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121. Verdigris Press. Baudelaire,
Charles. Les Plaintes d’un Icare. Serigraphies et
manieres noires de Judith Rothchild. [Octon, France:
Verdigris, 1999]. $650
One of
30 copies, each signed and numbered by the artist on the
colophon. Page size: single sheet of Rives BFK, 59 inches x
8-½ inches long folded to sheets 4-7/8
inches. Bound: loose in tan wrappers with feathers
screenprinted in darker tan, titled printed in black on
front cover, publisher’s matching slipcase, fine. Icarus’
feathers screenprinted in gray and tan by Judith Rothchild
floating around Baudelaire’s graceful text set in Vendome by
Mark Lintott. There are four chine colle mezzotints by
Judith Rothchild. The four mezzotints are 2-¼ inches x 2-1/8
inches with one 2-½ inches x 5 inches. Again, the artist
has used Baudelaire’s “feather” images to great effect with
the lightest of feathers floating down the page of
Baudelaire’s text. (7205)
New from Verdigris Press
122. Verdigris Press. Bishop,
Elizabeth. 12 O’Clock News. [Octon, France]:
Verdigris Press, [2006]. $1,300
One of
40 copies from a total edition of 50, all on Hahnemuhle
paper, signed by the artist, Judith Rothchild, and the
printer / binder, Mark Lintott; 10 of the 50 are deluxe
copies with an original copper plate and additional
mezzotint, 40 regular copies (this copy). In addition 20
suites of prints from the original copper plates were
printed. Page size: 11-½ inches x 16-7/8
inches. Bound by Mark Lintott: original gray-green paper
over boards, paper has been silk-screened with yellow moon
and title printed in khaki green with exposed sewing in
ivory linen thread, blood red cloth hinges, red paper spine
with title printed in black with author and artist’s name,
blood red endpapers, housed in publisher’s matching
slipcase, fine. Illustrated by Judith Rothchild and designed
by Judith Rothchild and Mark Lintott, including two original
mezzotints, pulled from two copper plates, one full page and
the other copper plate cut into eight sections and each of
the eight plates separately re-printed and inserted in the
text corresponding to the indications given by the author.
The text is set in Vendome Romain and was printed on an 1867
Albion press by Mark Lintott, who also made the bindings,
slipcases and boxes.
The date of publication, according to the artist and
printer, was February 5, 2006, which was the third
anniversary of Colin Powell’s speech to the UN Security
Council. Parts of that speech are printed in black on the
blood red recto of the rear free endpaper. 12 O’CLOCK NEWS
was originally published in GEOGRAPHY III in 1976. Elizabeth
Bishop’s prose poem, certainly surreal in outlook, with a
great sense of irony as well as parody, takes a look at the
author’s desk top but isolating images and viewing them as
minutia. The results, as detailed in Bishop’s “new report”
could not be any more wrong. The parallel with the American
Secretary of State’s speech at the U.N. is devastatingly
obvious. (9824)
123. Verdigris Press. Bishop,
Elizabeth. 12 O’Clock News. [Octon, France]:
Verdigris Press, [2006]. $2,100
One of
10 copies from a total edition of 50, all on Hahnemuhle
paper, signed by the artist, Judith Rothchild, and the
printer / binder, Mark Lintott; this is one of 10 deluxe
copies with an original fragment of a copper plate and
additional mezzotint, 40 regular copies also were made.
(9825)
124. Verdigris Press. Cros, Charles.
Les quatre saisons. Mezzotints de Judith Rothchild.
[Octon, France]: Verdigris Press, 2003.
$850
One of
31copies, from a total issue of 35, all on Hahnemuhle paper,
each signed and numbered in pencil by the artist, Judith
Rothchild. The four deluxe copies have an original copper
plate. Page size: 10-5/16
x 8-½ inches; 22pp. Bound: loose as issued in original
wrappers that are screen printed by Judith Rothchild: black
Somerset velvet paper with waves of green and brown color
sitting on the black ground, the title, author, artist, and
press printed in brown and green, matching slipcase, fine.
The text was hand set and printed letterpress in Vendome
Romaine by Mark Lintott on an Albion press. The four
mezzotints by Judith Rothchild are of asparagus, wheat,
chestnut, and a candle. They represent the four phases of
the love referred to in the verse by Charles Cros. A lovely
book. (9400)
125. Verdigris Press. Fainlight, Ruth.
Feathers. Eight Poems by Ruth Fainlight & Mezzotints by
Judith Rothchild. Octon, France: Verdigris Press, 2002.
$1,250
 |
One of
30 copies all on Hahnemuhle paper, each signed by the artist
and the poet on the colophon page. The first eight copies
have an original copper plate as well as an additional
mezzotint and a text in the hand of the author. Page size:
15-½ x 10-¼ inches; 10 double-fold leaves. Bound:
publisher’s wrappers in aubergine Canevas paper by Thibierge
& Comar screen-printed in black by the artist, matching
screen-printed slipcase with wood edges by Claude Vallin and
Mark Lintott. The eight mezzotints (nine plates) and the two
embossments on the title and contents page were
printed by the artist. |
The text is hand-set in Vendome Romain and
printed letterpress on a Stanhope press by Mark Lintott,
fine. This is the third collaboration between poet Ruth
Fainlight and artist Judith Rothchild. The poems inspired by
the feather images and the mezzotints inspired by the poems,
form an ongoing dialogue. (9115)
126. Verdigris Press. Fainlight, Ruth.
Leaves. Mezzotints by Judith Rothchild. Mas de
l’Eglise, France: Verdigris Press, 1997.
