JOSHUA HELLER Rare Books, Inc.

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-Six - Summer 2008

119.

“The greatest danger for most of us

is not that our aim is too high and we miss it,
but that it is too low and we reach it.”
- Michaelangelo (1475-1564)

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

We accept Visa and Mastercard

© Joshua Heller Rare Books, Inc. 2007.

Our special thanks to Neil Greentree.

 A major new work from Susan Allix -Her most ambitious book to date - a tour-de-force!
1. (Susan Allix) Colours of Persia. Perceptions Accounts Comments Remarks & Descriptions From the travel writings of
Arrian, Ibn Battuta, Sir John Chardin, Sir Robert Ker Porter and others. Artist’s book by Susan Allix. London. 2007.
13.5” x 11”. Approximately 137 p. some fold-outs, some small-sized and some with cut-out shapes. A variety of col-
ored sheets act as interleaving or free colored collages. The text is arranged around the headings of five cities – Tehran,
Mashad, Yazd, Shiraz and Isfahan. The names of these are printed in English in 48pt. Garamond Italic and also in 48pt.
Farsi which was cast by an engaging ‘hot metal man’ in Tehran. Different typefaces have been used for the different
voices of the authors. Thus Ker Porter speaks in Bembo, and Curzon in Baskerville, while Hafez is set in varying sizes
of Garamond. All the letterpress is hand set and printed on handmade Barcham Green 185 gsm. paper.
The paper for the prints is handmade Richard de Bas. 26 prints, of which 17 are etchings with drypoint, carborundum
and other methods, 7 are linocuts and 2 a combination. Except for 4 in black and white, the etchings are in colour,
including hand coloring by watercolor, crayon and airbrush, and gold and silver foil. The binding is in cobalt blue, yel-
low and natural goatskin, or variations of turquoise, blue, yellow and natural. The inlaid leather is also inlaid with
waxed paper printed in a style similar to tilework, its semi-transparent quality allowing the title to show through in a
shadowy way. The design, based on architectural shapes, has onlays of black, freely-cut leather reminiscent of callig-
raphy. The fore-edge flap, a feature of eastern binding, is seen in the extra construction of the box in which the book is
enclosed. All the bindings are slightly different and may vary again as the edition is bound. One in an edition of 25
copies, signed by Susan Allix. New. Only 2 copies left for sale. $7000.00

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 1.
“I shall not attempt to give any bibliography of Teheran, for the reason that very nearly every foreign visitor to Persia has stayed in
the capital and has described his stay.” So wrote George Curzon in 1892 in his own extensive records of his experiences in this coun-
try. Throughout the centuries visitors, unable to resist writing about their travels, have left behind them countless diverse and vari-
ous accounts that bear witness to the endless fascinations of Persia.
“This book omits many wonderful things, but to prevent an entirely haphazard combination of pages a viewpoint must be taken. Iran
is a country of great visual and colourful beauty, from the intense blues, turquoises and yellows of the tilework that decorates the dis-
tinctive shapes of its architecture, to the delicate washes of colour in the majestic landscapes and the vibrant tones of everyday life
seen in fruit markets and wayside textiles.
“Colours of Persia focuses on extracts from authors with a susceptibility towards colour. The earliest of these writers is Arrian, a Roman
general who described the tomb of Cyrus when Alexander the Great visited it. Later comes Ibn Battuta writing about red and green
water melons, John Chardin on black eyebrows and Robert Ker Porter on most things from royalty to bridges. A description by one
observer may be found again in new words by another, written some hundreds of years later, thus illustrating the changing fortunes
of cities and lifestyles. Some of the words are my own when a more up to date variation may be of interest. Amongst the descriptions
are poems by Hafez, the most famous Persian poet. The English versions of these are by Gertrude Bell, made in the late 19th centu-
ry and still regarded as some of the best and most perceptive of translations.” - Susan Allix.
“Those familiar with the work of Susan Allix know that her books launch you on a visual journey. Each book is a voyage propelled
by color, texture, image, impression, and material. ...
“Allix comes to the book by way of printmaking and papermaking. She first emerged as a printmaker, having studied at the Royal
College of Art in the 1960s. Winning the Prix de Rome gave her the opportunity to live for a time in Italy. ... After more than three
decades and thirty-seven books, Allix continues to be true to her vision. Because she insists on creating the entire book - from letter-
press to illustration to binding - her work has a certain recognizable aesthetic; a malleable signature that responds to the particular
character of a piece, but is still unquestionably hers.
“Allix conceives each book visually. ‘I am concerned with visual things so I see books as full of colour and form in a pictorial sense
as well as through the images created in my mind by the words, and through the sculptural qualities a book possesses.’ The real nar-
rative of her books is the flow of color and image as they move throughout the piece.” - Extract of a Review by Mark Dimunation,
Chief of the Rare Book Division at the Library of Congress, Washington DC., in Parenthesis No. 13, August 2007.
In the collections of The British Library, Yale University, National Gallery of Art Washington DC, The Claremont Colleges in
California, the Rochester Institute of Technology, the University of Alberta, as well as other fine public and private collections.
1. Note: See our website - www.joshuahellerrarebooks.com - for more images of this book.

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 2.

A great illustrated travel book reaching back in time from Plutarch and Catullus up to the present day
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. Last copy for sale. $5500.00
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 cosmos she is
really a contemporary of Eve."
The texts in Egyptian Green are mainly drawn from travellers visit-
ing or writing about Egypt. The earliest is a spell written inside 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."

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 3.

A vibrant mechanical structure creates a new dynamic

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

Vol. 1: I AGAINST I (subject)

Vol. 2: WRECKING BALL (to be)
Vol. 3: HARD DONE FROM (to do)
Vol. 4: HOLD UP (to have)
“Aluminium means that the body of the
book and the machine parts are made
from extruded aluminum. I gave plan
drawings of all the parts to an engineer-
ing firm who produced them using CNC
machinery (like a magic manufacturing
box that popped out perfectly turned
pieces of metal). The aluminium has been
sprayed (painted).
“Silkscreened polypropylene refers to the
pages themselves. The pages actually
form the binding as they are scored and
creased to create built-in hinges to hold
the metal covers and metal page hidden
in the middle together.” - Bleitz.
Karen Bleitz:
For the past ten years Karen Bleitz has
been creating interactive book works that
explore the changing nature of language
and communication. In her latest project,
The Mechanical Word, she has collaborated
with poet Richard Price (whose book,
Lucky Day, was short listed for the 2005
Whitbread Poetry Award) to produce a
five volume series of mechanical poetry
books. The idea of constructing a form of
'mechanical' language began as an explo-
ration of the idea that "language pervades
thought - with different languages caus-
ing their speakers to construe reality in
d i ff e rent ways." (Stephen Pinker, The
Language Instinct, 1994)

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 Discs, drivers, levers and gears are used in the books to create mechan-
ical metaphors and to give readers a new, physical tool with which to
break down and examine the underlying meaning of words. The first
half of each volume contains a poem illustrating how the machine acts
as a part of speech. In the second half, the 'machine' is put to use in the
context of a more complex 'mechanical sentence'. By turning the crank,
the reader activates the second poem by Richard Price and is forced to
address the changes created on the page.
"I wanted to use machines to look at the dynamic relationships - people
and power relationships - that grammatical rules quietly and sometimes
Vol. 5: LONG GONE (to go) noisily suggest." - Bleitz.
Richard Price was born in 1966 and grew up in Scotland. He trained as a journalist at Napier College, Edinburgh,
before studying English at the University of Strathclyde, Glasgow. The youngest of the Informationist group of poets,
he was a founder of the magazines associated with them, Gairfish and Southfields. He also co-founded Vennel Press, the
imprint which brought many of the earlier Informationist collections to a wider audience. Richard Price is currently
Head of Modern British Collections at the British Library, London.

4.

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

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

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

6. Stuart Brockman was born in Cambridge in 1972. He graduated in 1995 with an Honours Degree in Mechanical
Engineering from Imperial College, London. He then trained full-time with his father, James. He has led workshops
and has lectured in the UK, Canada, Finland and the USA. He won the National Library of Scotland bookbinding com-
petition in 2004 and was a judge at the fourth DeGolyer bookbinding Competition, Bridwell Library, Texas, in 2006.
He has modern bindings in many private collections worldwide, the British Library and the National Library of
Scotland. He was elected a Fellow of Designer Bookbinders in 2004.
(Stuart Brockman - Bookbinder) The Abstract Garden. Poems by Philip Gross. Engravings by Peter Reddick. The Old
Stile Press. Monmouthshire. 2006. n.p. 10.75” x 7.75”. Black and white wood engravings throughout printed from the
original blocks. Designed and printed by Nicolas McDowall on Zerkall Halbmatter in Spectrum. Unique binding by
Stuart Brockman in 2007. Bound in full brown Levant with double sewn endbands. A rose design tooled in two shades
of gold (lemon and red) on both boards. Gold lettered title on spine. Endpapers of brown patterned pastepaper.
Binder’s label at top of first free endpapers. Black buckram dropback box lined with beige felt. Black title label on
spine. Binder’s label at inside base of box. No. 165 in an edition of 200 copies, numbered and signed in pencil by the
poet and engraver. Fine. $5750.00

The unusual & creative conceptual work of Deborah Phillips Chodoff

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

6
 political to the extent that society affects her, she says. When something touches her deeply, like the war, it is only nat-
ural for her to expressit in art.
Other works look at her experiences as a working mother “not just a personal frustration but a societal frustration with
the role of women. ... She finds she enjoys teaching children and providing them with an opportunity to express them-
selves. “They come up with extraordinary things. It gives me a lot of energy.”

7.

7. (Deborah Phillips Chodoff) A Dishwasher is not Magic. Artist’s book by Deborah Philips Chodoff. [New York.] 1993.
6” x 4.675”. Accordion fold book between boards. Cut-outs, collages, pieces of plastic sponge, porcelain, plastic, and
color Xerox images of kitchen equipment. Pages joined with pieces of checked dish cloth. Checked cloth covers with
title on front board made up of individual stamped letters on glued onto pieces of kitchen sponge; back board with
design made of green, red and yellow kitchen sponges. White card box container opening to the front, with image of
dishwasher on front; signed and dated. No. V in an edition of 5 signed copies. Fine. $500.00

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

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

9.

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

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 Ron King and the Circle Press 10.

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

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

12.

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

The precursor to the monumental Anansi Company

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

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 13.

case, die-cut to expose the portfolio title. One in an edition of 80 copies signed by Ronald King and Roy Fisher.
Fine.Scarce. $3750.00
Ron King has created an amusing and grand production of Punch with puppets assembled from screenprint images ingeniously con-
structed on the page.
“This book was the fifth collaboration between Roy Fisher and Ronald King, being, in the words of the prospectus, ‘a new version of
the comical tragedy of Punch and Judy’. The story is based upon the anonymous text first published by George Routledge & Sons in
1860 and illustrated by George Cruikshank, which King had found in a small modern paperback version ... Fisher and King’s version
was presented in the form of a play, consisting of a prologue, six scenes, and an epilogue, illustrated by numerous photo-collage
vignettes and seven ... drawn tableaux. ... the chief feature of the book [is] thirteen cut-out articulated figures, the principal dramatis
personae - the production of which alone involved more than 120 printings - ten of which [have] movable parts but remain attached
to the page.” - Cooking the books, p. 82.

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

A seminal breakthrough in the annals of

late 20th century Artists’ Book
publishing
15. (Circle Press) Anansi Company. A collec-
tion of thirteen hand-made wire and card 14.
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 elaborate and ambitious one to date. The content is mainly derived from
material gathered together by Walter Jekyll for his book Jamaican Song and Story,
published in 1907 for the English Folklore Society. This version is basically a
15. contemporary rendering of aspects of those familiar tales central to Caribbean

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 15.
culture, concerning Anansi, the spider-man, and his company of animal
friends.
The outside of the sections are covered with quotes in Caribbean patois and
lines of music set down by Jekyll in his book and accompanied by a color-
ful carnival procession of figures and designs invented by the artist. The
book involved over 500 hand-workings andit is one of the most remarkable
and innovative artist's books of the period.

