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111. Shafer, Douglas. Mandragora
Volume 2. [NP]: 1999.
$1,500
Unique
Artist’s Book, 6 leaves plus pastedowns, page size: 7-5/16
inches x 5-½ inches, hand-lettered in white on hand-painted
paper, blue ground with copper colored highlights. The
middle page spread consists of shaped text block in Latin
with image of purple and yellow crocus on left side and a
male torso with roots instead of arms and legs and
sprouting green leaves instead of a head. This page is
bordered in gold gilt. On the penultimate page, lettered in
white, as is the title page, which is also the colophon, is
the text, “The mandrakes have / shed a fragrance: - in our
hands are all / manner of delicious / fruits, newly gath- /
ered as well as old.” Bound by the artist, gessoed boards
painted to resemble leather in terracotta with dark green
geometric design, bordered in deep blue, spine gold gilt,
fine. Mandragora, also known as Mandrake and Satan’s Apple,
is an herb that was the object of many superstitions. In old
herbals it was often pictured as it is here, with the body
of a man, as the roots fork into two and shoot out at each
side. An homage to the ancient herbal brought up to date.
(9275)
112. Shafer, Douglas. The Path of
Water. Portland, OR: 2004. $5,000
Unique
Artist’s Book, 20 pages hand painted in watercolor, pencil,
and gold leaf and lettered in ink, on Fabriano paper, signed
by the artist. Page size: 15 inches x 11 inches. Bound by
the artist: sewn onto linen cord, attached to binders board
which was lined with paper, boards covered with hosho paper,
and painted with acrylics with black outer rule, followed by
red rule, narrower black rule, wide yellow rule, narrow
black rule, raised panel which is 300lb. watercolor paper,
central rectangle is 23k gold gilt and tooled with blind
image of what looks to be a molecular formula but is a
reference to the kabbalistic Tree of Life, acrylic varnish
over all, doublures that are hand-painted and lettered by
the artist showing molecular formula in several colors,
lettering in brown ink, housed in black cloth clamshell box
with title hand lettered in ink on spine on white paper
label, fine. The text is largely in a cipher alphabet
selected by the artist and is lettered in pencil, pen,
watercolor, acrylic and 23k gold leaf. The texts include
selections from the SONG OF SOLOMON, SEFIR YETZIRAH, from
the writings of Ibn ‘Arabi and Abhinavagupta. The images are
abstract as well as from the natural world: a pear, a
butterfly, pages with words in circles around a kaleidoscope
image, imaginary molecular formulas, Hebrew letters, etc. A
kabbalistic meditation given form and color by Mr. Shafer!
(9809)
113. Shafer, Douglas. That the
Infinite Line Is a Triangle. Portland, OR: 2003.
$2,500
Unique
Artist’s Book, hand painted and lettered by Douglas Shafer
on Fabriano paper, using pencil, ink, watercolor, gold leaf
and gesso. Page size: 5-3/8
inches x 7-¼ inches; 18pp; each page of board-like
thickness. Bound by the artist: full chestnut-colored
leather over boards, both panels with blind tooling and gilt
tooling, all edges painted chestnut and highlighted with
gold gilt, housed in custom-made black cloth clamshell box,
hand-painted and lettered label on front of box in
watercolor, gold gilt and pencil, title and artist within
double rule, one of which is terracotta watercolor, triangle
in gold gilt painted in center, paper label on spine with
author, title and artist in brown watercolor within single
rule, fine. The artist, Douglas Shafer, has taken the text
of Neo-Platonist philosopher, Nicholas of Cusa (translated
by H. L. Bond). Nicholas Cryfts (1401-1464), called Nicholas
of Cusa after his native city, was German born but Italian
in thought. He studied mathematics at the University of
Padua and was Bishop of Bressanone. Douglas Shafer has
interpreted Cusa’s rationale on the infinite lines of a
triangle with kaleidoscope images in colors of turquoise and
coral, triangles within circles, triangles within triangles,
extending triangles, etc. This is a lovely book, full of
color, line and shapes. (9808)
New from Sherwin Beach Press
114. Sherwin Beach Press. Poisonous
Plants at Table. Chicago, Illinois: Sherwin Beach Press,
2005. $1,200
One of
75 copies and is signed by artist / author, Audrey
Niffenegger, the designer / binder, Trisha Hammer, and the
printer, Martha Chiplis. Page size: 5-¼ inches x 9-¼
inches; 164pp. Bound: Japanese silk (in a neutral
beige-taupe color) covered case; sewn with back pocket
housing text block with front pocket housing plant
collection sleeve containing pressed Colchicum blossoms. Set
in Monotype Gill Sans and Joanna by Michael and Winifred
Bixler and printed letterpress in two colors by Martha
Chiplis on Mohawk Superfine and Twinrocker handmade paper,
with the illustrations giclee printed on specially coated
handmade paper developed by Twinrocker Handmade Paper.
