. One of 2 similar bind-
ings by Stephen Conway done in 2001 and signed on back free endpaper. Simplified binding. Natural calf spine and
brown toned parchment boards. Edges colored and waxed. Small circular inlays on upper and lower boards of black
letter text, maroon fur and
gold calf. Hand painted end-
papers sewn in. Tan cloth
d ropback box with bro w n
cloth trim, lined with tan felt;
brown paper title label. Fine.
$750.00
This binding is an amalgamation of
two ideas. The first is based on the text,
including gold (greed) and fur (rats),
arranged in a single line of small circles
re p resenting the piper. The second
relates to interest in found objects, once
No. 202. discarded, and used again to create
objects of beauty. Inspired by the phi-
losophy and collage work of Kurt Schwitters, Conway used discarded book parts and materials to form the basis of the binding and the design.

An exquisite turn-of-the-century binding

203. (Embroidered Bookbinding) Lyrics from the Dramatists of the Elizabethan Age. Edited by A.H. Bullen. Printed at the
Chiswick Press. London. 1901. 301p. 6.5" x 4".
Embroidered on both back and front covers with central
large flower design surrounded by flowers and foliage,
and spine with four flowers in separate squares. Heavily
embroidered in metal thread and various colored silks on
silk satin fabric, with tiny paillettes sewn on as back-
ground design. Edges gilt. In a new gold silk dropback
box with paper title label on spine. Silk on top of spine
just starting to go and some paillettes missing; neverthe-
less in extremely good condition for such a fragile bind-
ing. $2,200.00
This richly embroidered binding is a fine example of its kind
with the colors still glowing and jewel-like, particularly on the
spine and back. Dr. Marianne Tidcombe informs us that this
binding is similar to entry No. 15 (England) in the 1894 Tregaskis
International Bookbinding Exhibition catalogue, and one would
therefore assume that they were both worked by Mrs. Brownlow
of Cambridge.
No. 203.

78
 Jenni Grey - Designer Bookbinder
Jenni Grey started took her first bookbinding classes in 1979, followinging on with a BA
degree in Illustration and Graphic Design in 1984, and an MA in Sequential Design in
1991. She was elected a Fellow of Designer Bookbinders in 1989, and served as President
from 1996-98. She teaches Book Arts (part-time to degree level students at the University
of Brighton UK). Grey’s bindings are in many private and public collections,among them
are The Library of Congress in Washington DC; The British Library and The National
Poetry Library in London; The Royal Library in The Hague; and The Bibliotheca
Wittockiana in Brussels. Jenni Grey’s work was included in the traveling exhibition
Designer Bookbinders in North America.
Grey writes: “Since I started bookbinding the scope of the medium has fascinated me,
not only does it provide an excuse to read, but the structures, forms and materials that
can be employed in bookbinding practice seem limitless. Working in a way that is sym-
pathetic to the design and any illustrations of the content adds a particular creative chal-
lenge that I find inspiring. Successfully bringing together all the elements of the book
and ideas for the binding into a visually complete object is very rewarding!”

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

No. 204 - Box and

Binding.

Unique binding by Jenni Grey dated 1996 and signed by her on the back free endpaper. Bound in leather with dyed
vellum bands and onlaid etched brass panels. Red leather with grey marbling effect on spine; black leather boards.
Broad strips of mottled leather across front and back boards as well as spine. Textured gold colored rectangles in each
corner, on the mottled leather, complete the design. Rust paper doublures and endpapers, with doublures having four
small rectangular mottled strips reflecting the binding design. Laid in large dark brown/black dropback wooden box
lined with black velvet, lid with large rectangle of matching mottled leather trimmed with small gilt studs. Black rib-
bon for book removal. Fine. $3500.00
This is the first publication of the text, and was completed in preparation for the seventieth birthday of George Mackay Brown on
17th October 1991. "This text focuses on the importance of sub-characters and sub-texts to the central theme of a narrative. The main
elements of the design have been pushed to the edges of the book and, although not physically part of the binding, hint at concealed
structures." - Grey. A wonderful binding.

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

79
 "Shakespeare addresses two main characters in the
sonnets, the fair young man and the dark lady, his
affections wavering between them. This emotional
struggle is reflected in the inlaid design of light and
dark woods." - Grey.

No. 205.