16. (Circle Press) Les Bijoux. [By] Charles Baudelaire. With a free [verse] varia-
tion in English by Kenneth White. Designed, printed and drawn in wire by
Ronald King. London. 1996. Acccordion fold, with the sheet of paper open-
ing up to show the full design in relief with the poem in French. 7” x 11.25”.
Printed at the London Print Workshop on charcoal Khadi handmade paper,
with the text set in Baskerville and printed red [ English] and blue [French]
in letterpress at the Circle Press. Thick black card covers with titling on
front. Mottled charcoal handmade paper wraparound envelope, with gray
paper slot closure; title in black. A/P in a first edition of 50 copies, signed by
Ronald King. $240.00
16.
17. (Circle Press) Delicious Babies. Poem by Penelope Shuttle. Intaglio
designs by Willow Legge. London. 1996. 11.5” x 7.5”. Seven origi-
nal blind intaglio designs by sculptor Willow Legge. Printed letter-
press by the artist in red in Baskerville on white Somerset rag. Four
sewn sections in a heavy cream wrappered cover; title in blue on
front. One of 85 copies, numbered and signed by the artist, plus 15
artist’s proofs. Fine. $195.00 17.
An annotated history of the Circle Press
18. (Circle Press) Cooking the books: Ron King and Circle Press. Essay by Andrew Lambirth,
Description and Commentary by Ron King. A catalogue issued to commemorate the opening
of the Daniel King and Circle Press Archives at the Yale Center for British Art. London. 2002.
179p. 9” x 6.5”. Lavishly illustrated in color and black and white throughout. A pop-up letter
on black paper. Illustrated card wrappers. Fine. $80.00
Published by the Yale Center for British Art, New Haven, Connecticut, and Circle Press. The
archive has been given in honor and memory of Daniel King, the son of Ron King and Willow
Legge, who died at the age of 15.
18.

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 19. (Evelyn Eller) The Appearance
of Language. Unique Artist’s Book
by Evelyn Eller. [New York.] 2001.
8p. 11” x 9.25”. Salmon colored
handmade and Moriki paper with
mixed media color collages on each
page. Each collage with letters of
various scripts and languages. Two
shades of thick gray handmade
paper wrappers with paper title
label. Black sewn binding with
white bead on braided black cord.
Signed and dated by Evelyn Eller.
19. Fine. $600.00

20. (Evelyn Eller) Exchanging Ideas. Unique Artist’s Book by Evelyn Eller.
2005. 9.25” x 12.75”. Mixed media collages on acid free paper in a tan hand-
made paper box with blue/tan marbled paper lining. Paper title label on top
of box as well as inside the lid. Five blue lift-up sheets each with a drawing
of a face collaged onto a lettered background of pale blue. Each sheet can be
lifted up to show xeroxed text in five different languages on pale blue paper.
Signed on the back of the last lift-up sheet by the artist. Fine. $900.00
21. (Evelyn Eller) More Words. Unique artist's book by Evelyn Eller. [New
York. 2005.] 8" x 9.75".Accordion fold vertical. Book glued to inside back
cover. Multi-colored mixed media collage. Collage title on front cover. Black
bookcloth binding. Signed by the artist on the inside back cover. $800.00

Susan Stewart’s beautiful poem enhanced by

Enid Mark’s beautiful lithographs

20. 22. (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 camera but manipulated digitally
with Photoshop software in order to generate the films used to create the duotone and tritone images. These films were
transfered 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. Handbound by Sarah Creighton. An edition of 45
numbered copies, signed by the poet and the artist. Fine. $2250.00

22.

12
Susan Stewart wrote The Elements, this long poem in four parts, in collaboration with artist Enid Mark, who created the book’s visu-
al form. The poet, author of three previous books of poetry and a MacArthur Fellow, called on the long Western history of myths and
literature on air, fire, earth, and water; in the end she created a sequence unified by the themes of love and strife traditionally associ-
ated with the elements. ... The poem unfolds in time as a meditation on time and mortality.
“Each of the sections of The Elements - Air, Fire, Earth, and Water - is defined by a visual image. This image is introduced as a hori-
zontal band that has its own rhythm, fading and increasing in dimension and intensity as the pages turn. On the final page opening
within each section, three-color lithographs bleed over the four edges of the ... spread of the book. Throughout the work, the concrete
forms of the sections of the poem, unique to the volume with its wide format, become an integral part of the visual imagery.” -
Prospectus.
Susan Stewart received the 2004 National Book Critics Circle Award for poetry, for Columbarium, a trade edition published by the
University of Chicago Press. Columbarium features Air, Fire, Earth, and Water from The Elements.

23.
Enid Mark’s very beautiful book of poems on flowers
23. (ELM Press) Ars Botanica. [A Compilation of fourteen poems] with Lithographs by Enid Mark. Wallingford,
Pennsylvania. MMIV. [2004.] n.p. 15.5" x 10.75". Fourteen 12" x 8" duotones created by scanning plant material direct-
ly onto a flatbed scanner and manipulating the resultant digital images with Photoshop software. These digital 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 mouldmade 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. A/P in an edition of 40 numbered copies, and 10 artist's proofs. Fine. $2750.00
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 contem-
porary edition the scientific description of flora presented in such early volumes is replaced by poetry. Enid Mark invited the vari-
ous poets to participate in the book. Each was asked to write a poem in which a flower or plant served as the central image or
metaphor. The collected poems, with one exception, were written specifically for Ars Botanica. ... The poems reflect the broader con-
cerns of each individual writer.
" ... the images ... describe more than one aspect of the featured plant specimen. Facing each poem is a photo-based duotone litho-
graph of the plant, printed in warm gray and black tones. A second lithograph, derived from a hand-drawing of the same plant, print-
ed in glowing floral colors that vary from page to page, appears on a translucent sheet tipped into the gutter between the duotone
and the poetry.” The edition is sold out - only one copy remains for sale.

13
 24.
A visual and poetic exploration of the Moon
24. (ELM Press) The Inconstant Moon. Poems to the Moon by Mark Jarman, Phillis Levin, James Longenbach, Jacqueline
Osherow, Susan Stewart, Mark Strand, Elaine Terranova and Eleanor Wilner. With the Homeric hymn “To Selene” in
Greek and an English translation by Apostolos N. Athanassakis. Lithographs by Enid Mark. Philadelphia. 2006. 14” x
10.5”. Blind embossings of the crescent moon and duotone lithographs of a star field printed in indigo blue and black.
Letterpress printed in Monotype Dante and Monotype Gill Greek Caps and Gill Sans Caps by Arthur Larson on
Somerset papers. Lithographs hand-pulled by Timothy P. Sheesley. Calligraphy by Jerry Kelly. Hand bound in black
cloth with marbled paper panels overlaying the front and back covers. One in an edition of 45 signed and numbered
copies. Fine. Matching box available on request at cost. $2600.00
“In The Inconstant Moon, the motif of the moon binds the lithographs and poems together; the diverse verbal respons-
es create a rich and intriguing text.
“The visual and poetic exploration of the moon commences with a presentation of the Homeric hymn ‘To Selene.’ ...
the hymn introduces the poetic suits; its translation, .. concludes the collection.
“Of the eight contemporary poems, six were written specifically for this edition. Two poems appeared in journals at
the time this book was conceived, but are previously uncollected.
“The duotones bleed from edge to edge of the pages, creating a deep space for varying profiles of the luminous moon.
This moon waxes and wanes, shifting shape and color from page to page, its majestic pro-
gression interrupted only at the centerfold by a detailed hand drawn image of the lunar
landscape, this printed in two colors on black mould-made English Somerset paper.” -
Prospectus.

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

David Horton and his Flying Pyramid Press

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

14
 26.

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

26.

15
27.
Sayaka Fukada
Sayaka Fukada gained a BA in Photography from Nihon University, Japan in 2000. She moved to London to study Book Art (BA) at
London College of Communication (LCC) in 2001, and at the same time undertook private tuition with Mark Cockram at Studio
Five. She exhibits her design bindings regularly in UK, and is currently studying for her MA in Book Conservation at West Dean
College in the UK.
27. (Sayaka Fukada - Bookbinder) John Betjeman Selected Poems. Edited by Alan Powers. Drawings by Peter Bailey. The
Folio Society. London. 2004. 222p. 9” x 6.5”. Illustrations in color and black and white throughout; black and white pho-
tographic reproductions. Unique binding by Sayaka Fukada in 2005. Bound in full grey goat skin decorated with
reverse transfer prints from photograph taken by the binder on Tengujo (Japanese paper); blind tooling and title.
Multicolored hand sewn headbands; edges decorated with water colour paint in shades of gray. Endpapers created by
layered images of reverse transfer prints on Tengujo and Zerkall. Grey goat skin doublures with paper inlays contin-
uing the images from endpapers. Laid in a brown cloth dropback box with paper title label on spine and lined with
gray-green suede. Laid in the box is a card with image of binding, relief printed title and the words ‘Bound by Sayaka
Fukada in 2005”, plus Fukada’s stamp and signature in Japanese. Fine. $2600.00
Fukada writes: “This book is [the] collected work of a poet, John Betjeman. I decided to reflect his personality after having read the
brief biography in the beginning of this book ... [in] my design. I chose a sunflower as a key image for it stays strong and always fac-
ing up [to] the sun while it is blooming as if it is trying to cheer up everyone when it is hiding its inner sadness or loneliness.
“I covered [the] book [in] grey and partly applied colourful onlays, which are translucent, to express the way Betjeman’s heart stayed
[strong].”

27.

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

16
 28.

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

Homage to Buckminster Fuller - The special edition of Tetrascroll pupblished at U.L.A.E. for his 80th birthday
“R. Buckminster Fuller (1895-1983) was one of the great American visionaries of the 20th century. Best-known as the
inventor of the geodesic dome, Fuller devoted much of his life to resolving the gap between the sciences and the
humanities, which he believed was preventing society from taking a comprehensive view of the world. His theories
and innovations traversed the worlds of architecture, visual art, literature, mathematics, molecular biology, and envi-
ronmental science and have had a deep impact on all of those fields.” - The Whitney Museum of Art.
29. (R. Buckminster Fuller) Tetrascroll. Goldilocks and the three bears, a Cosmic Fairy Tale. Text and Preface by author/artist.
Printed under the direction of Tatyana Grosman at Universal Limited Art Editions. West Islip, New York. 1977. 33” x
38” approx. Conceived by Fuller as a tetrahedron with 26 pages, consisting of 36” equilateral triangles bound togeth-
er on two sides with gray Dacron sailcloth. The pages open out to approximately 43 feet, comprising the complete

29.

17
work. Dark blue text and drawings printed on Rives BFK matching gray paper laminated to the sailcloth. Triangular
pages connected by cloth strips. Title page ‘The only known Picture of Goldy,’ plus 21 lithographic drawings. Handset
Helvetica type. Pages embossed with the publisher’s seal. Bound by Richard Minsky with the 26 pages laminated
together as rigid triangles, all connected and hinged together for display. No. 2 of an edition of 34 copies, plus 6 artist’s
proofs and 2 printer’s proofs. The Preface is signed and numbered and each drawing initialed by R.B. Fuller. Preface
also signed by Mrs. Ann Fuller, and by Alexandra, the Fuller’s grand-daughter, ‘For Goldy.’ ‘Epilever’ (Epilogue) by
Edwin Schlossberg and signed by him. Fine. SOLD
Many years in its formulation and production, this work explains the structure of the universe and man’s place in it,
as conceived by Buckminster Fuller, world renowned architect and environmentalist. This ecological fairy tale was
adapted from his personal philosophies for his granddaughter, Allegra. Several mythological stories are strung togeth-
er in a didactic series – a cosmic seminar.
A forty-three foot long ‘book’, Tetrascroll was prepared at U.L.A.E. in time for Fuller’s 80th birthday.
This Special Deluxe U.L.A.E. edition is scarce. Institutions generally own either the facsimile or trade editions, as is
in The Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Statliche Museum, Berlin, and
the Victoria & Albert Museum. Copies of the original U.L.A.E. edition are at Harvard University, Oklahoma City
Museum of Art, and the University of Texas at Austin.
Exhibited at the Museum of Modern Art, New York, January, 1977; R. Feldman Gallery, New York, January 1977 and
F. S. Wright Art Gallery, U.C.L.A., Los Angeles, March-May 1978. A major showing of Buckminster Fuller’s work will
be on exhibition at the Whitney Museum of Art, New York City, from June 26, 2008-September 21, 2008.

