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Bound by Antonio
1. Antonio. Come, Roselyne Rongier.
L’Oeuf d’Ivoire. The Egg of Ivory. Images et Mots No. 3.
Bi-lingual Edition. Translated by Nigel White. [NP but
Paris: Savines, ND but 2005]. $850
One of 9
copies reserved for the artist, so noted in the colophon in
pencil by the artist, and hand-colored and signed on the
frontispiece plate, “A Montreuil / le 14 / 10 /2005 / A.M.
Vesco / EA 9/9,” from a total issue of 50, all on Ingres
Ecole paper. Page size: 8-½ inches x 6 inches; 26pp. Bound
by Antonio: simplified structure, full stamped leather in
overall pattern of magenta flowers, brown flowers, yellow
flowers, and green leaves on mustard yellow ground with
onlays of brown box calf and ivory morocco in shape of egg
on front panel, author’s name stamped in brown on diagonal
next to egg, artist’s name stamped in brown perpendicular to
author’s name, book title in French stamped across ivory egg
in magenta and in English in blue, blank ivory morocco egg
onlay on back panel with perpendicular onlays of brown box
calf, blue morocco front doublure and red morocco back
doublure, signed on lower front turn-in, “Antonio / P.N.”
original wrappers bound in, matching sleeve of red paper
over boards, ivory morocco spine with French title stamped
in magenta and English title stamped in blue with tiny egg
stamped in blue separating two titles; slipcase of red paper
over boards with blue edges, fine.
The English translation follows the French text of Roselyne
Rongier Come in this short allegorical tale. Each page of
text has images by Anne Marie Vesco, usually framing the
text or the text framing the images. The colophon and Acheve
d’imprimer are also illustrated. The last page has a mirror,
with blue and pink silk ribbon at the top, inserted into the
page. The penultimate page is a dictionary page printed in
reverse with listings for “Double” “Duo” “Deux” etc. that is
readable in the mirror on the last page. A lovely little
book. (9770)
2. Antonio. Kickshaws Press. The
Image. An alternative English version of L’IMAGE by Samuel
Beckett. [NP: Kickshaws Press, ND]. $850
One of a
handful of copies of this translation - translator
unacknowledged but John Crombie, proprietor of Kickshaws
Press. Page size: 6 inches x 5-½ inches; 20pp. Bound by
Antonio: simplified structure, light and darker aubergine
morocco stamped with all-over pattern in pink and blue and
silver gilt. The silver gilt stamping is of stylized woman
in profile with the exaggerated eyes repeated randomly on
the front panel, the rear panel has same over-all pattern
but in a chocolate brown with the green and red highlights.
The spine is an onlay of smooth chocolate brown box calf in
an organic shape, brown suede guards, signed in blind on
lower front turn-in, housed in brown calf and rust-colored
Japanese paper chemise stamped in silver gilt for author
and rose gilt for title, rust-colored paper over boards
etui, fine. Printed letterpress in various sizes of type
(not identified) run-on, forming an unusual page design with
the letters. (9739)
3. Bloodroot Press. Buescher
[Bartlett], Jean. I was on my Way Up the Stairs to See
You. Calligraphy by Nancy Leavitt. [Berkeley, CA]: Blood
Root Press, 2000. $325
One of
135 copies, all on Frankfurt Cream and Deep Green Ingres
paper in three colors, each hand numbered and signed by the
author / artist / printer, Jean Buescher and the
calligrapher, Nancy Leavitt. Page size: 4-¾ inches x 6-½
inches; 20 pages. Bound by Jean Buescher: hand-made papers
by Anne Marie Kennedy of raw flax and cotton rag cover
papers over boards, framed and pigmented pale blue and red
oxide; applique and embroidery by Jean Buescher in shape of
glove, outlined with hem stitch in white and vase in blue
outlined in black basting stitch; second vase on its side
outlined in black chain stitch, exposed spine, guards of Red
Roma paper. Title page with original gouache of artichoke in
greens and blue and brown on pink ground, small gouache
device on colophon page. Letter press printed by Jean
Buescher from metal engravings of Nancy Leavitt’s original
calligraphy in blue/gray, pink/red and brown on green and
cream colored papers; printing accomplished on a Vandercook
Universal I at the Digger Pine Press. Nancy Leavitt’s
beautiful calligraphy is elegantly spaced, bringing life to
Jean Buescher’s tender words. In this book the combination
of Nancy Leavitt’s art is securely intertwined with that of
Jean Buescher’s - making it a distinct pleasure to hold,
view and read. (9504)
4. Caliban Press. Kondoleon, Harry.
Andrea Rescued. An Act of Faith. [Montclair NJ]:
Caliban Press, 1987. $100
One of
175 copies all on Iyo glazed paper, each signed by the
playwright, Harry Kondoleon, and the artist, Alison Seiffer.