Incorporating selections from POISONOUS PLANTS IN FIELD AND
GARDEN by the Reverend Professor G. Henslow and POISONOUS
PLANTS AT TABLE (SELECTED MENUS AND RECOMMENDATIONS) by Dr.
E. Coffin and PRUDENCE: THE CAUTIONARY TALE OF A PICKY
EATER, written and illustrated by Audrey Niffenegger. The
book is designed by Trisha Hammer, a tongue-in-cheek field
guide, features four seasonal party menus accompanied by the
illustrated story of Prudence. Sherwin Beach Press has
published five beautiful books since its inception in 1984.
POISONOUS PLANTS makes a wonderful addition to the output of
this fine press. (9816)
115. Stone, Tamar. A Case of
Confinement. New York, NY: 2005. $3,500
| Unique Artist’s
Book consisting of blue metal doll bed: 10-½ inches
(W) x 19 inches (L) x 10-½ inches at headboard
(H); Pillow Case: (vintage green striped
cotton/polyester bed sheet) 8 inches (W) x 4
inches (L); Pillow: (cotton ticking, hand stuffed
with vintage feathers) 7-¼ inches (W) x 3-½
inches (L); Blanket: (vintage off-white/tan striped
wool); 20 inches (W) x 23 inches (L); Top Sheet:
(vintage green striped cotton/polyester bed
sheet) 18-½ inches (W) x 25-½ inches (L).
|
 |
Bottom sheet: (vintage green cotton/polyester
bed sheet) 18 inches (W) x” 25 inches (L); Mattress “cover”:
(brown paper bag) 10 inches (W) x 15-¼ inches (L);
Mattress: (antique flour bag cover with cotton ticking
inside, hand stuffed with vintage feathers) 10 inches (W) x
18-½ inches (L) x 1-¼ inches (H).
Embroidered on each element - the sheets, blankets, and
mattress and pillow - are quotations from various letters
and diaries of the 18th and 19th centuries, concerning
childbirth and the physical and mental repercussions on the
mother. For example, “If anyone ever needed to know about
Birth Control, I do. I’ve been married almost 8 years. I
have 4 living children and one dead. I went through with an
abortion and...the doctors thought I would die. My husband
is numbered among the best and had done all he could for me,
except we are both ‘ignorant.’
Ms. Stone has created a fascinating object to present her
text, but A CASE OF CONFINEMENT goes way beyond presenting
text in an interesting manner. The metal bed, the harrowing
experiences related in quotations from women who have
suffered through numerous pregnancies is a chilling reminder
of the near-death experience that could accompany pregnancy
in previous centuries. (9794)
116. Stone, Tamar. He Said She
Said. New York, NY: 2005. $4,500
Unique
Artist’s Book consisting of wooden doll bed: Wooden Bed:
18-½ inches (W) x 26 inches (L) x 10-½ (H); Sham pillow
covers: 6 inches (W) x 11 inches (L) (cotton & poly cotton
blend ruffles, with poly stuff pillows); Pillow cases: 4
inches (W) x 9 inches (L) (cotton, with poly stuff
pillows); Bedspread: 31 inches (W) x 33 inches (L) (cotton);
Blanket: 25-½ inches (W) x 28-½ “ (L) (wool, satin ribbon
trim); Top Sheet: 25-½ inches (W) x 28 inches (L)
(cotton/poly blend); Fitted sheet: 25 inches (W) x 29 inches
(L) (cotton/poly blend); Mattress cover: 17 inches (W) x 21
inches (L) x 3-½ inches (H) (cotton with 15 inches zipper &
poly stuff); Dust Ruffle: 5 inches (H) - covers 3 sides of
bed.
