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101. Red Angel Press. Dickinson, Emily
and Nathaniel Hawthorne. I felt a Funeral in my Brain /
The Hollow of the Three Hills. New York and Bremen, ME:
Red Angel Press, 2002. $350
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One of
100 copies, each signed on and numbered by the artist /
printer, Ronald Keller, on the colophon. The Hawthorne story
was hand set and printed with Bembo and Caslon types in blue
ink on Gutenberg Laid paper. The Dickinson poem was printed
with handset Centaur type in Heidleberg Blue ink on the
rectos of Sekishu paper; with woodcut illustrations printed
in blue on Sekishu. Page size: 7 x 8 inches; 40pp.
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Bound:
Slate-gray cloth imprinted with a typographic design of the
two author’s names on the front panel and another variation
on the spine in dark blue Literary scholars speculate that
Emily Dickinson’s “I felt a Funeral in my Brain” was
influenced by Nathaniel Hawthorne’s “The Hollow of the Three
Hills.” Intrigued by the parallel concepts of these works,
Ronald Keller has created a hauntingly beautiful
presentation of the texts. Literally two books in one -
separate front covers, title pages, colophons, typefaces,
ink colors, and papers - the pieces are integrated into one
coherent unit. The illustrations comprise six woodcuts
printed in pairs back to back on translucent paper. They are
subtle in form and are shared images which appear on each
print’s verso. (9242)
102. Red Angel Press. James, Henry.
Siena. Maine and New York City: Red Angel Press, 2000. $750
One of
100 copies printed on dampened Fabriano Ingres paper, all
copies signed and numbered by artist / printer / publisher
Ronald Keller on the colophon. 16pp; including 4 page
woodcut. Page size varies: 11-3/8
x 9-¾ inches for first 8 leaves; approximately 9-¾ x 9- ¾
inches for foldovers. Bound: rust cloth over boards; back
board forms the base of a box, into which a woodcut image of
Siena is nested (at a rounded slope deliberately reminiscent
of that square’s concave, shell-like shape); the four
surrounding woodcuts reproduce the vertiginous 360 degree
medieval square. Title printed in maroon on spine; hand-made
marbled paper on inside of front board. Front board features
an inset papier mache sculpture, in cream handmade paper, of
a Sienese column. Henry James’ (1843-1916) impressions after
his first visit to Siena are here reproduced in hand-set
Bembo type. His prose style is poetic, yet lucid and simple,
like the city it memorializes: “It was void of any human
presence which could recall me to the current year, and, the
moonshine assisting, I had half an hour’s fantastic vision
of mediaeval Italy.” An elegant and handsome book, a
testament both to James and Siena. (8957)
New from Red Angel Press
103. Red Angel Press. Thoreau, Henry
David. War from WALDEN. [New York and Bremen, Maine]:
Red Angel Press, 2006.
$425
One of
100 copies, all on Nideggen paper, the woodcut illustrations
printed on Sekishu paper, signed by the artist / printer,
Ronald Keller, on the colophon page. Page size: 8-½ inches x
8-½ inches; 28pp. Bound: brick-colored cloth stamped with W
on front panel and AR on back panel in slightly deeper
color, brownish-red end papers, fine. Taken from the chapter
“Brute Neighbors” in Thoreau’s WALDEN, this text is a
metaphorical and satirical observation of red ants battling
black ones in the author’s woodlot. References to historical
battles - the Trojan War, Napoleonic Wars and the American
Revolution - powerfully and succinctly suggest the absurdity
of man’s bellicose activities. Usually referred to as “The
War of the Ants” the title has been shortened here to WAR.
The wood block prints, two single page and one double page,
progress from an extreme close-up of the protagonists locked
in deadly combat to an overall view of battalions of
adversaries arrayed as if in Armageddon-like confrontation.
The text is printed from hand-set Plantin type and
letterpress printed by Mr. Keller. He has chosen to end this
book with Emerson’s famous quotation, “The real and lasting
victories are those of peace, and not of war.” (9806)
104. Red Angel Press. Whitman, Walt.
To You, Walt Whitman. Speaking to Walt Whitman. A
Collection of Poetry by Hamlin Garland, Robert Buchanan,
Ezra Pound, Federico Garcia Lorca, Allen Ginsberg, Richard
Eberhart, David Ignatow, Pablo Neruda, Melville Cane,
Charles Olson, Ronald Johnson, Jorge Luis Borges. New
York & Bremen, ME: Red Angel Press, 1997.
$525
|
First
Edition, one of 100 numbered copies and 10 artist’s proof
copies, all on Nideggen paper, each signed and numbered by
the artist/publisher and the editor, on the
colophon. Page size: 9 inches x 12 inches. Bound:
tan cloth over boards with woodcut images of grasses
in rust earth tones across front panel with mirror
image in lighter tones below it, title in black on
spine. Endpapers of lighter tan paper, on front
endpaper the grass woodcut repeated but extended to
wave/bend into the letters “Walt Whitman” forming a
facsimile of Whitman’s signature. Illustrated with
five woodcut portraits of Whitman at different ages,
they are printed on Kozo paper which is translucent
and reveals the printed type on the pages they
overlay to make an expressive image of words and
picture. |
 |
The text is printed in a
hand-set Garamond type in black with the page number and the
author’s name in the same rust earth tones as used on the
cover and endpaper. The text is made up of poems that speak
directly to Walt Whitman, rather than works that merely
praise him. The profound influence of this American writer
on poets from many other times and places, felt so
personally, is evident and a unifying theme of the book.
