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141. Verdigris Press. Verne, Jules.
Tempete et Calme. Poeme de Jules Verne. Octon, France:
Verdigris Press, 2004.
$750
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One of
38 copies only, all on Hahnemuhle paper, each copy
hand-numbered and signed by the artist Judith Rothchild and
the printer, Mark Lintott. Page size: 11-¾ inches x 5-15/16
inches; 4 leaves + colophon printed on gray paper mounted on
inside rear cover. Bound by Mark Lintott: leporello style,
but on the vertical, original screen prints by Judith
Rothchild in subtle shades of gray on the front and back
boards, with gray silk ribbon pull at bottom of front board,
housed in publisher’s clamshell box of gray paper, title
printed in black on front panel, lined with screen prints
made by Rothchild in shades of gray, fine.
Jules Verne’s poem was written in 1848 when the author was
just 20. The poem literally passes through a storm before
reaching safe haven on the other side. The text is
superimposed on a series of four of Rothchild’s ominous
mezzotints which start with a threatening sky, go to the
complete blackness of the storm and then to clouds quickly
moving to sunlight. The text is hand set and letterpress
printed in Vendome romain on an Albion press by Mark Lintott.
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Considering world events of 1848, Verne shows himself to be
an optimist with this moving verse admirably served by Rothchild’s
handsome images which really give a sense of the speed and
drama of the storm. Meticulously crafted, this is
a lovely book. Selected for inclusion in Wellesley College
exhibition and catalogue, RESONANCE AND RESPONSE (2005).
(9500)
142. Vixen Press. Pinsky, Robert.
Shirt. Foreword by Louise Gluck. Winnetka, IL: Vixen
Press, 2002. $400
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First
Edition thus, one of 135 copies, all on Somerset paper, each
hand-numbered and signed by the artist, Caryl Seidenberg (on
the colophon page) and the authors, Robert Pinsky (on the
half-title) and Louise Gluck (after the Foreword). Page
size: 7.5 inches x 10 inches; 28pp. Bound by
Campbell-Logan: blue cotton “shirt” cloth over
boards, author and title in black on silk “label”
inset onto front cover, author and title repeated on
spine on paper label with “measuring tape” motif,
endpapers hand-printed by the artist in light tan on
cream paper with images of shirt patterns, measuring
tape, written instructions for shirt-making, etc.,
fine. |
The
artist tells us in the colophon that this is the first book
she has printed on the Ludlow press given to her by Bruce
Beck of The Turtle Press. It is printed in 12 and 14 point Caslon with the Foreword in Monotype Dante, set by Michael
and Winifred Bixler. The illustrations consist of a
full-page preceding title page with collage of blue and red
and white and black “shirt” fabric patterns onto page with
sewing matching, iron and scissors, title page set in blue
and gray with image of hands fastening cuff in gray, initial
letter at opening of poem in blue “shirt” fabric, two full
page images of workers engulfed in flames of triangle shirt
factory fire, three full page images, in red, blue and black
of factory workers, followed by hands fastening cuff in gray
on final page of text. Pinsky’s art - taking an everyday
object - and making the subject of a musing on eternity - is
beautifully served by Caryl Seidenberg’s handsome book.
(9574)
143. Vixen Press. Seidenberg, Caryl.
There Are at Least Five or Six Sides to Every Triangle.
[Winnetka, IL]: Vixen Press, 1983. $2,150
One of 5
copies signed and numbered by the artist / publisher on the
colophon page as well as each of the 5 etchings. Page size:
11-½ x 13 -3/8
inches; 6 pages. Bound: loose as issued housed in tan
drop-spine box with original collograph on front panel with
title printed in olive green and triangular shapes nested
together with fringe hanging on the widest side of each
triangle; inside of box lined with original collographs in
gold, green, and purple of triangles forming larger
triangular shapes, as in a carpet, with fringe at the top
and bottom. The colophon page is letterpress printed in
green, gold, red, and purple, highlighted with various type
faces and ornaments. The opening initial letter, “M” is
formed from triangles. The five original color etchings are
very textural in feel, as if the triangles pictured were
woven from threads - some of which are left hanging. A
lovely suite of plates playing on a theme. (9497)
144. Whittington Press. Matrix 24.
[Herefordshire, UK]: Whittington Press, September 2004.