18
 John Gerard’s contribution to the art
of the Alphabet
30. (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 geomet-
ric letterpress pattern on handmade paper.
Light salmon endboards with white sewn
coptic binding. Illustrated label on front. In
a thin card envelope folder with the title
written in ink. A unique variant in an edi-
tion of 20 similar copies. Signed, numbered
and dated by Gerard. Fine. $450.00 A hom-
age to the alphabet and the golden section. 30.

An illustrated edition of a Poe classic

31. (John Gerard) The Pit and the Pendulum. By Edgar Allan Poe.
Illustrated by Thomas Rug. Rheinbach. 2005. 28p. 7.25" x 9".
Printed on paper handmade by John Gerard in 12pt Garamond-
Antiqua. at the Copernicus Graphische Werkstatt, Alfter. Paper
French folded. 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.

32. (John Gerard) Die Häuser meiner Straße/les cases del meu carrer.
(The Houses on my Street.) [A poem in German and Catalan] by
Enric Casasses. With images by Victoria Rabal. John Gerard. 31.
Rheinbach. 2006. First edition. n.p. 14" x 7.75". 6 French-fold full page pulp paper paintings. Typeset in 24pt Galliard
Roman, handprinted in black and blue. Bound in Japanese style with open stitching in blue. Blue linen spine, original
pulp paper painting over boards. Title on front. Blue linen dropback box. An edition of 30 unique variant copies
signed by the poet, artist and Gerard. Fine. $600.00
Enric Casasses is a Catalonian poet. Victoria Rabal is a Catalonian artist and also director of the Paper Museum in Capellades, Spain.
English translation of the poem laid in at the bottom of the box.
A translation of two of the verses:
“the corner under the bridge
the origin of the discovered spring the entrance hall of the train station
the yellow straw in the stable
the shadow of a peach tree
the dust of the caravans and the light on the horizon
and the farthest star”

32.
19
33. (John Gerard) Pulse. [By] Paul Auster. Produced by John Gerard. Rheinbach, Germany. 2007. Accordion fold of 19
pages. 12.25” x 12.25”. Interpretation of pulp paper images by Bodo Korsig. All handmade papers by John Gerard. Text
set in 36pt Arial, printed in the Copernicus Graphische Werkstatt, Alfter, Germany. Bound in dark gray cloth with red
title on spine and front; two matt black designs reflecting the images in the book. Black dropback box with titles and
designs to match the book cover. One in an edition of 30 copies, signed by Korsig and Auster. Fine. $3000.00
Poem from the book ‘Collected Poems’ by Paul Auster. Reproduced by permission of The Overlook Press.
Some verses from ‘Pulse’:
“Autumn: a single leaf Where earth does not stop,
eaten by light: and the green we, too, will become this
gaze of green upon us. light, dies
even as the light
in the shape of a leaf.”

34.

34. (John Gerard) Die Kunst der Gesellschaft. [German text.] [By] Durs Gruenbein. Paper paintings by John Gerard.
Rheinbach, Germany. 2007. 16 leaves. 14.5” x 11.5”. Handmade paper and paper paintings by John Gerard.
Typography by Juergen Foster, printed in the Copernicus Graphische Werkstatt, Alfter. Bound in green cloth spine
with black title label; pulp paper paintings over board sides. Black title on front board. Green cloth dropback box with
title in black on spine and front. An edition of 25 unique variants, signed by Durs Gruenbein and John Gerard. Fine.
$1800.00
The motifs follow the original plan of the Friedrichshain Park in Berlin of 1875.
This book was awarded the honorary prize in the juried exhibition ‘Art on Campus 2007’ in Rheinbach, Germany.

35. (Joan Iversen Goswell) Goldwing Moth. Artist’s book by Joan Iversen Goswell. Poem by e.e.cummings. n.d. 8” x 40”
open. Irregularly shaped accordion book. Hand lettering on Rives BFK. The illustrations are open bite etchings print-
ed by the artist and decorated with hot colored foil tooling. Each etching in each book was hand pulled by the artist.
The lettering in each book was hand lettered. In a purple paper wrapper onto which another etching has been pasted.
No. 4 in an edition of 7 copies, signed in pencil by the artist and with her stamp. Fine. $425.00
TEXT:
the sky a silver dissonance
by correct fingers of april resolved
into a clutter of trite jewels
now like a moth with stumbling
wings flutters and flops along the
grass collides with trees and houses and finally
butts into the river

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

20
 TEXT:
In the name of peace
they waged the wars.
Ain’t they got no shame.
By Nikki Giovanni.

37. (Gloria Helfgott) Cosmic Recurrences. Unique

Artist's book object by Gloria Helfgott.
[California.] 2006. 6.5" x 6.5" x 2.75". Brown
cloth covered fold-out box opens to show one
word of text on pink paper on each of the four
sides. Within is an attached turning box that
36.
depicts legendary figurative constellations.
Oil based ink on acrylic on binders board which shows pochoir images with handlettered names and are painted
dusky pink, tan and white and highlighted with glass and
acrylic marks. Title on front of box and artist's name on the
back. Fine. $1450.00

Nine great books from the remarkable John Ross -

including a new work
38. (High Tide Press) On Liberty and Justice. Quotations from 16
philosophers. Illustrated with woodcut portraits by John
Ross. [New York. 1992.] 10” x 8”. Design and black and white
woodcuts printed from the original blocks on a Vandercook
proofing press by John Ross. Letterpress printed in Simoncini
Italian Garamond set in Linotype and printed by John Ross on
Saunders Waterford. Headlines in color are various wood and
metal fonts from the High Tide collection. Multi-colored
Basingwerk endpapers patterned with woodtype letters. Top 37.
edges uncut. Red cloth boards and matching slipcase with paper title label. One of 40 copies, signed and dated by Ross.
Fine. $800.00
A classic book with statements on Liberty and Justice by
Socrates, Plato, Aristotle, René Descartes, Blaise Pascal,
Baruch Spinoza, John Locke, David Hume, Jean Jacques
Rousseau, Immanuel Kant, John Stuart Mill, Henry
David Thoreau, W.E.B. DuBois, Bertrand Russell,
Hannah Arendt, and John Rawls.
Eleven structures metamorphosing into animals
39. (High Tide Press) An Architectural Bestiary. Prints by
John Ross. Text translated by Lloyd Jonnes. [New York.
1993.] Black and white collagraph images on a 30” x 15”
spread. (Closed - 15” x 15”.) Greek text in red, English
text in back. Designed and printed by John Ross, with
the assistance of Tim Ross and Ann Marie Farinacci on
38. Stonehenge white. English text set in Primer and Greek 38.
text set by Cosmos Printing. Both texts are printed on a
Vandercook proofing press. Headline and display type are from the High Tide Collection and printed by John Ross.
Orange and black faux fur-type fabric covered dropback box, with title label. Most of the images were made in Venice,
Italy, in the summer of 1992. In a total edition of 25 copies, this is one of 20 in black and white. Signed by Ross on each
plate as well as on the Colophon page. Fine. [Illustrated top of page 22.] $2600.00
From the Introduction by Jonnes: “Certain of the animals perceived in the various structures here portrayed by the
artist found themselves with their foibles discussed by classical authors. Some ten excerpts in Greek and in English
translation from texts of two authors appear here. The first of these authors, if he existed, Physiologos (3rd -4th cen-
tury A.D.), used animals (and plant and minerals) in very simple parables for teaching the lessons of Christianity. The
second, Claudius Aelianus (2nd century A.D.), may have been seeking both to understand the animal kingdom and to
entertain. ... The final excerpt comes not from a classical work, but as a giraffe was needed, from Denis Diderot, the
French encyclopediest.”

21
 40.
Ross states: "My interest in metamorphosis shows itself in these books where ani-
mals or people turn into buildings or structures (or vice versa). I have been draw-
ings such ideas for twenty years and have been able to convert some [of] the sketch-
es into books. The Bestiary was inspired by the sight of structures which evoked
other beings."

40. (High Tide Press) From Rome to Venice for a Cure. From the poem by Giovanni
Della Casa. Translated from the Latin by John Van Sickle. Prints by John Ross. [New
39. York. 1997.] n.p. 10.25”x 7.75”. With 2 pull-out pages to 9” x 21”. Set in Janson and
printed by John Ross on a Vandercook proof press at the High Tide workshop on
Fabriano Artistico, french folded for the larger prints. The collograph plates were made in Venice, Italy, in the summer
of 1996. Sewn binding, multi-colored silkscreened green cloth wrappers over thin card. One of 60 copies signed by Ross
and Van Sickle. Fine. $500.00
Van Sickle has provided a commentary on Della Casa’s poem, giving a background to his life in the 16th century.

Selected as one of the “Fifty Books/Fifty Covers of 1998” by the American Institute of Graphic Arts
41. (High Tide Press) Birds of Manhattan. Prints by John Ross. Text [and Introduction] by Lloyd Jonnes. [New York. 1998.]
n.p. 14” x 7.25”. Design, letterpress printing and color collographs by John Ross. 14 birds on double spreads each 13.75”
x 13.75”. Text set in Palatino with headlines from wood type in the High Tide collection. Printing done on a Vandercook
Proofing press. Papers used include Arches cover cream and black, Rives BFK cream and grey, Lenox 100 white,
Stonehenge white, Lana cover, Coventry and Speckleton tan and mustard. Gray slubbed silk binding with resin cast-
ing of red bird in deep black cloth recess on front cover. Matching gray silk slipcase with recessed black title label. One
of 40 copies signed by John Ross. Fine. Last copy. $1750.00

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

41.

22
 42.

42. (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. Text in English, Italian and Greek from various
sources. Black cloth boards, with a recess on the front board containing a “mock” plastic printer’s type block with the
title printed backwards in various colors. Black cloth slipcase with woodtype letterpress printed, brilliantly colored,
full page title label. One in an edition of 25 copies, signed by John Ross. Fine. $2000.00
Almost all the type is from the collection of the Tipoteca Italiana, with a few fonts from the High Tide Press in New York.
In his Introduction, John Ross writes: "Five years ago ... [I heard of] a newly forming type museum in a town about one hour north
of Venice.
"... Clare Romano, my artist wife, and [I went] to the town of Cornuda, in the province of Treviso, to visit the just organized Tipoteca
Italiana, a foundation created for the purpose of collecting and preserving the type and presses used in the letterpress printing indus-
try. ...
"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 print-
ed material. The unmatched energy and enthusiasm of Silvio Antiga is the prime reason why this new collection of type and presses
has developed so rapidly and efficiently into one of the most complete collections in Italy.
"Antiga wrote to over sixty of the most prominent printing firms in Italy to ask if they would send their rarely used type and other
equipment to form the core of the growing collection. The response was overwhelming and the new museum was flooded with thou-
sands of fonts of type, scores of presses, type setting machines and other devices that had been outmoded by newer systems.
“Of course, this mass of material needed to be housed, so the Tipoteca bought and reconstructed a deconsecrated church nearby,
erected new structures and designed new and efficient spaces to show some of the collected equipment. Several warehouses are stor-
ing more presses and type. Each press is repaired to working condition before it is displayed, a job which challenges their dedicated
mechanics and technicians.
"I suggested to Antiga that a working printshop could be used to produce
artists books, posters or prints to keep the letterpress tradition alive by
artists and designers using the equipment collected in the Tipoteca. He
agreed and this book is one of the first efforts to produce new work using
old technology."
A tour de force by Ross using old type to form not only text, but brilliant-
ly colored illustrations.

43. (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. The print
from a brass tray was printed intaglio on an etching press. Two
pieces of Moroccan textile work are laid-on pages; one tip-on, and
a fold-out. Various images of people, places, and animals are done
by a xerox process. Red leather spine with gilt title and side deco-
rative line; black cloth boards with inset of an example of colorful
weaving. Red cloth slipcase. One in an edition of 14 signed copies.
Fine. $2500.00
43.

23
 The textile on the cover was woven from wool in a plain weave with weft substitution by a Berber woman in the Middle Atlas moun-
tains on a simple upright loom.
John Ross was one of 13 printmakers invited to work in the printshop of the Assilah Forum Foundation in the summer of 2001. He
states: “The work in this book represents some of the impressions that I received as a result of the visit to Morocco. The complete
reliance on an abstract, geometric concept of art has led to a flourishing of decorative and embellished surfaces that are varied and
complex”. A multi-layered and colorful book, which brings to life the sights and textures of Morocco.