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

No. 206.

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

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

80
 No. 207.
"The collection of binding and objects evoke the fragmented memories of time and
place suggested in the text." - Grey.
An article about the binding was published in The New Bookbinder, Volume 24. The
binding colophon lists various loose objects in the two lower trays - such as coins,
fountain pen, propelling pencil, ring, thimble, pearl necklace, glasses, key, etc. The
last tray includes a cigarette case with a white folded handkerchief, 100 Franc note
and torn fragments of a color photograph, as well as photographs. A wonderful
presentation.

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

No. 208.

81
 Peter R. Jones - Designer Bookbinder
Jones graduated from Bristol University in 1973. After various periods of employment, he is now a carpenter, bookbinder and visit-
ing lecturer in bookbinding at the Roehampton Institute, London, and the University of Brighton.
He started bookbinding classes at Brighton Polytechnic in 1986 and was awarded his Certificate with Overall Commendation in 1991,
elected a Licentiate of Designer Bookbinders in 1991 and Fellow of Designer Bookbinders in 1995. He has exhibited widely in the
United Kingdom, Europe and North America and has had work commissioned and collected by private collectors and corporate bod-
ies in the U.K., Europe and the U.S.A. His awards include twice winning the Silver Medal in the Designer Bookbinders Annual
Competition. At present he is President of Designer Bookbinders.

209. (Peter R. Jones) The Serpent. Poem by Peter Abbs.

Etched aquatint by Lynne Gibson. The Snake River Press.
Brighton. 1992. 4p, plus original wrappers. 17.5" x 12.5" x
1.5". No. 13 in an edition of 20 copies, signed by the poet
and artist. Unique binding by Jones in 1994. Single sec-
tion sewn onto wooden stub strip screwed to spine of
binding. Lattice boards of sandblasted and stained pine
over beaten and heat colored copper. Brass hinges.
Doublures of scored, hand stained hide. Stained board
slipcase. Signed on edge of endpaper. Fine. $3500.00

No. 209.

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

210. (Peter R. Jones) Lens of Crystal. Poems by Robin Skelton.

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

82
 has been to reproduce in English, as closely as I
am able, the beautiful and ingenious verse forms
of medieval Wales - to look at life through that
particular lens of crystal." There is also an
Appendix, giving the various metrical formulae of
the different poems. The poetry itself is beautiful,
moving in its simplicity and sparse elegance,
treating universal subjects which are of interest to
all poetry readers.

211. (Peter R. Jones) If I must be at all ... by Jaan

Kaplinski/Days of Grace by Doris Kare v a .
Published on the occasion of the exhibition
“Scripta Manent II. International Exhibition
of Bookbinding and Calligraphy” in 2000.
Organized by the Estonian Association of
Designer Bookbinders. Published in 1998.
122p. 116p. 12.5" x 9.5". Unique dos-a-dos
binding by Peter R. Jones of both volumes
using a modification of the tongue-in-slot
technique. The spines are covered in black No. 211.
goatskin sculpted over leather bands applied to the hollow. The outer boards are in vellum with full thickness black
leather onlaid strips. The tongues lie in rebates formed in the board edges and are held under Ebony strips. Brass bolts
with chemically blackened dome nuts complete the attachments. The board fore-edges are similarly finished with
ebony strips and dome nuts. Inner board edges are trimmed in black leather. Endpapers of black Fabriano. Doublures
of black Mingei, and all edges black ink. Drop-back box covered in black buckram with a lining of sculpted black felt
pads to support the binding; recessed paper title label on spine. No. 70 in an edition of 200 copies. Fine. $4950.00
The binding was completed in 2000 and is signed and dated in pencil on the tail edge of the last endpaper of each volume. This book
was exhibited at Scripta Manent II, Estonia, 2000; Leighton House, London, 2001; and the John Rylands Library, Manchester, 2001.
Jaan Kaplinski is a well-known Estonian poet. essayist and writer, whose work has been translated into many languages, including
English. He has lectured widely in Europe and North America.
"His poetry is lyrical and philosophical with strong mystical overtones ... One of its main themes is a deep longing for a harmony
both in ourselves, between ourselves and people from other cultures ...” - Biography.
Doris Kareva is a distinguished Estonian poet, who is also the General Secretary of the Estonian Committee of UNESCO. ... Her
poems are exceptionally fragile and sensitive, full of compassion, purity and beauty. ... The central theme of her poetry is the fragili-
ty of life in our unstable world and the tensions and unexpectedness in human relations. ... Her poems are translated into Russian,
English, French, German, Finnish, Swedish, Norwegian, Hungarian, Slowenian, etc." - Biography.