Illustrated with 3 color relief prints, 2 of which are full
page, by Alison Seiffer. Page size: 11 inches x 7-7/16
inches; [i-xii] 1-20, [23-24. Bound by Mark McMurray: hand
sewn with flexible buff paper boards, with title printed in
black, original wood cut by Seiffer of “Andrea” on lower
right front corner, title on white label on spine, fine.
Designed, printed letterpress in 14 point Gill sans type by
Mark McMurray at his Caliban Press. Noted theatre critic,
Michael Feingold, noted in the “Village Voice” that ANDREA
RESCUED was, “A passion play, a working of dramatic miracles
for an age that no longer believes in such things.” Harry
Kondoleon, a graduate of Yale Drama School, won an Obie in
1983. His death from AIDS in 1992 left a void in an American
theatre but he had, by his death at age 39, created 17 long
and short plays. One critic wrote of his work, “...there is
a strong undercurrent of spiritual searching throughout
Kondoleon’s work that was never sufficiently recognized or
understood in his lifetime.” (9510)
5. Caliban Press. Kondoleon, Harry.
The Death of Understanding. Montclair, NJ: Caliban
Press, 1987. $125
One of
100 copies, each signed in ink by the poet and playwright,
Harry Kondoleon. Page size: 8-7/8
inches x 5-¾ inches; 20pp. Bound: blue hand-made paper
wrappers with white shot through them, black linen spine,
title in black on front cover, fine. Printed letterpress by
Mark McMurray, this edition of Harry Kondoleon’s poems is
lovely. (9508)
6. Caliban Press. McMurray, Mark.
Type Specimens On the Occasion of Its Sixth Anniversary.
Montclair, NJ: Caliban Press, 1991. $300
 |
Artist’s Proof Copy, one of 4 copies; the regular
edition limited to 100 copies only, these variants
on various handmade papers, signed by the
writer/designer/printer, Mark McMurray. Page size:
12.5 inches x 9 inches; 52pp; variant pagination;
plus 6pp. of inserts from previous Caliban Press
editions. Bound: original gray wrappers, title
“Type” on front cover in wood type each letter a
different size and type and printed on different
papers with exposed sewing on spine, fine. Handset
and printed on a Vandercook proof press, this is a
celebration of the press’s sixth anniversary. The
book is also bound by McMurray. |
This is
a very special book, and while it conforms to other
typography, with pages of Garamond in various point sizes,
etc., the aesthetic of the creator is always present. The
essays are lively; the papers well-chosen. In short, this is
a typographic anthology with a personality all its own.
(4085)
7. Caliban Press. Shakespeare,
William. The Tempest. Printed and Designed by Mark
McMurray. Canton, NY: Caliban Press, 2001. $650
| One of 125
copies all on various handmade papers by Velma
Bolyard, La Papeterie St. Armand, and Barcham Green,
with Arches, Frankfurt and Mexican amate paper. The
text is set in 14pt. Dante by M & W Bixler; rain cut
by Greg Lago. The book was designed, printed and
bound by Mark McMurray, using the text from the 1623
First Folio (with a few liberties). Page size: 8
inches x 12 inches. Bound: handmade brownish pink
paper over tan paper printed with title in black,
overlay with circular cutout revealing title, purple
morocco spine, handmade textured endpapers, housed
in grey paper publisher’s box with cutout paper
onlay of man, paper printed with musical notations.
|
 |
The text
is illustrated with woodcuts, gatefolds, pop-ups, onlays,
text printed on various papers in various shapes. This is a
tour de force from master bookmaker, Mark McMurray.
Certainly his most ambitious book to date, it is quite
wonderful and a worthy vehicle for the Bard. (8837)
8. Cawley, Crystal. Gilman,
Charlotte Perkins. The Yellow Wall-paper. Portland,
Maine: Crystal Cawley / Wolfe Editions, 2004. $450
Artist’s
book edition of American feminist classic, one of 30 copies
on Arches Text Laid, each signed and numbered by the artist
/ printer, Crystal Cawley who has created three collagraph
prints for her book. Page size: 7 inches x 11 inches; 20pp;
+ title page and colophon, paste paper frontispiece, and 3
collagraph prints (collagraph is a print made from a
collaged plate) as well as collagraph relief print endpapers
in yellow. Bound by Crystal Cawley: tan cloth over boards;
yellow dust jacket created on tracing paper with frottage
(rubbing) and acrylic paint, laminated with acrylic medium,
with white label title printed letterpress in black, new.