SOLD
First
Edition, one of 50 copies all on Hahnemuhle paper, each copy
signed by the author and artist. Page size: 10-½ inches x 8
inches. Bound: loose as issued housed in green Murillo de
Fabriano paper over boards with title on front panel and on
spine with author and artist’s name in darker green,
decorations of leaves silkscreened in lighter green, housed
in publisher’s green paper slipcase. Ruth Fainlight’s five
poems were written in response to a suite of mezzotints by
Judith Rothchild. The 11 mezzotints were printed by the
artist as were the silkscreens on the covers. Typography by
Mark Lintott in letterpress. Slipcases and boxes by Claude
Vallin. This is a bi-lingual edition with the poems
translated into French by Michele Duclos. A true livre
d’artiste, the author and artist collaborating to make a
whole greater than the sum of the parts. Rothchild’s
mezzotints are mysterious — sometimes delicate, sometimes
menacing but always intriguing — and Fainlight’s verse
captures the wonder of the natural world. A beautiful book.
Fine. (7480)
127. Verdigris Press. Fainlight, Ruth.
A Postcard from Tunisia by Ruth Fainlight and Judith
Rothchild. [Octon, France]: Verdigris Press, 2004.
$700
One of
27 copies, all on Hahnemuhle paper and signed in pencil by
the artist and author, Judith Rothchild and Ruth Fainlight.
12pp; page size: 6-¼ x 8-¼ inches; bound: leporello style in
original wrappers, screen printed in bright blue with
abstract images (sea or sky), title in deeper blue on front
wrapper, repeated on matching blue slipcase. Illustrated
with two mezzotints, one etching, and four blind embossed
images by Judith Rothchild. Noted English poet, Ruth
Fainlight, has written this prose poem as a response to a
post card sent to her by the artist, Judith Rothchild, in
February of 2003. Both the words and image capture the sun,
dust, warmth, smells - the atmosphere that is unique to the
Mediterranean. (9401)
128. Verdigris Press. Lawrence, D.H.
Fig. Mezzotints and Screenprints by Judith Rothchild.
[Octon,France]: Verdigris Press, 2001.
$850
|
One of
48 copies, on Hahnemuhle paper, each signed and numbered by
the artist, Judith Rothchild. Page size:11 inches x 10
inches; 32pp. Bond: loose in Somerset Velvet Black paper
wrappers with green silkscreens; title on front panel and on
spine with author and artist’s name. Hand-set in Vendome and
printed by Mark Lintott on an Albion press and a Stanhope
press. Slipcase and box by Claude Vallin; with silkscreens
by Judith Rothchild, fine.
|
 |
Judith Rothchild has chosen to illustrate D.H. Lawrence’s
provocative poem Figs with five round mezzotints and
silk-screens. The first mezzotint, a fig leaf, is
overprinted by the title. The other four show a whole fig
and then ripe figs in various stages of bursting with six
silk-screens of fig leaves and branches. A two-color
silkscreen of a fig leaf (the second color is red!) faces
the colophon. First published in Birds, Beasts, and Flowers
(1923), Lawrence’s poem achieved greater acclaim when it was
used in Ken Russell’s film Women in Love (1970). This
sumptuous combination of text and illustration is sure to
fulfill! (8958)
129. Verdigris Press. Lawrence, D.H.
Fig. Mezzotints and Screenprints by Judith Rothchild.
[Octon,France]: Verdigris Press, 2001. $1,300
One of a
few deluxe copies with an extra mezzotint not included in
the regular edition from a total of 48 copies, on Hahnemuhle
paper, each signed and numbered by the artist, Judith
Rothchild. Page size:11 inches x 10 inches; 32pp. Bound:
loose in Somerset Velvet Black paper wrappers with green
silkscreens; title on front panel and on spine with author
and artist’s name. Hand-set in Vendome and printed by Mark
Lintott on an Albion press and a Stanhope press. Slipcase
and box by Claude Vallin; with silkscreens by Judith
Rothchild, fine. (9053)
130. Verdigris Press. Lawrence, D.H.
Grapes. Mezzotints by Judith Rothchild. [Octon, France]:
Verdigris, [1999].
$1,100
One of
40 copies, from a total issue of 50; eight original chine
colle mezzotints, all on Lanagravure paper, each signed by
the artist on the colophon page. Page size: 7-½ inches x
10-½ inches. Original wrappers in Somerset Black paper with
silkscreens by Judith Rothchild in wine red, dark gray, and
silver gray. Housed in slipcase made of same Somerset Black
paper with silkscreens in wine red, dark gray, and silver
gray, fine. Judith Rothchild has chosen D.H. Lawrence’s
sensuous verse to illustrate with her mysterious, shimmering
mezzotints of vines and tendrils, a rosebud, raspberry
branch, grape leaves that stretch out horizontally on the
page surrounded by Lawrence’s verse. Lawrence has endowed
the grapevine with mythical properties - although his poem
is as much his view on the Prohibition of alcohol in the
U.S. Mark Lintott has set the type and printed it on an 1867
Harrild & Sons, Albion Press. The format is that of a
“leporello” - a single sheet folded horizontally to suggest
the vine. The slipcase was made by Claude Vallin. (7476)
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