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

212. (Charles Meunier) La Belle Impéria. By Honore de

Balzac. Conte Imagé, Gravé et Enluminé par Albert
Robida. Imprimé pour Charles Meunier, 1913. 14” x
11.75”. Halftitle, frontispiece, title. Printed in red and
black throughout. Hand colored etched frontispiece. 11
colored text illustrations and 1 tailpiece; etched histori-
ated borders printed in bistre, as a surround to all pages
by Albert Robida. One unused original watercolor and
three states of all illustrations and borders bound in.

No. 212. Title page and interior decorated page.

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No. 212.

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

J. Franklin Mowery -
A unique binding
on one of only three copies printed on vellum
213. (J. Franklin Mowery) Laws and Acts of the General
Assembly for Their Majesties Province of New York. [A facsim-
ile edition.] The Grolier Club of New-York. MMDCCCX-
CIV. Printed and Sold by William Bradford...1694: Together
with an Historical Introduction, Notes on the Laws, and
Appendices, by Robert Ludlow Fowler, Counselor-at-Law.
NY, 1894. (12), clxiii, (1) pages; (4), 84, 3, (1), 4, (6), 11, (2)
pages. 11.5" x 7.75". Three headpieces and a plate showing
William Bradford's tomb etched by Max Rosenthal. Printed
at the De Vinne Press. Charles R. Hildeburn provides a bib-
liographical note on the first edition. One of only 3 copies
on vellum in a total edition of 315 copies.
Unique binding by J. Franklin Mowery bound under the
supervision of Prof. Kurt Loudenberg in 1975. Black
No. 213.

84
 goatskin with blind tooled borders and gilded titles on front and spine to reflect the legal nature of the contents. Sewn
on four raised bands. Edges gilt tooled with turnovers also gilt tooled. Brass and leather clasps, which were made to
keep the book closed to prevent the climate-sensitive vellum from curling. Laid in a tan linen dropback box with
goatskin spine. Spine with blind tooled design and gilt title. Box lined with padded gold color silk and goatskin at
spine. Fine. A superb binding on a vellum printing. $5800.00

214. (J. Franklin Mowery) Le Soir D’Austerlitz. Comédie

en cinq actes. [In French.] [By] Sacha Guitry.
Représentée pour la Premire Fois. Paris. 1941. This
edition 1947. Pochoir illustrations throughout by

No. 214.
No. 214.
Dreux-Barry.. 192(1)p. 9.75" x 7.5". No. 86 in a total
edition of 750 copies: this is one of 700 on Velin
Grevecœur du Marais paper. Unique binding by J. Franklin Mowery, with his stamp ‘JFM 1975’ on the lower back
doublure. Bound in green leather with simple relief tooled design on both covers. Inlaid brown and beige title label
with gilt lettering on spine; gilt title on front. Gold tooled lines all round edges and spine of book. Red sewn head and
tail bands. Green cloth dropback box lined with padded cream silk. Fine. $1850.00
First performed in Paris, 1941. The occupying German army not having accepted its title, Le Soir D’Austerlitz became
Vive Le Empereur. To-day, however, it resumes its original title.

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

No. 215.

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 A handsome Riviere binding on a beautifully illustrated text
216. (Riviere) The Latin Year. [A collection of
Hymns for the Seasons of the Church selected
f rom Mediaeval and modern authors.]
Compiled by the Rev. W. J. Loftie. Basil
Montagu Pickering. London. 1873. With
illustrations by Robert Bateman. 343p. 7" x
4.75". Printed at the Chiswick Press. Black
and white reproductions of early woodcuts
throughout. Bound by Riviere in brown
leather; gold-tooled; double rectangle and
lozenge of curved interlaced strapwork
with pointillé and vines; title in central
No. 216.
panel on front and back covers; title within
a darker brown leather panel on floriated spine; turn-ins ruled in
gilt; a.e.g. Binder's stamp on front turn-in. Fine. $1250.00