44. (High Tide Press) The Art of Fruit Desserts. Prints by John Ross * Recipes by Sam Joffe. East Hampton. New York. [2003.]
n.p. 11.75” x 9”. Fruit wrappers used on the title pages are from Florence, Italy, and collected in 1958 and 1959.
Collographs, printed from collage plates made from mat board, fabrics and other materials glued together with acrylic
polymer gesso. Printed on 2 ply Rising museum board. Quotations and recipes are printed on Lenox 100 paper.
Quotations are printed in Garamond Italic and recipes are set in Helvetica Lite. Both fonts are from the linotype
machine. All images and text are printed on a Vandercook 219 proof press in the East Hampton print workshop of the
High Tide Press. Sam Joffe printed some of the recipes, while most were printed by John Ross. Binding by James
DeMarcantonio of wooden boards imitating fruit crates and two metal ring binding holders at the top. The back is dou-
ble green cloth board joined with cloth which allows the book to stand upright to see the recipes (while cooking!).The
metal rings allow the pages to turn easily. In a dark green cloth thick board slipcase with slips for the two metal rings.
One in an edition of 36 copies signed by John Ross. Fine. $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 John Ross and Sam Joffe to collaborate in this tribute to fruit desserts.
The idea is simple; make a book that combines the art of printmaking and the art of baking.
Sam is the baker, the recipes are his. John is the artist-printmaker, the visual images are his. Working together for the
past three or four years has enabled both of them to
appreciate the problems as well as the joys of their
separate endeavors, a humbling yet gratifying
experience.” - Introduction by Ross & Joffe.

24
 45.

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

An exuberant new classic using typefaces from Tipoteca Italiana Fondazione

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

25
 Ross writes: “These symbolic faces, all made from existing type, are quoting statements on an
adjoining page, ranging from the comic to the critical. The prints and the text together form the
essence of the book, which is a reflection on the variety of ways people live together.
“I am endebted to the staff of the Tipoteca Italiana for their encouragement, advice and technical
help. The coordinator of this group, Sandro Berra was helpful in many ways, as translator, curator
and map maker. ... Of course, the entire Foundation would not exist without its charismatic and
motivated president, Silvio Antiga, whose energy and enthusiasm was always present.”
Ross also states in the Colophon: “This collection of faces, made from type, was produced at the
High Tide Press print shop in East Hampton, N.Y. and at the Tipoteca Italiana foundation in
Cornuda, a town in the Veneto province of Italy. The enormous quantity of type and presses at the
Tipoteca made this an ideal place to assemble this project.”
Note: Already in the collections of R.I.T., Rochester New York, & The Library of Congress.

47. (Inkwell Press) The Italian 'Commedia Dell'Arte'. Written, Illustrated, & Decorated by
Vincent Torre. New York. 1983. 77p. 10.5” x 7.5”. Black and white full-page reproductions
of drawings by Torre. Printed in Garamond, on Perkins & Squier paper. Red cloth boards
47.
with title in black on front and spine. One in an edition of 200 copies, numbered and
signed by Vincent Torre. Fine. $40.00
A fascinating explanation by Torre of the history, subjects, troupes, characters and masks of the commedia dell'arte. Torre also
explains the importance of the commedia dell'arte in introducing women on equal terms with men in the productions.

48. (Inkwell Press) Sonnets Written in Youth. By Dante Gabriel Rossetti. New York. 1992.
17p. 13.25” x 11”. Printed in black with green title and woodblock decorative floral design
at the bottom of each page, bordered with a red design. Printed on cream Stonehenge
paper with Garamond types. Red cloth spine with title in black on front and spine, floral
design paper boards. One in an edition of 45 copies, signed and numbered by Vincent
Torre. Fine. $275.00
"These sonnets written in youth were not included in his collected works by Dante Gabriel Rossetti
in his lifetime. They were published for the first time in 1931 by Duke University Press, Durham,
North Carolina, in "Rossetti Manuscripts: Unpublished Verse and Prose" by P.F. Baum. To our knowledge,
they are printed here for only the second time." - Colophon.

49. (Inkwell Press) Two Poems written in Youth. By Dante Gabriel Rossetti. New York. 1994.
9p. 12.5” x 9.5”. Printed on thick gray Strathmore paper with Garamond types. Red cloth
spine with title in black on spine and front; floral design paper boards. No. 9 in an edition
48. of 24 copies, numbered and signed by Vincent Torre. Fine. $250.00
"These poems ... were published for the first time in 1931 by Duke University Press in Rossetti
Manuscripts: Unpublished Verse and Prose. To our knowledge, they are printed here for only the second time." - Colophon.

50. (Janus Press) Waste Incant. Wo rds and

images by Susan Johanknecht. Newark,
Vermont. 2007. 12 leaves, including title page.
7.5” x 11.5”. Printed on Barcham Gre e n
Cambersand and Cairo from Hayle Mill in
England. Each leaf interspersed with textured
sheets of flexible vinyl and illusion polycarbon-
ate. Bound with woven strips of silver colored
paper and encased in the same vinyl. Loose
vinyl protective cover. Clear acrylic slipcase.
One in an edition of 150 copies. Fine. $300.00
Susan Johanknecht’s Waste Incant is in response to the
storage of nuclear waste in plastic. It is also twenty
years after Hermetic Waste, which she published at her
Gefn Press after Chernobyl.
49.

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

26
 52.

Jeanette Koch - Contemporary Fine Binder

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

52. (Jeanette Koch - Bookbinder) Cyrano de Bergerac. By Edmond Rostand. Publ. Cercle de Relieure d’art à Ciboure 1998.
(Reprint of Librarie Charpentier et Fasquelle, Paris 1898.) 182p. 11.25” x 7.75”. Unique binding by Jeanette Koch in
1999. Open joint structure. Top edge gilded and sanded. Boards covered with resist-dyed native goatskin and chicken
feet skin. Resist dyed calf spine and doublures. Five sanded straps fixed by patinated silver studs. Hemp paper end-
papers. In a dark gray suede pouch sewn with cream stitching and a suede closure. Fine. $2600.00
Koch writes: “Colours and patterns taken from the Frontispiece illustration of Cyrano. Boards resist-dyed with grafitti writing, recall-
ing the letters, poems and tears of Cyrano. Gascon soldiers probably ate a lot of chicken – also the foot looks like an armorial glove!”

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

53.

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 54.

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

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

55. (Sara Langworthy) First Visit. Artist’s book by Sara Langworthy. Coreopsis Press. 2001. 8.75” x 7”. Conceived and
assembled in the winter, using transparencies of etchings, with U1CB kozo, Japanese book cloth and 2-ply museum
board. Six ‘leaves’ of board, covered with black cloth with
rectangular plate inset and held in place with string. Each
plate illustrated and with minimal text. Smaller plates inset
in both back and front boards. Grey cloth boards and black
cloth spine. One in an edition of 40 signed and dated
copies. Fine. $500.00
Langworthy writes that for best viewing, place in front of bright
light.
“Sara Langworthy was trained in bookbinding, printing, and
papermaking at the University of Iowa Center for the Book. She
has been a resident artist at the Minnesota Center for Book Arts
and Highpoint Center for Printmaking in Minneapolis. She cur-
rently divides her time between her studio in Minneapolis, and
Iowa City, Iowa, where she teaches Bookbinding and Letterpress
Printing. [Her work] can be found in a number of national collec-
tions, including the Walker Art Center and Yale University.” -
Women’s Studio Workshop Summer Arts Institute 2007.
This book was published with a grant from Women’s Studio
Workshop, which is funded in part by the New York State Council
on the Arts. An interesting structure to an innovative book.
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56. (Sara Langworthy) Mortho Terrestre. Poems [by] Emily Wilson. Prints [by] Sara Langworthy. 2006. 11.25” x 5”. Four 4-
page fold-out color images created on and off the press by Langworthy, who also designed and printed the book. Text
in Janson printed on Sakamoto paper from photopolymer plates. Pages are sewn with silk in a Japanese multisection
binding. Laid in a recess in a brown silk dropback box with cream paper title on the spine and paper color illustration
on the top of the box. One in an edition of 50 copies, signed by Wilson and Langworthy. Fine. $600.00
Emily Wilson lives in Portland, Maine, where she is the proprietor of the Spurwink Press, which publishes letterpress editions of poet-
ry books. She graduated from the University of Iowa Writers' Workshop in 1999. Six of the poems in this book have previously
appeared in various publications.

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

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

57.

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58.

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

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

59.
Unique and beautiful - with words by Paul Simon
60. (Su Lund) Under African Skies. Unique artist’s book by Su Lund with lyrics by Paul Simon. 1988-1994. 9” x 10”. 11
handcolored intaglio etchings are laid into French-folded leaves which have the fore-edges with small pleats to allow
for painted pattern edgings. Each page containing an etching has been gone back into and hand painted in a soft gold.
The text is handwritten in ink by the artist on the opposite page. Bound in hand-dyed brown-toned goatskin with relief
design and central painted image, all by the artist. Gray endpages with silver and with blue dots which match the relief

30
 60.

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

60.

61. (Su Lund) JBK/JFK: Out of Balance,

Out of Luck. A unique set of two
sculptural wall books/boxes by Su
Lund. [New Mexico.] 2004-2005. Part
I - 12” x 15” x 4” - open. Part II - 12”
x 15” x 4” - open.
Part I: Wood construction, pigments,
wire, stone, dice, JFK speech text:
Amherst College 1962.
Part II: Wood construction, metal,
brass, photos, pigments, stones,
wire, glitter, and found objects.
Unique work signed by the artist.
Fine. $2200.00
Lund writes: “In Part I, this diptych
includes excerpts from JFK’s famed 1962
speech at Amherst College: In Part II, JFK
is “Out of Balance, Out of Luck” in
Dallas, Texas. JFK was killed on Nov. 22,
1963. JFK had a premonition the night
61.
before, about the dangers of being in
Texas at that time.”

31
 61.

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

63. (Su Lund) Chance/Peace: (John Lennon). Unique Sculptural wall

book/box by Su Lund. New Mexico.] 2007. 9.5” x 16” x 7” - open. An open
wood construction, metal parts, photos, sheet with Chance/Peace: (John
Lennon), music, pigments, wire, maps, metal discs, postcards, found
62.
objects, carved ‘nine,’ wooden orb and blocks. A unique work signed by
Su Lund. Fine. $2000.00

62.

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 63.

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

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

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65.

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

A very special book by Robert Johnson

66. (Melia Press) Tickletoes. John Wills, Poet. Robert Johnson, Artist. (Minneapolis. MN. 1993.] 13 French fold leaves. 18” x
12.75”. Designed and printed by Robert Johnson. Shapes and colors printed using a relief collograph letterpress
process. Hand printed using Bembo, Huxley Vertical, and Clarendon type on Rives BFK paper. Bound by Jill Jevne
with an open sewn spine; boards of yellow fabric with a blue Moriki inset front and back. Pages are hinged with yel-
low Moriki guards sewn on to five linen tapes. Bright blue cloth dropback box with paper title label on spine. No. 35
in an edition of 40 copies, signed by John Wills, Robert Johnson, and four other contributors to the production. Fine.
$4500.00
This large format book presents fourteen of Wills’ cheerful poems in combination with Johnson’s colorful, animated two-page
spreads. Approximately 160 press runs and 180 handmixed colors were required to achieve these unusual graphic images. An excit-
ing visual book with charming text.

66.

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

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

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

69.