This is a marvelously strong book, the poems summoning
Whitman’s spirit and the images confirming his “almost”
presence. (9027)
105. [Rogers, Ruth] Wellesley College
Library. Resonance and Response. Artist’s Books from
Special Collections. [Wellesley, MA: Wellesley College,
2005].
$30
First
Edition of this exhibition catalogue of a selection of book
arts from the Wellesley College Library, Special
Collections. Small 4to; 88pp; bound in original green
wrappers with red spine, title in white on cover, new.
Published in conjunction with “ABC: the Artists’ Books
Conference” held at Wellesley College on June 15-18, 2005,
Ruth Rogers has made a selection from Wellesley’s impressive
teaching collection of book arts, including such disparate
titles as Vincent FitzGerald & Company’s FRAGMENTS OF LIGHT
II (Rumi, 2004), Pacific Editions’ ANOTACIONES (Barry Lopez,
2000), Donald Glaister’s BROOKLYN BRIDGE, A Love Song
(2002), Julie Chen’s ODE TO A GRAND STAIRCASE (Flying Fish
Press and Triangular Press, 2001), Lynne Avadenka’s THE
UNCOMMON PERSPECTIVE OF M.E.J. COLTER (Land Marks Press,
1992) and Verdigris Press’s TEMPETE ET CALME (Verne 2004).
If you could not attend this event, you can still get an
idea of the variety and the unifying themes that ran through
the conference from this catalogue. Each selected title is
illustrated in full color making this an invaluable
reference. (9599)
106. Satin, Claire Jeanine. Greek
Alphabook Verba Volent, Scripta Manent. Greek Letter.
[Dania Beach, FL]: 1997.
$4,000
One of
11 copies, each unique, featuring a different form of
alphabetic notation on a hand-made tile on top of the
circular box housing the books. This is the version
representing the Greek alphabet with the last letter of the
Greek alphabet, Omega (capital), on the terracotta water-jet
cut tile, with the Greek “O” in a deeper shade of terracotta
with a surround of the same color as the cloth box. Each of
the 11 book objects contains photo etchings and is printed
on Fabriano Murillo paper with inks and metallic colors by
Hanne Niederhausen in a series of booklets reproducing the
11 alphabets. The text pages are printed on Fabriano Ingres
and Tiziano by Meike Niederhausen. The box holding the
booklets is 14 inches in diameter and 1.75 inches high and
is covered in blue Italian Cialux cloth with the words VERBA
VOLENT, SCRIPTA MANENT stamped in gold gilt on the side and
was constructed by Bob Muens of Bookbinding and
Conservation. The tile atop the circular box measures 5-7/8
x 6 inches, was designed by Claire Satin and water-jet
fabricated by Creative Edge Corporation. The circular box
contains four pie-shaped booklets set into a divided tray;
each booklet consists of four pages bound by a ¾ inch square
terracotta tile and grommet at the narrow end of the
pie-shaped pages. The grommet fastening allows the four
pages to be fanned out, forming a circle 12 inches in
diameter. Each page of the three booklets contains
renderings of one of the eleven alphabetic notation systems
that are the subject of this work. The letter is writ large;
in small type is the entire alphabet along the perimeter
printed in silver with the name of the alphabetic notations
system printed in black. The fourth booklet contains 17
pages with text printed in black giving a history of each of
the alphabets overprinted on an image in tan of the
representative letter from that system. This booklet
contains the Colophon page which is signed in pencil by the
artist, Claire Janine Satin, with her notation as to which
copy this is, in this case Greek. The other 10 alphabets
included are: Prehistoric, Hieroglyphs, Hebrew, Chinese,
Arabic, Mayan, Tibetan, Cyrillic, Cherokee, and Roman.
Claire Jeanine Satin has created a book (that is also a book
object) exemplifying her fascination with letters and
scripts. It is inspired by her 1997 creation, ALPHAWALK, a
public art project installed at the New Tampa Regional
Library. Part of an ongoing exploration of the world of
books and book formats, this is truly a post-modern work in
which the artist has deconstructed the book. Satin has used
her expertise in the history of scripts and in the written
alphabets of a dozen cultures as a means to explore the
nature of the book, as a vehicle of knowledge as well as a
work of art. Satin’s work has been acquired by many museums
including the Smithsonian, Getty Center, Museum of Modern
Art, the Victoria and Albert and she has received many
awards and grants including the Louis Comfort Tiffany Grant
for Sculpture. (9491)
107. Satin, Claire Jeanine. Cage,
John. Pentimento / People Either Get the Point or They
Don’t (To John) #2. Dania Beach, FL: 2003.