217. (David Sellars) Monsieur Dorlan: Relieur. Extract from ‘A

No. 216. Narrow Street’ by Elliot Paul. Incline Press. [Oldham.] 1995. 8p. 6.5"
x 4.5". 125 numbered copies printed on handmade paper from Griffin Mill , hand set in Verona and printed by Graham
Moss at the Incline Press; plus a further impression
without limit on acid free paper for the use of the
bindery at PAPERSAFE. Dedicated to ‘those who
think binding should be hurried.’ This handmade
paper copy has been bound by David Sellars and
signed and dated by him in pencil on the
Colophon page.Tan leather spine with black/tan
broad stripes of leather alternating with darker
textured stripes across both boards. Doublures and
f.f.e. of toning decorated paper. Bound book and
wrappered copy of machine set issue together in
Fabriano slipcase with title on spine. Fine. $1150.00

Philip Smith
No. 217.
One of the world’s foremost bookbinders working today,
Smith began as an art student in 1949, being channeled into the bookbinding class ostensibly to make customized sketch books. He
was selected by Roger Powell on his resulting examination binding for entry to the Royal College of Art in 1951. Since about 1959,
when he developed the techniques of feathered onlays with backparing, called ‘maril’, he has consistently explored the potential of
the physical form of the book as an alternative art medium. Publications include numerous articles and catalogue introductions, as
well as New Directions in Bookbinding, 1974, and The Book: Art &
Object, 1982. He has added several new terms to the vocabulary
of bookbinding and has been awarded patents for new inven-
tions, both visual and functional, as well as making innovations
in structural and visual design now applied by an ever growing
number of bookbinders. A past Director of the V & A Museum,
Elizabeth Esteve-Coll, has written about Smith’s work: "As exhi-
bition pieces they have a monumentality and visual impact that
forces an original view of what binding is about."
Smith, a past president of Designer Bookbinders, initiated its
redevelopment and expansion in the late 1960s, and was an inau-
gural editor of The New Bookbinder, serving on the editorial board
for 15 years. He was awarded an MBE in the Queen’s New Year
Honours List a few years ago. His bindings are represented in
many public and private collections throughout the world; he
has won numerous international gold and silver medals for his
innovative and inventive work.
“Philip Smith reigns, as artist and theorist, technician
and philosopher!! ...[he] is the Blake among binders” -
Colin Franklin writes in The Book Club of California
Quarterly Newsletter, Spring 2006.
No. 218.

86
 Two early bindings from the 1960s
218. (Philip Smith) The Bible of The World. Edited by Robert
O. Ballou. In collaboration with Friedrich Spiegelberg
… and with the assistance and advice of Horace L.
Friess … The Viking Press. New York. 1939. Routledge
& Kegan Paul Ltd. Seventh Printing June 1959.
Copyright 1939 by Robert O. Ballou. xxi, 1415p,
includes Index. 9.25" x 6.25". Unique designer binding
by Philip Smith in dark green leather with multi- col-
ored and gold inlaid design in which a figure can be
seen continuing across the front, spine and back
boards. Gilt title on spine. Gold tooling on front cover
highlights an intricate design of small figures showing
through in leather. Red paper doublures with gold
tooled pattern round the borders on both back and
front doublures. Gold stamp logo device ’19 PS 62’ on
top of rear doublure. Blue, red and gold sewn head-
bands. All edges gilt. New black cloth covered drop-
back box lined with black suede, black leather gilt title
label on spine. Fine. $8500.00 No. 219.

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

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

No. 220.

87
 No. 220.
“C. Philip Smith designed 1979, made 1980. March 1980" on the inside front cover. Bound in tan morocco with front
and back cover designs of keyhole shape using maril technique as well as inlaid leathers. Eye design on front board
containing a section of abalone shell. Endpapers and box cover of a yellow marbled paper by Smith. All edges gilt.
Handsewn head and tail bands of toning silk. Purple felt-lined suede box with hand-decorated paper over board
wrap-around cover held by two studs. Plus folder containing two maps laid at the bottom of the box. Fine. $16000.00
Full description of binding pasted in on a back free endpaper; includes the words "made specially for Mr. Cecil Behrmann during
1979-80, and at his request the design refers to the Lothlorien episode.” Signed and dated by Smith in ink on this sheet.

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

No. 221.

88