35
 painting of Aphrodite colored with acrylic wash; and a page with cutout windows. The cover and slipcase have been
covered in a mouldmade paper called Canal made in Quebec that has been embossed with a pattern of netting for the
slipcase. The cover of the book contains a lenticular photograph of an age-of-sail batttle scene overlayed with a paint-
ing of Aphrodite by Titian who looms over the battle. The lenticular photograph shifts the view between the two
images as the cover is tilted. The frontispiece images of Nelson and Emma have been made as two-layer monotype
portraits which have been reproduced as high-resolution digital prints on transparent film. They have been hinged so
as to permit the top image to be lifted away to reveal a more disquieting view of each. The book concludes with a pop-
up square-rigged vessel containing the images of Admiral Nelson and Aphrodite. One in a limited edition of thirty-
five copies made during the fall and winter of 2007-2008. New. $2750.00
From the Prospectus: “In 1798 Admiral Nelson led a fleet of British warships against the French at the mouth of the Nile with a dra-
matic victory. Several weeks later he sailed into Naples harbor and was greeted with a huge celebration and the rapturous admira-
tion of the citizens, including Lady Emma Hamilton, the British Ambassador’s beautiful young wife. Soon they became lovers.
“In Greek mythology Aphrodite, goddess of love, and Ares, god of war, had a tempestuous affair which resulted in ridicule and
embarrassment. Nelson & Emma records an imaginary conversation between Aphrodite and Ares about the admiral and the ambas-
sodor’s wife, mortals who seem to embody the qualities of love and war that are the special purview of the the two gods. As the con-
versation between the two gods proceeds they pull strings that lead to a net of disapproval and scandal being thrown over the two
mortals.
“At the heart of the design of Nelson & Emma is an intention to show alternative perspectives about the events that transpire and to
give life to the odd coincidence that love and war are tied closely together in both the affairs of the gods and the affairs of mortals. “

70.

Palladio’s ‘La Rotonda’ revisited by Ronald Keller

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

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

36
 72.
A scarce layered contemporary pop-up by Larry Rivers
72. (Larry Rivers) Diana with poem. A three-dimensional work on paper. By Larry Rivers. U.L.A.E./Universal Limited Art
Editions. New York. 1970 – 1974. 25” x 28”. With an original poem by Kenneth Koch, ‘Diana Latin Goddess of the Moon’
facing the image and printed letterpress on handmade paper with U.L.A.E. blindstamp. Four sheets of thin card lam-
inated and hinged to create the three-dimensional image. All in beige linen folder. Cover with title ‘DIANA’ and
‘Rivers’ handwritten in script. No. 8 in an edition of 19 dated copies signed by Rivers, plus 4 artist’s proofs. Fine.
$14,000.00
A superb example of Rivers at his absolute best. This evocative portrait of a young woman looking through a window, as reflected
in the enclosed poem by the well-known American poet, Kenneth Koch.
Rivers was a highly versatile Post-Abstract Expressionist who anticipated the Pop Art Movement. He was known for his humor, wit,
and irony, especially in his narrative paintings.
Copies of this work are at the Art Institute of Chicago, and the University of Texas at Austin.

Ilse Schreiber Noll

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

73.

37
 74.
Lost in sand and ashes - an artist’s cri de couer
74. (Ilse Schreiber Noll) Die Dörfer und Felder vergehen. (The erosion of villages and fields.) [German text.] Unique artist’s
book by Ilse Schreiber-Noll. [New York.] 2004. 16p. including covers. 15” x 11”. Mixed media, sand, ground, and col-
lage on paper. Photographs taken by the artist in Germany. Handwritten title on front cover. Gauze cover box with
loose lid and recessed paper title label at bottom of lid. Unique signed book. Fine. $1750.00
From the Series (Book II) “Verloren in Sand und Asche - Lost in Sand and Ashes.”

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

75.

76. (Ilse Schreiber Noll) Tannen. [Poem] by Bertold Brecht. Ilse

Schreiber-Noll - Woodcuts. 14.25” x 9.75”. [New York. 2007.]
Printed at the Center for Editions at the School of Art and Design,
Purchase College, SUNY. Two full-page woodcuts; one signed and
one initialed and dated. Printed on Rives lightweight in Baskerville.
In a cream folder with title and poem. Brown painted wrapper. All
in gray fold-over wrappers with the front cover painted in gray and
a translation of the poem on a sheet of paper glued to the inside
back of the folder. No. 19 of 20 copies, signed by Ilse Schreiber-Noll.
Fine. $165.00 76.

38
 77.

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

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

78.

39
 The excerpts of the poem ‘Letter to Camden Burial Place of Walt Whitman’ were handwritten by the poet, Dennis Brutus, in January
2008, for this book. The artist cut the entire poem out of linoleum.
Schreiber Noll writes: “I would like to thank Dennis Brutus for giving permission to use his poem for this project.”
She also writes: “"Several years ago Dennis Brutus [sent me the poem "Letter to Camden". I had put it aside, but had always planned
to do a book with it.
“I felt it was necessary at this time to make this book ,which brings attention to the problems of our cities. Camden next to Detroit,
Oakland, Cleveland and others is considered one of the top ten most dangerous cities in the United States. ...
“The images in ... "For Camden"... show the grief and needs of these troubled together with the voice[s] of two great poets, Dennis
Brutus and Walt Whitman.”
Carol Schwartzott
79. (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 contain four double pages,
and include text and fourteen
black and white illustrations. The
folios are connected with four
double fold pages. Each black
79.
fold displays a colorful, 5 layer,
cut-paper illustration. The black Japanese cloth binding contains an insert of an actual Mola sample - appliquéd cloth
with embroidery. Matching black slipcase with red paper title label on spine. One in an edition of 50 signed copies.
Fine. Last copy. $250.00
“Ola Mola introduces the history, geography, religion, customs and aesthetic of the Kuna Indians of the San Blas Archipelago, a group
of some 300 islands off the coast of Panama. The Mola, a simple female garment, is fashioned out of 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.

80. (Carol Schwartzott) Concept Color. Jacob's Ladder format book by Carol Schwartzott. [Freeville. NY.] 2006. 4" x 4".
Printed on Rives BFK and with colorful collages mounted on acid free boards, tied together with an assortment of col-
orful ribbon, the book is about color. A paper wrapper houses the book and as each layer unfolds it provides a short
description of color. One in an edition of 20 signed copies. Fine. $75.00
Concept Color flips to reveal frag-
ments of text and color shapes. An
adventure in color, the book uses
the Jacob's Ladder stru c t u re, a
book technique developed during
the 1800s. The ladder must be
picked up at the end and held in a
horizontal position to release the
first section, which then tumbles
down into the next, continuing
until it reaches the bottom.
Reversing the direction brings the
80. ladder back to its original position.

40
 81.

A beautiful new edition of a 19th century classic

81. (Carol Schwartzott) The Rubaiyat of Omar Khayyam. Translation [by] Edward Fitz Gerald. Concept, design, illustrations
and binding by Carol Schwartzott. Freeville. New York. 2007. n.p. 11" x 7". First Edition 1859. Text pages printed on an
Epson 2000 on Mohawk Via vellum using archival pigmented inks. Illustration portfolios are on Moab Enrade, with
the original art scanned and printed on an Epson 2000 P. Each illustration is then overprinted with a linocut to pro-
duce opacity and pattern. Additional applications of paint, colored pencil and graphite are used to heighten color and
detail. Each is finished with gold and silver leaf. The lasercuts are on Glama natural clear vellum, with archways of
repeat patterns printed on an etching press using polymer plates. The dividers are hand-marbled Kozuke Japanese
paper. The cover is laser cut bookboard, painted and faux finished. Underneath is the title label with a handpainted
colored background that sits behind the die-cuts of the window. Book bound in pale green Japanese bookcloth.
Dropback box of matching green cloth, lined in Ingres Rag paper, handprinted using a collograph created from the
positive shapes from the archway of the cover. One in an edition of 25 copies, signed by Schwartzott. New. $925.00
Schwartzott writes: "This edition of The Rubaiyat uses the 1st edition of FitzGerald's translations. Although it is not considered the
best of the translations, it is the original. The completion of this book ends my journey of almost ten years. Interestingly, as I worked
on its design and reason I really felt it become a more timely piece. For me the Rubaiyat encapsulates the beauty, intellect and mys-
ticism of the Persian world. How lovely to focus on what a culture brings to others instead of the brutality, fear, anger, and enormous
sadness that the war in Iraq has conjured up and bestowed upon all of us. I wanted the book to be calm, serene, ethereal, peaceful,
tranquil.
“I chose a quiet solution for the typography, the layers of the illustration portfolios peel away like veils, and little dots of color here
and there, along with the gold and silver leaf represent the jeweled covers and illuminated miniatures of rare Persian books. Since
marbling was an art invented and developed by the Persians, I used it for a segment divider. A simple binding and protective box
completes the presentation."
82. (Seven Hills Press) The Intrepid Ones. [By] Brian Borchardt. Stevens Point, Wisconsin. 2007. n.p. 9” x 5.75”. Collage,
cut-outs, color decorations and reproduced images in various colors. Text was handset in foundry Tower and printed
on Jeff Morin’s Vandercook SP15 proof press. Text papers throughout are a mixture of various color cotton and abaca
f rom Caren Heft’s Root
River Mill, while the cov-
ers are Fabriano Uno. The
f ront wrappers has a
flower stamp on a rectan-
gular panel of light plum.
Bound in signatures with
open spine and three strips
of the cover paper across
the spine. From the top
strip are red, green and
white strings with a silver
metal decoration and a red
plastic decoration. An edi-
tion of 50 copies. Fine.
$250.00 82.

41
 Shirley Sharoff
Sharoff writes: “Ovi was the first book I made thanks to a collaboration with Francois DaRos, typographer in Paris. I
had never much thought about making books before. I had begun my studies in Fine Art at Brooklyn College, but after
my move to Paris, I began to work at the printmaking studios of Jonny Friedlaender and then the Ecole des Beaux Arts
where I was primarily interested in etching as a medium. But Ovi, made in 1986 but published in 1988, opened up a
new way of thinking. I saw that texts that I loved could come together with prints and a conception of a book and make
something wonderfully new. A book contained a different notion of time than a single print.
“I have [participated] in bookshows in Ireland, Belgium, Luxembourg, Germany and France. My books are found in
many municipal and regional collections in France ... and the Bibliotheque Nationale. The Great Wall is part of the col-
lection of [the National Art Library at] theVictoria & Albert [Museum] and the Bayerische Staatsbibliothek in Munich.”
Sharoff’s work is also in the collections of many fine public and private collections throughout the United States,
Canada and South Africa.
83. (Shirley Sharoff) The Great Wall. Artist’s book by Shirley Sharoff.
[Paris. 1991.] 10” x 5.375” closed. One continuous strip with the top
edge red. The Great Wall unrolls to a length of 7 meters but can be
stood up to make a wWall of paper. Eight etchings and the students’
comments alternate with the text in English, French and Chinese.
Hand-set in Athenaeum type by Francois Da Ros on Arches paper
‘prepared’ to look like a tablet whose text had been worn away.
Folded like a snail, the book is presented in an Althuglas clip inserted
into a slipcase. One in an edition of 65 signed copies. Fine. Last copy.
$1000.00
Sharoff writes: “In 1988 when I returned to Paris after a year’s stay in Beijing,
China, teaching English, I knew that I would have to assimilate this profound
experience in some way. A very strong impression concerned the bittersweet
nature of Chinese life where objects, landscapes, people and living conditions
could be sublimely beautiful, but balanced in other situations by everything
83. that could be harsh, difficult, tiresome and complicated. How to find a text
which could express this yin/yang situation. Finally, I found it in a text by LuXun, China’s most famous 20th century author, writ-
ten in 1926. Hoping to see a new and modern China, he writes of the contradictions inherent in this great human construction: its
monumentality and the loss of life caused by its building. ‘A curse on this wonderful Great Wall’ he writes.
“As an English teacher, I assigned my students short compositions so they could practice writing English, but for me it was a way
into the lives of young Chinese. I put extracts from these writings into my book to act as a counterpoint to the solidity of the Great
Wall and as a background.
“... Looked at from the top, the book reminds me of the labyrinth found in the Old Summer Palace outside of Beijing.”

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

84,

85.

42
 Sharoff writes: “Paris between the two wars, Paris of the American exiles, has always held a tremendous fascination for Americans,
and I was no exception. As soon as I had finished my studies and had worked a few years to save up some money, I went to Paris
with the intention of staying only one year. But I am still there. As an American living in Paris, I made Procession as a remembrance
and celebration of those mythic times when new forms of art, literature and music were capturing the rhythm of the modern and I
put Gertrude Stein in the middle. I also wanted to add to the stock of Gertrude Stein’s work in French and for this I called upon
Francoise Collin who had translated her work for “Les Cahiers du Grif”.
“Readers knowing both English and French will appreciate the subtlety of her translation. The images of fragmentation are meant to
evoke Stein’s use of language in their repetition and elaboration of sounds and words. The text is taken from a compilation of her
poems called “Reflection on the Atomic Bomb”. The Procession begins with the opening of the flaps of the red box and continues with
an interplay of the white flaps of the inner folder, hiding and uncovering the name of the poem until we are safely inside.”