$2,000
One of a
kind artist’s book, the second of an on-going series of
unique books called PENTIMENTO, referencing
interpenetration, transparency and indeterminacy. This book
printed on acetate with metallic overprinting in black,
fuchsia, and gold gilt. 20pp; page size: 8-½ inches x 5-½
inches. Bound: acetate pages sewn by the artist with
monofilament and black glass beads; 16 beads are spaced ½
inch apart on the outside of spine; 16 additional glass
beads are in the center gutter; glass beads appear at
intervals along monofilaments which hang loosely (various
lengths) from the spine; title and author on 1-¼ inch square
folded acetate that is attached to one of these
monofilaments, new.
The texts in PENTIMENTO are taken from John Cage’s book “M”
(the letter of the alphabet revealed by employing the I
Ching; chance operations). John Cage’s influence on her art
is profound and can be seen in many of her book / book
objects. The references of multiplicity, interpenetration,
transparency and, above all, indeterminacy are represented
in the materials as a means to support the visual ideas.
Satin has chosen the text of pages 13, 39, 117, and 143 from
Cage’s book “M” as they are all increments of the number 13
- as “M” is the thirteenth letter of the alphabet. In
addition, Satin has over-printed each thirteenth word or
letter in metallic color. The total configuration of all
pages is presented simultaneously as a result of the use of
transparency. The word pentimento refers to the concept of
reappearances, hence the use of transparency and the
resulting visual multiplicity. Satin’s beautiful book may be
viewed as more a piece of sculpture: it is certainly
three-dimensional in ways that most books are not. The pages
are not sequential but can be read at random. The beauty of
the pages is dependent on the versos and rectos viewed as
one. The black monofilament with beads loosely refers to
book marks, but then again, they mark no specific passage
but refer to the whole. Using industrial materials and
processes, she has created this beautiful book, one in an
ongoing series of over 90 such works. The artist has stated,
“My work becomes a book the instant one recognizes its
potential ‘to read.’” (9475)
Charming Pop Up with Volvelle
108. Scripps College Press.
Unbuttoned. Claremont, CA: Scripps College Press, 2005.
$175
 |
One of
102 copies, all on Mohawk Superfine 80 lb. cover stock in
softwhite, each hand numbered and signed by all nine
creators on the colophon page, under the direction of Kitty
Maryatt, Director of the Press. Page size: 12-5/8
inches x 6-¼ inches. Bound: accordion style with
Museum Board attached to endpapers, airbrush painted
blue and black in abstract designs, tied with
multi-color ribbon. |
Printed
letterpress in 12 / 14 pt. Centaur and Arrighi on a 25 or 60
pi measure with display type in 18 and 36 pt. Centaur with
pop-ups and volvelle. The type was composed by M & H
Typefoundry, de-composed by UPS and re-composed by
frustrated students. Illustrated with images printed from
linoleum cuts, some printed with rainbow rolls as well as
four-color images printed on an HP Indigo digital printer,
with color added with airbrush and pochoir. Brads, buttons,
fabric, fringe, ribbon, and thread added on various pages
creating whimsical and charming page spreads to enhance the
story. An extremely attractive book - funny and touching and
well made. (9726)
109. Shafer, Douglas. Apira-Daeza.
The Architectonics of Paradise. [NP]: 1998. $3,000
Unique
Artist’s Book, 32 leaves; page size: 7-6/16
inches x 5-5/16
inches, hand painted and hand lettered by the artist,
Douglas Shafer. The pages are painted to resemble vellum and
lettered in a reddish-ochre with initial letters in royal
blue, red and gold gilt, some with images; one double-page
polychrome landscape of paradise with serpent, four full
page polychrome landscapes, two full page polychrome rondels,
title page and colophon page. Bound by the artist: gessoed
blue boards, cross within rule in gold gilt on front and
back panel, red morocco spine, fine. The text of Genesis is
in Latin; the last rondel bears the text, “The serpent
beguiled me And I did eat.” Shafer’s serpent is devil red.
(9276)
110. Shafer, Douglas. The Hymn of
the Pearl. Portland, OR: 2001-2. $6,500
Unique
Artist’s Book, hand painted and lettered by Douglas Shafer
on Arches paper, using pencil, ink, watercolor, gold leaf
and gesso.. Large folio; 32pp; page size: 19-½ inches x 12-¾
inches. Bound by the artist: full leather over boards in
Bruce Levy’s K118 structure, boards are laminated binders
board, spine is covered with acrylic and gold leaf, covers
are both blind and gold tooled and stamped. There is a
border of acrylic gesso and paint. Housed in custom-made
black cloth clamshell box with original painting by the
artist on the front of the box on paper stained tan with
title lettered in purple ink surrounding a multi-color
kaleidoscope, title lettered in purple on paper on spine,
fine. Using a text from the Gnostic Acts of Thomas, the
artist has created his own kingdom, interweaving the text
(in English) with disturbing yet beautiful images. (9350)
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