The texts are stitched on each element of the bed - pillow
cases, blanket, sheets, mattress, etc., and concern
observations about relations between men and women from the
19th, 20th and 21st centuries, made by the female, sometime
after the end of the relationship or period of observation,
when hindsight is always 20/20.
Some examples: On Pillows: your lips may be saying “No” but
your kisses are saying “Yes” and “I continued to say “No”
until I hit him between his legs - he said I should calm
down and go to sleep. Although it was our last date I felt
bad for having to explain why we were breaking up” TR 1988
(the initials of the author and date written). Ms. Stone has
created a fascinating object to present her text, but HE
SAID SHE SAID goes way beyond presenting text in an
interesting manner. The subject of the texts, intimate
relations between male and female, is visualized in such a
telling way, the reader / viewer is completely drawn into
the life story being recounted. (9799) See inside front
cover.
117. Stone, Tamar. Upholstered Cage
- Doll Petticoat Book. New York, NY: 2005. $4,100
Unique
artist’s book, one in a series of 5, each of which is
slightly different as vintage doll petticoats are unique,
consisting of outside antique doll petticoat, with cotton
embroidered text as follows: interior book of hand-cut
vintage cotton bed sheets with digitally printed images,
with cotton embroidered text and trim. Hand sewn bindings
with buttons attached to skirt lining with loops. Petticoat
of antique white linen with 2 rows of pleats and lace around
bottom edge; 12 vintage clear plastic buttons in back, with
ties at waist. Size: height: 11 inches, width from waist to
edge closed: 8-½-20 inches, width from waist to edge
opened: 11-28 inches; interior petticoat book pages:
height: 10 inches, width from waist to edge: 5-½ - 10
inches. Housed in custom-made teal blue fabric over boards
with blue / gold brocade fabric on edges and interiors, blue
gros-grain ribbon tie holding book in place, label on front
panel of white fabric stitched with title, artist, date and
number.
The outside petticoat cover reads, “Upholstered Cage ..can
transform insignificant, easily forgotten faces with
magnetic, colorful, beautiful personalities that inspire!”
The inside pages contain advertising slogans of corset
makers, advice to women on enhancing their physical form, as
well as behavioral advice, all designed to make a woman more
attractive and desirable. For example, “Women may and ought
to make charming pictures of themselves.” and “Knowing when
to be silent will make your conversation that much more
delightful...” There is one terrifying sentence and
statistic from the 19th century, “Take what precautions we
may against fire, so long as the hoop is worn, life is never
safe - all are living under a sentence of death which may
occur unexpectedly in the most appalling form.(in 1867 it
was reported 3,000 women were burned to death annually and
another 20,000 injured because they wore the crinoline).”
Images of women of the nineteenth century are viewed as
Digital Iris Prints taken from cartes de visites of the
period that have been scanned into Photoshop and combined
with text and printed by Silicon Gallery in Philadelphia,
PA. (9793)
118. Stone, Tamar. What to Wear
Vol. II Perfect Figure, Graceful Lines...and the Re-birth of
Charm. [New York: 2006]
$3,200
Unique
Artist’s Book, consisting of vintage salesman sample
cotton/rayon girdle with ribbed elastic panels, ribbon
straps, and side hook and eye closures. Size: 12 x 6 inches
closed; 12 x 12-½ inches open. Interior: 10 doll images each
7 inches high and 2.5 inches wide, total length of 10 doll
images joined together is 37 inches, fine. The dolls are ink
jet printed images on Quick Fuse Inkjet Fabric Sheets,
machine and hand-stitched girdles and dolls connected with
satin ribbon. There is text on each girdle front and back;
the girdle lifts up revealing figure of doll which also has
text on front and back. The text on the corset itself is
machine stitched cotton embroidered text. On the front:
“Perfect Figure, Graceful Lines...,” on the outside back,
“WHAT TO WEAR VOL. 2,” on inside left side, “And the
Re-birth of Charm” inside right side under dolls: “A Spinal
Support,” individually designed to provide the degree of
rigidity in alignments of affected parts.” on the front flap
covering dolls: “Dress once expressed the person, now it
disguises it...well,
disguise
may sometimes be necessary.” The advertising copy
continues on both sides and fold-away girdles on one side
that can be opened to reveal additional advertising slogans.