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

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

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

86. 87.

43
 per to hold the sheets of the book. Wrapped in thicker yellow paper and tied with blue string. One in an edition of 15
signed copies. Fine. $500.00
Sharoff writes: “An artist friend living in Toulon in the south of France showed me a pile of sturdy yellow tissue paper that had come
from her great-grandfather’s mill. There were other papers too - anthracite and pink, but I was particularly impressed by this paper
with a non-commercial yellow color that seemed to have traversed the century. Sophie Menuet agreed to write a text about how she
had used her ancestor’s mill as an artist’s studio, what it looked like and how she had transported this paper from place to place in
the Provencal countryside when she changed studios, and that was often.”
“...The book has become the final destination of the yellow paper in that Sophie Menuet has moved once again and has decided not
to take the paper with her.”

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

88.
design, folds round the central similar etching shaded in yellow, red, and green. Sheets are torn to create the impres-
sion of broken paper, with text on both complete and torn portions. At the end is a torn black folded sheet containing
an English translation of the text on transparent paper. Wrapper torn and then repaired with colored sisal string. Black
slipcase with onlaid section of blue corrugated card. One in an edition of 40 copies numbered and signed by the poet
and artist, plus 5 HC copies. Fine. $500.00
Sharoff writes that she created a book around a poem by Jean-Loup Philippe. “I had just broken my ankle and felt in need of repairs.
This book was a manifestation of the repairing.”
She states: “A man has a sudden flashback of images belonging to his childhood but recast in an anguishing light: mutilated dolls,
the swish of taffeta skirts, fresh young skin. He feels himself to be brittle, coming apart ... but no ... he pulls the disassociating parts
of himself back together and runs on his way. He feels he has repaired his memories.” A clever and attractive book.

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

Artist's book by Shirley Sharo ff. Text by Françoise
Seloron. [Paris. 2005.] 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 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
different sizes of paper with text on the reverse. Gray
dropback box with red paper lining and black title on
front inside cover. Four color engravings of different
sizes and placed in descending order by Shirley Sharoff.
Two in blue, one in orange and one in red. One in an edi-
tion of 25 copies, plus 3 H.C. copies, signed by Sharoff
and Seloron. Fine. $700.00
Sharoff writes: "When breast cancer struck, Françoise Seloron,
author of The Amazons, discovered that she too was an Amazon.
In fact, through her lifestyle, she recounts, she had always been
89.
an Amazon, a clandestine Amazon. Françoise is an old friend
who I met during my early days in Paris in the '60s. Her com-

44
 bative 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 contemporary world where they - like all of us - are bom-
barded by labels, images, advertising, pictograms, tourist signs, warning, instructions and grafitti."
“This book relates the legendary Amazons of the past - women who had a breast removed to that they could improve their archery
and javeline throwing skills - to the women of the present who have a breast removed for medical reasons.”

90.
90. (Shirley Sharoff) The Song of the Wind Horse. Artist's book by Shirley Sharoff. Photographs of Tibet taken by the artist
in 2004. [Paris. 2005.] 8.5” x 8.25”. Typography by Jean Jacques Sergent. Illustration of wind horse and Tibetan writ-
ing in orange and black in a frame on the first page. Two thin card pages which fold out to show text and a double-
page spread of 16 photographs of Tibetan banners on mountain tops and 2 squares of colored paper. 8 of the photo-
graphs 'fall' open to reveal long attachments of handmade paper or squares of colored paper illustrated with images
of a wind horse. Colophon written by hand on a yellow wind horse. Laid in a three-sided board folder covered in nat-
ural color handmade Tibetan paper with red petals and green leaves; lined in yellow and gold illustrated Tibetan
paper with a cream wind horse on the last side. Slipcase of mottled handmade cream Nepalese paper. No. 2 of 3
copies, signed by Sharoff. Fine. $650.00
Sharoff writes: “The text referring to Sherlock Holmes is a conjecture that he was in Tibet during the time he disappeared after seem-
ingly being murdered and then re-appearing years later.”
The book can be displayed open to show the long attachments of paper, reflecting the long banners of the mountain-tops of Tibet. A
wonderful concept.
A new book with a noisy surprise - A great concept!
91. (Shirley Sharoff) Bruits (Noises). Artist’s book by Shirley Sharoff. [Cléry. 2007.] n.p. 7” x 13.5” - folder closed. Five color
etchings - one full-page and four, together with the title, in narrow strips on a cut page. Typography by Jean-Jacques
Sergent. Pink chemise with cut-out front containing loose leaves with lists of various daily noises in our lives. The che-
mise and folder made by Marie-Christine Kréziak. Red double-folder decorated with black dots, patterns and letters
containing the work on the one side; on opening the left side a startling sound is emitted. Laid in a black board slip-
case. One in an edition of 30 copies on vélin BFK Rives blanc plus 5 hors commerce copies not for sale. Numbered and
signed by the artist. Fine. $625.00
A loose sheet containing a list of English translations and explanations for each sound is given at the end of the work. Shirley Sharoff
selected the noises and created the cut-outs, the cover and the five engravings to accompany the sounds of urban life.
Sharoff writes: “Objects like animals can speak to us. While the sounds of living creatures are made by physiological mechanisms,
the noises of objects come from their relation to surfaces, air acceleration or space. ...”
An interesting typographical layout - with a great sense of humor! The surprise of the ‘sound’ completes a most attractive work.

91.

45
 Mary Heebner

92.

92. (simplemente maria press) On the Blue Shore of Silence: Poems of the Sea by Pablo Neruda. A la Orilla Azul del Silencio:
Poemas del Mar por Pablo Neruda. Designed and illustrated by Mary Heebner. English translations by Alastair Reid. sim-
plemente maria press. [Santa Barbara. 2001.] Portfolio - 14" x 11". The original watercolor paintings in the Isla 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 indi-
go pigmented pulp by the artist at Dieu Donné Papermill, New York. Images and poems were tipped onto larger sheets
of Fabriano Tiepolo. Also included is a hand-sewn signature consisting of 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
paintings 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 translations. The unexpected joy of producing this book was the time spent listening to Alastair spin sto-
ries about his friendship with Pablo [Neruda] as we selected poems, read them aloud, digressed about the sea 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 mag-
azine 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, after 3 years of planning, painting and printing, continues in the great footsteps
of modern exponents of contemporary Book Artists’ illustrating the classic texts -
A journey of discovery culminates in a superb new rendering of the great classic by William Shakespeare

93.

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

93.

47
93.

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

93.

48
 94.
The Tern Press

94. (Tern Press) Notes & Numbers. Music in the Lyrics of Robert Herrick.
Selected and introduced by Roth Collolly: illustrated by Nicholas Parry.
[Market Drayton.] Shropshire. 2007.] 36(1)p. 7.5” x 6.5”. Set in Poliphilus
and Blado by Kelsey Thornton. Printed on Zerkall paper with terra-cotta
lithographs by Nicholas Parry. Bound by Mary Parry with red cloth spine
and brown and white patterned paper sides. Paper title labels on spine
and front. 30 copies signed by Nicholas and Mary Parry. New. $195.00
The texts of these poems have been checked against a first edition of Hesperides. 94.
95. (Tern Press) Ivor Gurney: Twenty Poems
of Walking. Selected with an Introduc-
tion by R.K.R. Thornton. [Market
Drayton. Shropshire.] 2007. 33p. 12” x
8.75”. Set in Poliphilus and Blado by
Kelsey Thornton. Printed on Magnani
paper with lithographs by Nicholas
Parry. Lithographs colored in tones of
yellow/tan. Tan handmade paper
spine with black title, and light gray
paper boards with green wood type
lettered title overall on boards. One in
an edition of 30 copies signed by
Nicholas Parry & Mary Parry. Fine.
$195.00
The poems have all been re-edited from
their sources. Slight editorial changes and
some punctuation have been introduced: 95.
Gurney’s dots have been standardized to a regular three; apostrophes have been supplied
where necessary; titles of plays and other works have been italicized; Gurney’s amendments
have been incorporated. - Colophon.

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

96.

49
97.

Beth Thielen
Beth Thielen’s pop-up books allow for an emotional experience that is powerful, vivid and real. She says “I think of
book art as a personal journey, an interior landscape.” In her book, Why the Revolving Door: the Neighborhood, the Prisons,
the sculptural pop-ups echo the dark days of the L.A. riots - a cry from the heart. Thielen decided, after some years of
grieving, to make available a small edition of a visual diary she created a week after her mother’s death. This, too, is
an artist’s outpouring of memories, in this case those of a departed parent - and this work stands as a moving testa-
ment to a daughter’s grief.
She has been teaching in the California prison system since 1985. When Thielen first started teaching, it was through the California
Arts Council Artist in Residency Grants. Selected by a panel of her peers, she received $1600 per month to provide 20 hours per week
of instruction at the participating institution. Many young artists in the state of California started their careers with this program.
That program no longer exists, and the tolerance for this kind of program is increasingly threatened.
Thielen’s unusual books continue to make one stop, think, and admire. Her work is represented in the Paul Getty Museum of Art,
the Library of Congress, Houghton Library, Harvard, Yale University, the Spencer Collection at the New York Public Library, as well
as other important public and private collections.

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

I remember wondering why, or how this

place ws run. I remember walking through
the Unit 4 gate and wishing they hadn’t
called my name to get off here. I remember
laughing, not understanding how they could
call this a prison. Once I got on the yard I

50
 looked at the view of the city lights and
the heighborhoods surrounding me from
beyond the fence and it made the laughter
fade to thoughts of my freedom.
...
Stnnding by that slide door on the dirt
yard, I remember missing everything I
took for granted!!
Notes on the Tower Book - by Beth Thielen:
“This is the only book edition of its kind. It is a collaboration between the art program at San Quentin and the now disbanded
Women’s Program at the California Rehabilitation Center, in Norco, California. ... “
“Trust is the key to working in this world. When Officer Strobelt asks me as I leave the prison: ‘Do you have your murder weapon?’
I must indeed have my retractable knife with all the snap off blades accounted for. Like the Hippocratic oath, I must first ‘do no harm.’
The officers and staff of the prison need to know I can be trusted. The inmates also need to trust me to watch my tools. They don’t
want to see their cell torn up and their bodies searched because a tool is missing. We make the structure of trust transparent to every-
one. When everything is well lit, it’s harder for trouble to develop.
“My primary interest has been to provide art classes to women in prison. By using the ‘craft’ of book arts, I’ve been able to draw into
the program many women who might not otherwise investigate art. Through private funding, I purchase the best materials I can find:
Canapetta linen book cloth from Italy, Irish linen threads, archival glues, French printmaking paper. The value of the materials reflects
the value I place in my students. I bring the best to encourage the best and they never fail me. It’s amazing how simple and true this
formula is. Works from my classes are in collections at the Getty Museum of Art and The Library of Congress, to name a few. The
purpose of the work is to give my inmate students the proper ‘dress’ to attend the ball, to become part of the conversation about incar-
ceration when a more enlightened perception is possible.
“We are living in a time of twisted priorities, of which our overflowing prisons are symptomatic. Teddy Roosevelt was the first to
coin the concept of the “living wage.” That it should be ‘...a standard high enough to make morality possible.’ When I look at the
images created by my students or read their stories, I see Dorothea Lange’s Dust Bowl refugees. I give this as an example to illustrate
that I am responsible as an artist to see the context I exist in. Art is about seeing. As you look at this work, I challenge you to see
large.”

Larry Thomas - Book Artist & Social Commentator

Looking back to our Spring 1996 Catalogue Sixteen, and, with the passing of twelve years, Carol Barton’s words about
the highly creative and satirical work of Larry B. Thomas still resonate today.
“Larry Thomas is a rascal when it comes to bookmaking. He creates little volumes which are so immediately playful
and enchanting that most viewers are well under their spell before discovering the works’ sarcastic core. ...
“Thomas himself is soft-spoken and shy but, as in his books, these qualities mask a sharp, biting wit. He’s an avid col-
lector of anything that might eventually become the stuff of his work: photo albums, lost dog/cat signs, religious
tracts, conversations ‘over-listened to on buses and check-out lines.’ Saving and recycling these bits of life is part of
this artist’s creative ritual. ...
“Thomas’ books are like the court jesters of old. The antics on their pages are nimbly entertaining, but they belie some
serious issues; ethical behavior, prejudice, misplaced social values, violence and war. Thomas coaxes his viewers to
question their positions on these subjects through a humor which is both humane and constructive.”
Larry B. Thomas received his MFA from the University
of Georgia, and also studied at the Tamarind
Lithography Workshop and Oxford Polytechnic. He
was an Associate Professor of Art at Georgia State
University until he retired from teaching.” - Taken
from the exhibition catalogue for “Painting, Drawing,
and Works on Paper” - the Southern Arts
Federation/National Endowment for the Arts 1994
Fellowships. Exhibition held at the Southeastern Center
for Contemporary Art, Winston-Salem, N.C. 22 October
1995 - 15 January 1996.