The text was set in Monotype Janson by David C. Wolfe at
Wolfe Editions. Crystal Cawley printed the text as well as
editioning her images, also at Wolfe Editions. The project
was funded in part by a grant from the Maine Arts
Commission. The frontispiece paste paper and 3 collagraphs
are in yellow, the first two on acrylic-stained paper and
the third on tracing paper collaged with acrylic medium,
representing the narrator’s descent in madness. This is a
handsome edition of Charlotte Perkins Gilman’s feminist
classic – the first fictional treatment of post-partum
depression. (9533)
9. Cheloniidae Press. McPhee, John,
Richard Eberhart et al. Roadkills. Etching and 11
Woodengravings by Alan James Robinson. Easthampton, MA:
Cheloniidae, 1981. $2,500
 |
First Edition,
one of 50 deluxe copies, from a total issue of 300:
50 Deluxe copies bound in quarter leather, with text
printed on Sakomoto and the prints on Cha-u-ke paper
plus an extra suite of the prints, signed by the
artist and all of the authors; 250 regular copies
with text on Mulberry paper, bound in paper, signed
by the artist. Page size: 12 inches x 8-¾ inches.
Bound by Gray Parrot: quarter grey morocco with tire
tracks blind tooled across spine and title in blind,
matching black chemise with blind tooled tire
tracks, all housed in grey morocco and black cloth
clamshell box. |
Illustrated with 11 woodengravings (10 roadkills and one
tire track/broken muffler as colophon) and one etching, the
text was printed in red and black by Harold Patrick McGrath
at Hampshire Typothetae in Bruce Rogers’ Centaur and
Frederick Warde’s Arrighi which was hand set in 18 point by
P. Chase Twichell. The artist explains in “On the Conception
of Roadkills” that he had originally planned a portfolio
without text of some of those animals he had encountered
during his many drives to and from college. He adds,
“Meanwhile, friends began to call my attention to writers
who had also been inspired by the casualties of the
highways: John McPhee, in Travels in Georgia, and
poets Madeline DeFrees, Gillian Connelly, Gary Snyder,
William Stafford, and Richard Eberhart. Thus I began to
conceive of ROADKILLS as a book, with images and text
interwoven.” And what a book it is — the text in red and
black on tan Japanese paper, the black woodengravings on a
darker tan paper, red Japanese paper as preliminaries — all
making a powerful statement about “The Dead by the Side of
the Road.” This is the very rare second book of the press;
the deluxe edition with its extra suite and signatures of
all the authors has long been out of print. In addition,
this copy is inscribed to noted collectors Mimi and Arnold
Elkind and signed by the printer and binder as well. Also
included are an initial prospectus, bios of authors, and a
handwritten letter by the artist/publisher conveying the
book. Is this the best book of the Press? Perhaps — it
certainly is one of the top three! (9775)
New from Chevington Press
Jewish Prize-fighters of 18th Century
London
10. Chevington Press. Wakefield, D.
B. Pugilistica Judaica. Jewish Prize-fighters in London
1785-1840. East Yorkshire, UK: Chevington Press, 2006.
$2,750
One of
50 copies all on Somerset hand-made paper, all signed and
numbered by the artist / author, D. B. Wakefield. Page size:
15 inches x 11 inches; 44pp. Bound: quarter red morocco and
red and purple paste paper over boards, white label printed
with title in black on front cover, new. The author / artist
has selected 14 boxers - Jews who were immigrants from the
Iberian Peninsula and were active in the English
prize-fighting scene for the brief period of 1780-1840. The
text and portraits are taken from the newspapers of the day.
The portraits are etchings drawn and printed by Mr.
Wakefield and the text was hand set and printed letterpress
on an Albion Hand Press. The brief biography of each boxer
is set below the etched portrait, often in shaped type.
During the period covered here, when Jews were one of the
main ethnic groups interested in fighting, The Pugilistic
Club was formed, obviating the necessity of “stake” money,
and the standardized ring was introduced. This is an
intriguing look at the men who were part of the changes in
the sport. (9802)
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Jump to Items:
1-10 |
11-20
| 21-30 |
31-40
| 41-50
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| 81-90
91-100
| 101-110
| 111-120
| 121-130
| 131-140
| 141-148
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