All the faces on the dolls are the same - making for a
rather “Stepford Wives” image. Housed in deep purple
clamshell box lined with deep purple damask which is used on
edges of box, with onlaid pink satin label on which is
embroidered the title and artist’s name in pale pink, box
size: 16-½ inches by 8-¾ inches. The corset hangs on a small
wooden hanger with silk ribbon straps. Ms. Stone’s latest
creation is a commentary on the objectification of women;
changing ideas of female beauty, and the advertising used to
persuade women to be other than they are. (9838)
119. Treehouse Book Arts. Casey,
Rosamond. Mapping the Dark. A Museum of Ambient
Disorders. Series A. Charlottesville, VA: Treehouse Book
Arts, 2003. $1,750
Artist’s
book, based on gallery installation at the McGuffey Art
Center in Charlottesville, Virginia, one of 45 copies, each
signed and numbered by the artist, consisting of 10 volumes,
which fold out into a narrative display. Each narrative is a
work of visual fiction, done in “collaboration” with an
imaginary character. These narratives, ostensibly by one of
10 imaginary figures, fold out into a display of each
character’s peculiar turn of mind: a worry, a craving, a
secret wish or loss. The individual booklets are hand-bound
by the artist in roofing rubber with stamp-embossed gold
titles, laser-engraved spine labels, gold eyelet and elastic
band closures, hand-punched numeric dot patterns, (playing
on the numbers one through ten) revealing to the inner cloth
lining of the book. Each character’s book is lined in one of
five colors matching a cloth-backed, card-mounted, black and
white photograph of the same character also contained in the
box. The booklets are printed on woven fiber 100% rag
Portfolio series Lumijet paper. The typeface is Thomas
Paine. Photos and text are hand-printed by the artist on an
Epson printer. The black and white photography was created
by the artist. The assemblage is housed in a brown leather
and black Japanese silk clamshell box, lined with handmade
block-printed paper from India.
Rosamond Casey has exhibited her hand-made books and
paintings at the Corcoran Gallery and the National Museum of
Women in the Arts. She has exhibited her paintings in solo
and group exhibitions in Virginia, Maryland, Washington,
Pennsylvania, New York and Boston. Her art explores
connections between written and pictorial forms. She is
founder and director of Treehouse Book Arts, a school for
adults and children in the study of calligraphy, papermaking
and related book arts. She is currently President of the
McGuffey Art Center, a city-supported art center in
Charlottesville, Virginia with over 150 members. (9253)
120. Verdigris Press. Baudelaire,
Charles. L’Invitation au Voyage. Petit poeme en rose.
Mezzotints by Judith Rothchild. Octon, France: Verdigris
Press, 2000. $1,200
One of
40 regular copies from a total issue of 50, all on
Hahnemuhle paper, all signed by artist, Judith Rothchild, on
the colophon. Page size: 10-½ inches x 10-¼ inches. Bound:
loose in original wrappers as issued with wrappers and
publisher’s slipcase of silk-screened paper in blue, green
and brown, with darker blue spine, in design reminiscent of
Moorish tiles. Illustrated with nine mezzotints interspersed
within the text, vaguely Moroccan in atmosphere.
Baudelaire’s “pays superbe...pays de Cocagne” is well served
by the lush image, each fairly overflowing with detailed
images of landscapes and interiors. (7483)
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