98. (Larry B. Thomas) Animals in a Garden. Unique artist’s

book by Larry B. Thomas. [Athens. Georgia.] 2001. 3
pop-up openings in accordion fold book. 10" x 7.5".
Pop-up openings against a collaged background. Dark
brown cloth spine with layers of brown paper at top,
bottom and sides of spine; tan paper boards with paper
title label on front. Signed and dated. Fine. $400.00
98.

51
 99. 100. 101.

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

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

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

102. (Larry B. Thomas) School Days 1948-49. Grand Avenue. Artist’s pop-up book by Larry Thomas. [Athens. Georgia. 2004.]
Three double-page spreads, one pop-up and two pull-out with a string. 8.25” x 8.25”. Color and black and white 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

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

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

103.
102.

52
 104.

Judith Rothchild & the Art of the Mezzotint

-treasured books from the Verdigris imprint

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

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

53
 105. (Verdigris) Feathers. Eight Poems by Ruth Fainlight & Mezzotints by
Judith Rothchild. Octon. MMII. 15.75” x 12.75”. Loose in signatures. Eight
mezzotints in nine plates and two embossments on the title and contents pages
printed by the artist. Printed on Hahnemühle paper in letterpress, hand-set in
Vendome Romain, on a Stanhope press by Mark Lintott. Wrappers and slipcas-
es screen-printed by the artist on Canevas paper, with slipcases by Claude
Vallin and Mark Lintott. Slipcase with top and bottom covered in the same
plum paper over board and illustration as the wrappers: sides of the box are
natural light color wood. One of 22 regular copies in an edition of 30, signed by
the poet and artist. Fine. $1250.00
The poet writes: “The general nature of the subject proposed for this book - feathers -
made me wonder at first how I could write something as specific as a poem. but it was
just this aspect which allowed the freedom to approach the subject from different angles
and speak in various and distinct voices. The reality of a visual image can trigger verbal
associations, as words will generate images.
“Some of these poems are entirely products of the imagination ... some are descriptions
of particular scenes or incidents lodged in my memory ... Other poems are a direct
response to the first sight of one of the mezzotints ... the glorious print of peacock feath-
er evoked the flaunting birds in Holland Park, which, when the wind is in the right direction, I can hear from my London flat ...
“This is not the first time Judith Rothchild and I have worked together, and our collaboration continues to be a mutually inspiring
and very satisfying relationship.”
Ruth Fainlight was born in New York City, and has lived mostly in England since the age of 15. She was educated at schools in
America and England and married the writer, Alan Sillitoe, in 1959. She was Poet in Residence at Vanderbilt University, Nashville,
Tennessee, in 1985 and 1990, and received a Cholmondeley Award for Poetry in 1994.
Fainlight has written many books, which include poetry, short stories, translations, drama and opera libretti. She has also translated
two books of poetry from Portuguese, and collaborated with Alan Sillitoe on a translation of a Lope de Vega play. Her own poetry
has been published in Portuguese, French and Spanish editions.

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

107. (Verdigris) 12 O’Clock News. [Text by] Elizabeth Bishop. [Mezzotints

by] Judith Rothchild. [Octon.] 2005. n.p. 11.5” x 18”. Two mezzotints by
Judith Rothchild. Eight fragment of the second plate have been printed fol-
lowing the indication given by the author in the text. Printed on
Hahnemühle paper and bound in the Japanese style. Gray boards withma-
roon inset at spine. The mezzotints and screenprints on the covers and slip-
cases have been printed by the artist. Mark Lintott handset and printed the
text letterpress in Vendome Romain on an Albion press. maroon endpapers.
Binding and slipcase by Lintott. One in an edition of 50 copies, signed by
106. Judith Rothchild and Mark Lintott in pencil. Fine. $1300.00
12 O’Clock News was first published in 1976 in the collection Geography III.
The text is a seeming description of a landscape, but we are made aware at
the end of the book just what kind of a landscape it is!

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

54
108. 109. 109.

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

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

110.

55
 111.

The truly unique work of a great creative force where color, texture, calligraphy and binding all come together
111. (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
“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
of road travel.

112.

56
 113.

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

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

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

57
 114.

Eleven Love Poems by Women

115. (walking bird press) To stretch the Night: Eleven Love Poems by Women. A series of eighteen unique monotypes by Elena
Popova. Printed and bound by Tara Bryan. A unique cover bronze bas-relief by Luben Boykov. Newfoundland.
Canada. 1999-2001. n.p. 11.5" x 10". Images are unique monoprints printed on Fabriano Artistico paper. The sheets are
glued together. Endpapers of indigo-washed kozo backed with another paper to make it thicker and easier to glue.
The boards are black walnut coated with black lacquer; black calf spine. Each binding has a unique bas-relief of bronze
which is bolted to the cover. The bas-reliefs are created from grass and wax and then bronzed with its gold and green
patina. An edition of 18 unique variant copies, with only 15 for sale. Signed by all three collaborators. Fine. $5500.00
A list of the eleven poets, spanning many centuries and countries, is given at the end of the book. They include Louise Labé, Hwang
Chin-I, Anna Akhmatova, Lady Suo, Christina Rosetti, Edith Sodergran, Sulpicia, Emily Dickinson, Sappho and Amy Lowell.
Popova and Boykov are Bulgarians who moved to Canada in 1990 and have lived in Newfoundland from that time. Their works
have been shown nationally and internationally, with examples in public and private collections in North America and Europe.
Tara Bryan was born in Texas and has a MFA degree from the University of Wisconsin-Madison. She has lived in Newfoundland since
1992. Printing and making books both on her own and with collaborators, her work is in public and private collections in North
American, Europe and South Africa. Highly recommended!

115.

58
Mike Hudson & Jadwiga Jarvis
and the Wayzgoose Press

- A tribute
 THE WAYZGOOSE PRESS

With the kind assistance of an Australian collector,

the following entries give some idea of the work and
output of the Wayzgoose Press, one of the world’s
most prestigious small presses, established in 1985
in the Blue Mountains outside Sydney. As most of
the publications of the press are long out of print,
this is a good time to look back at the achievement
of the creative team of Hudson and Jarvis as shown
on these pages - especially with the publication now
of The Wayzgoose Affair - the history of the Press.
About Jadwiga Jarvis and Mike Hudson:
“Mike Hudson was born in London in 1939 and stud-
ied design at the Hornsey College of Art where he
later became a senior lecturer in photography. He has
worked in the UK and in Australia as a graphic
designer and a photographer. His wide-ranging skills
include calligraphy, typography, wood engraving,
lino cutting, book binding and printmaking.
“Jadwiga Jarvis was born in Poland in 1947, from
where nine years later, together with her family, she
migrated to Israel. As a teenager she studied art at the
Hornsey College of Art where she met Mike. Their
relationship, which she describes as ‘a teenager/man-
about-town friendship’, was interrupted when
Jadwiga was drafted into the Israeli army. In 1968 she
migrated to Australia. In 1977 Jadwiga’s and Mike's
paths crossed again in London and they decided to
settle in Australia together. Jadwiga’s loves are music
(she studied piano), literature and art. For much of her
adult life she worked as a film animator.”
- The Wayzgoose Affair.

60
 About the Press:
“...That two unusually talented people from different parts of the world should
ultimately meet and share such an arcane obsession [as printing, designing and
publishing books in small runs - using centuries old printing methods -] is simply
regarded as fortunate. That they could pursue this passion in a corrugated iron
shed in the Australian bush and then have their hand made limited editions col-
lected by such august institutions as the Museum of the Book in Holland, the
Victoria & Albert Museum in London, [The National Gallery of Art and the
Library of Congress in Washington D.C. is particularly gratifying]. ... Jadwiga
Jarvis and Mike Hudson are a rare partnership. ... Over the years the Press has
received many accolades and is greatly admired internationally by book collectors
and peer practitioners alike.
“Since 1985 the Wayzgoose Press has produced 20 books and close to 50 broadsides
in limited editions of between 10 and 50 copies, as well as numerous ephemeral
printings. All texts are hand set, illustrated with relief imagery (wood engravings,
linocuts, monoprints and collographs), printed on a proof press and hand-bound
or hand-assembled and housed in a purpose-made box. ... Every aspect of produc-
tion, sometimes even the writing, takes place in house, or, more precisely, in shed.
“Contrary to their name, Wayzgoose, an old English word referring to the annual
printers’ picnic, the Press has found that ‘printing by hand ain’t no picnic!’ ... This
cry is all the more poignant given the scope of what Wayzgoose Press has taken on.
The Press has always incorporated into its production the entirety of the book
artist’s armoury: typography, layout, colour, design, illustrations, textures, binding
... A love of black humour and the occasional profanities (Ockers) add textual meat
and an element of adventure to their publications, together with the visual puns,
the symbolism, literary references and the vibrant colour.”
Note: Most of this Introduction is extracted from the text on the dust jacket of The
Wayzgoose Affair by Carolynne Skinner. (with some additions by us!)

116. 117. 118.

61
116. (Wayzgoose Press) Wayzgoose: The Australian Journal of Book Arts. No. 1. Sydney. 1985. 93p. 12” x 7.5”. Set in Linotype
Palatino. Color and black-and-white tip-ins and illustrations throughout. Bound in heavy blue wrappers with title,
illustration and list of contents on front cover, over Bemboka Oatmeal and Fabriano covers. In a total edition of 450
copies. this is No. 350 of 350 copies in wrappers. Fine. $150.00
This journal was inspired by the British Whittington Press’s production of Matrix. It was hoped that this fascinating work would be
continued on a yearly basis, but unfortunately this did not transpire!
Two original woodengravings evoking a sense of place
117. (Wayzgoose Press) Katoomba Morning. Original wood engraving by Mike Hudson. Katoomba. 1992. Mounted - 15.75”
x 12”. Black and white engraving. Gray card mount. A/P signed and dated by Hudson. Fine. $125.00
118. (Wayzgoose Press) Alitji in the Dreamtime. Original wood engraving by Mike Hudson. Katoomba. 1995. Mounted - 12”
x 8”. Black and white engraving on paper watermarked with a figure. Gray card mount. A/P signed and dated by
Mike Hudson. Fine. $100.00

119.
119. (Wayzgoose Press) The Isle of Pines. By Henry Neville. Illustrated by Mike Hudson. Introduction by James Rigney.
Katoomba. NSW. [Australia.] 1991. 44(1)p. 12” x 7.5”. Linocuts in black, yellow, brown and black with white by
Hudson, who also designed and bound the edition. Handset by Jadwiga Jarvis. Printed in black and brown by Jarvis
and Hudson. Bound in cream cloth boards; sun design in orange and red, with black ship, title in black on spine.
Endpapers printed with sun design in orange and red. Red paper over board slipcase with black paper trim. No. 40 in
an edition of 55 copies. Prospectus laid in. Fine. $485.00
Henry Neville (1620-1694), the author of The Isle of Pines, was a member of a noble family with a long and influential record of involve-
ment in the political life of seventeenth century England ... the tale, written after the restoration of the Stuart monarchy, is a project
of the experience of defeat.
The narrative begins with George Pine, an imaginary traveler marooned with four women on an idyllic island somewhere in the
vicinity of Australia. With no apparent need to work on this island, he sets about the task of populating and colonizing it. After his
death, his only son and heir tries to establish an idyllic republic,
but does not succeed.

120. (Wayzgoose Press) The Auld Shop and the New. Written
specially for “The Chief”, George Robertson of Angus &
Robertson . ... [Poem] By Henry Lawson. Katoomba. 1992.
11.” x 7.25”. Two-color linocut illustration. Designed and
illustrated by Mike Hudson. Handset by Jadwiga Jarvis in
Bembo and Baskerville on Mohawk Superfine Soft White.
Hand printed in brown and black. Some pages narrower
than others. Bound by Jarvis and Hudson.. This copy in
c ream wrappers; front cover with two-color wood
engraving and title. In an edition of 70 numbered copies,
signed by Mike Hudson and Jadwiga Jarvis, this is No. 51
of Nos. 50-66 bound in stiff printed wrappers. $165.00
Lawson writes in a ‘more-or-less’ Scottish dialect of the original
‘auld’ bookshop of his publisher and of the colorful, boozy life of
his era. 120.

62
 122.
121. (Wayzgoose Press) the terrific days of summer. Prose Poem by Ken Bolton. Katoomba. 1998. Accordion fold; 25p. each
12.75” x 18.25”. Illustrated with multi-color graphic devices of collographs and monoprints, all hand-inked. Designed
and letterpress printed on Magnani Incisioni 222 gsm by Mike Hudson and Jadwiga Jarvis. A separate 12p. folded
illustrated Introduction by George Alexander printed on Mohawk Superfine in pocket of inside front cover. Contained
in a multi-colored cloth covered portfolio on which the title and some of the graphic devices are printed. No. 20 in an
edition of 35 signed copies, of which 30 are for sale. Prospectus laid in. Small bump at lower outer side of box, else
fine. $2500.00
122. We have just received the very special Designer Binding in full leather of this book. One of only 2 copies.$7000.00
Jadwiga Jarvis writes: “The orange ‘cloud’ shapes are collographs. After much testing and experimenting, we made the blocks out of
a range of amorphous materials, wonderfully inappropriate for orthodox letterpress printing, and consequently managed to achieve
something resembling an etched image which changed slightly with each pull. The graphic devices are monoprints, hand-inked on
the press and later further enhanced with handpainting. In other words, each copy in the edition is unique. All in all, a huge, nerve-
racking, but immensely satisfying job!
The other details ... the author's name is Ken Bolton. Bolton is a brilliant and significant contemporary Australian poet.
“This was more or less our departure point for the design of the book. The visual elements are all ‘the same’ but in constant transi-
tion, their colours, position on the page, relationship to each other and to the text ever-changing like the mood of the poem. The intro-
duction will be an analysis/appreciation of the poet, the poem and our visual/typographic treatment of it.”
She also states: “Everything you have before you has been printed letterpress the hard way, ie. from original materials, not from ...
blocks. Even the squiggly line is a genuine lead rule, cajoled into performing acrobatics. The ‘binding’ involved gluing together
almost a half a kilometer of paper ... by the time this job is finished we’ll be ready for a long holiday - in a Home for the Bewildered
...!!”

121.

63
 Bold, brash and colorful!
123. (Wayzgoose Press) Ockers. A prose poem by the poet called π.o. - or Pi.O. Katoomba. NSW. Australia. 1999. Concertina
format. Approximately 40' long when fully opened, folds into 14" x 19.5" pages. Conceived, designed and illustrated
with linocuts by Mike Hudson, and the type set by Jadwiga Jarvis. All aspects of production were manually executed
at the press by the two partners. Printed letterpress on Magnani Incisioni using a Western proof press. Printed cloth
covered portfolio together with an Introduction and a Glossary of Ockerisms. No. 22 in an edition of 40 signed and
numbered copies, of which numbers I-V are not for sale. Prospectus laid in. Fine. $3950.00
This work was part of an ongoing series of extravagant typographic acrobatics - pushing the envelope with the marriage of excit-
ing typography and exacting and complex illustration. All these factors combine to dramatize and express the energy and aes-
thetic shock of new contemporary poetry. The partnership of Jadwiga Jarvis and Mike Hudson has previously published Dada
Kampfen un Leben und Tod (Dada fight for Life and Death) in 1996, and The Terrific Days of Summer in 1998. (Both these titles sold out on
publication.) In this series of typographical exuberances they recently published their 'tour de force' - Ockers.
Ockers is a prose poem by the contemporary Greek-born Australian poet called π.o. - or Pi.O. (N.B. π.o. wrote one of the two intro-
ductory pieces for Dada Kampfen.) It's a satirical look at the "Ocker" phenomenon as seen through the eyes of a bemused outsider. The
Ocker rage (one could hardly call it a 'cultural' movement) lasted for about a decade: films were made, fame and fortune achieved by
some (Paul Hogan of "Crocodile Dundee" amongst them). In international terms, Jonathan Swift's definition of a 'yahoo' as used in
Gulliver's Travels can be related to an Ocker.
The poem is a kind of social documentary of the events of the time. Since the whole thing was a bit of a joke, the work is treated as
such and designed a la comic book: voice balloons, thought bubbles, frames around the pages, etc. To keep in the spirit of 'Ockerism'
(bold, brash and boisterous), and at the same time with the art/commercial art/comic book trends of the 60s and 70s, the illustra-
tions (big, bold, boisterous and very colorful) have echoes of Roy Lichtenstein and Andy Warhol mixed in with pure Mike
Hudson. The typography is, as ever, anarchic, using every sans serif known to man (plus a few unknown, hand drawn especially for
the occasion) and a few serifed type faces thrown in. The colors are numerous, the number of illustrations too great to count. The
average number of passes through the press per page was EIGHT, often more ... Partly due to the number of different colors used,
and partly to the complexity of the layout - in a couple of instances four passes just to print all the black elements on the page.
The Wayzgoose Press's books in this series are held by the following institutions:
The National Gallery of Art, Washington, DC; Cary Graphic Arts Collection, Rochester Institute of Technology; Sterling Memorial
Library, Yale; Marriott Library, University of Utah; Kennedy Library, California Polytechnic State; Green Library, Stanford University;
University of Ohio Library, Athens; Louisiana State University Special Collections Library, Baton Rouge; The British Library, London;
as well as in distinguished private collections.
As part of their grand trilogy of illustrated 'in-your-face' typographically exuberant book-making, this work, with its roistering,
rollicking narrative, is arguably one of their best and boldest books!! The bulk of the edition was sold pre-publication.

64
 Helping to redress the imbalance in the general understanding of what constitutes quality book production
124. (Wayzgoose Press) Private Impressions (No. 1-8). Plus Introduction. A collection of monographs about printing and other
book arts. Written by Mike Hudson & Jadwiga Jarvis. Katoomba. NSW Australia. 1995-1996. 2000-2001 n.p. 11.75" x
8.25". Illustrated with appropriate examples of printing from the periods under discussion, hand set and printed let-
terpress in several colors on Mohawk Superfine 148 gsm. and stitched into stiff printed wrappers with the monograph
number highlighted in color. The set includes the 8-page wrappered Prospectus produced in 1995.
The Introduction to Private Impressions is No. 13 in an edition of 45 copies.
Nos. 1-4: A Pressing Argument, May 1995; It goes against the Grain ..., August, 1995; Broadly Speaking, November 1995;
Printers & Politics, February 1996.
All Nos. 1-4 in an edition of 50 copies signed by Hudson and Jarvis.
Nos. 5-8: Evolution (including Introduction.) June 2000. Tells the story of the early Greek convention of ‘aural reading’
from papyrus rolls, through the Dark Ages and the monastic traditions. The ‘invention’ of the Carolingian 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 compromise work practices that mass production activities encourage.
No. 7: discusses the fits and starts of the book trade and the drive for rationalization of techniques at the expense of
the creative potential 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.
Nos. 5-8 are number No. 13 in an edition of 60 copies signed and numbered by Hudson and Jarvis. Fine.
The complete set - $1100.00
In the prospectus announcing this series of monographs, Jarvis and Hudson write “there is surprisingly little published material con-
cerning the nature, craft, technology or philosophical rationale of why and how such things as private presses actually exist - partic-
ularly in these days of electronic data transmission. We hope to redress this imbalance in the general understanding of what consti-
tutes quality book production by publishing monographs on the art & craft of letterpress printing, wood engraving, wood and lino
cutting, typography and layout, binding, book design, private press history, etc.”
The Wayzgoose Press published these excellent monographs to redress some of the gaps in our knowledge of the art and craft of hand
hand-printed bookmaking.

124.

65
125.

66
 Orpheus - another exuberant typographic masterpiece
125. (Wayzgoose Press) Orpheus through the Rear-Vision Mirror. Poem by George Alexander. Introduction by the poet.
Katoomba. 2002. Book conceived and designed by Mike Hudson and handset in a variety of 14 point types by Jadwiga
Jarvis. 32p. 13.5” x 9.5”. Profusely illustrated with collographs and monoprints hand-inked on the press thus making
each copy in this edition unique. Multi-colored word panels, each hand-inked. All printing is letterpress, including
the background, in numerous colors on cotton-alpha Magnani Incisioni. Graphic devices also hand inked. Several
passes were needed to execute each procedure, with the total number of passes per page averaging a dozen. Contained
in a thick paper ‘envelope’, and housed in a box covered in red cloth, printed with the title in blue. One of 32 num-
bered copies, signed by the poet, designer and printer. No. 20 of only 27 copies for sale in a total edition of 32 num-
bered copies, signed by the poet, designer and printer. Prospectus laid in. Fine. $2850.00
“Since the early 1970s George Alexander has worn a diagonal path between literature and the visual arts, writing for performance,
radio, and the printed page, as well as a diverse array of art criticism, ... [His] work has been translated into French, Italian and
German, and he has been the recipient of Fellowships from the Australia Council and the New South Wales Ministry of Arts. ... He
has published three literary texts, one of which was awarded the NSW Premier’s Award, 1999.” - Prospectus.
“This Wayzgoose Press production is the fourth in a series of contemporary Australian poets, and is, as usual, not only textually excit-
ing, but typographically inventive and layered.
“The page is designed to resemble the ‘fold-out’ function of a route map (as with the Orphean journey narrative), and the whole work
can be viewed when fully unfolded and laid open. There are cut-out shapes that camouflage themselves according to what, by chance,
will insinuate itself behind them. An angry paint splatter ... punctuates the stream of [words] and gives an edge to the growing sense
of alienation suggested by the poem’s descriptions of reality.”- Prospectus.
The poem was specially commissioned for this truly exciting and unique work. Highly recommended as a great exhibition piece - a
work that vividly demonstrates what is still creatively and technically possible using 500 year old methods of printing in a digital
age!
When the poem is completely revealed the book opens up to approximately ten feet in length.

A work of great creativity inspired by Hollywood heroines of the 30’s and 40’s
126. (Wayzgoose Press) Dorothy Lamour’s life as a phrase book. By Noëlle Janaczewska. Introduction by the author. Katoomba.
Australia. 2006. Bound as a concertina, the book consists of 11 triple-gate pages, folded to approx. 17” x 12”; opened
each page measures approx. 24” x 17”.This typographic rendition of Noëlle Janaczewska’s play was conceived,
designed and illustrated with multi-colored linocuts by Mike Hudson. Hand set in a variety of types by Jadwiga Jarvis.
The book was printed in numerous colors with further illuminations by hand on some pages making each copy in the
edition unique. Hand printed letterpress on Magnani Incisioni 220 gsm on a Western proof press, the book is con-
tained in a brightly patterned cloth-covered box with the title printed on a recessed label and a purple ribbon tie. 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

67
“Noëlle Janaczewska is an award-winning Sydney based playwright whose work has been staged locally and interna-
tionally, as well as broadcast on radio. Her play, Dorothy Lamour’s life as a phrase book, is the third in a series of mono-
logues inspired by Hollywood heroines of the 1930s, 1940s and 1950s, and was written for a solo performer. In it, the
'glamour girl’ made famous by her ‘road movies’ in which she co-starred with Bing Crosby and Bob Hope, finds her-
self in a poem instead of a movie and marooned in a dingy Sydney hotel. However, as Janaczewska’s characters do
not conform to the romantic air-head type assigned to them in their films, Dorothy’s miscasting leads to much reflec-
tion and soul-searching.
“In order to maintain the spirit of a performance, we have given the book a theatrical setting; the hotel room, 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 chess-
board, 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. A tour de force.

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

68
 The Wayzgoose Affair by Jadwiga Jarvis -
the history in full color
- together with a bibliography of
one of the great contemporary private presses

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

69
 LATE ARRIVAL!
Men in Suits- A Day on the Hill

A New Book by Rosamond Casey

An artist offspring of the Washington power-scene returns with her camera

to record her impressions of the current environment

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

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

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

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

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