$270
One of
720 copies from a total issue of 800 set in Caslon,
Poliphilus and Neo-Didot types and printed by Whittington on
Sommerville Laid, Losin hand-made, Zerkall mould-made and
Hahnemuhle Bugra-Butten papers. The Color and tritone plates
were printed by CTD Printers. Bound in stiff wrappers (80
copies bound in quarter Oasis and leather and paper marbled
by Christopher, with a portfolio of additional material) by
The Fine Bindery. Pink dust jacket printed in blue and green
with list of articles and authors, fine. Interesting
articles by American book artists Charles Hobson and Jerry
Kelly (9554)
145. Whittington Press. Randle, John &
Rosalinde, Editors. Matrix 25. [Herefordshire, UK]:
Whittington Press, September 2005. $750
Deluxe
copy, one of 80 copies, hand numbered in the colophon, from
a total issue of 760: 80 copies bound in quarter Oasis
leather and paper marbled by Christopher Rowlatt with
additional material laid in accompanying portfolio, housed
in publisher’s slipcase (this copy) and 680 regular copies.
Letterpress printed in Caslon, Poliphuilus and Neo-Didot
types and printed by Whittington on Sommerville Laid, Losin
hand-made, Zerkall mould-made and Hahnemuhle Bugra-Butten
papers. The Color and tritone plates were printed by CTD
Printers. Folio, 198pp, fine. With articles by Gaylord
Schanilec, Sebastian Carter, Carolee Campbell, Jerry Kelly
among others and an essay by Rosalinde Randle on 25 years of
MATRIX. (9614)
Last minute additions:
146. Culmone, Nancy. Raven.
Hand-lettered and Painted by Nancy Culmone. Serafina, NM:
2006. $4,500
Copy #2
in a series of seven copies, each signed and numbered by the
artist, each with variations, each hand-painted and lettered
on Arches text wove paper, using metal broad and pointed
pens, ruling pen, turkey and goose quills, acrylic paints,
winsor and newton gouache. Page size: 6-1/2 inches x 10
inches; 34pp. Bound: hand-painted paper, exposed spine and
stitching, title lettered in black on front wrapper, housed
in custom-made blue cloth clamshell box lined with
hand-painted papers. Each page, as well as the covers, is
painted with matte acrylic mixed with wheat paste. The theme
of this haunting book is “raven” and the texts are from the
Holy Bible, Native American myths, Joseph Campbell’s THE
MASKS OF GOD, W. S. Merwin, among others. There is also an
original poem by the artist. Page 22 is a complete “Sources”
page. There are fold-out pages, pages with lettering at
margins and pages with lettering only at the top, or only
within swirls of paint. The artist tells us that in Alaskan
myth the raven is the “shape shifter” with the power to
change his form. So, the artist has shifted each page from
traditional to non-traditional text and image. There are
layout diagrams glimpsed through layers of paste-paint based
on the “secret formula” used to plan pages in many medieval
manuscripts which were rediscovered by Jan Tschicold in
1963. The reader glimpses a raven in flight through layers
of paste-paint and another standing staring back. The sense
of flight, of wind rushing and wings beating are all
conveyed visually as the texts remind the reader of the
fascination these birds have held for man since the
beginning of time. (9789)
147. Chevington Press. Almost
Jerusalem. The Confessions of Nathaniel Turner. Leader
of the Southampton County Slave Insurrection of 1831 As
Dictated to Thomas R. Gray. Goole, East Yorkshire:
Chevington Press, 2005.
$2,000
One of
50 copies, each signed and hand numbered by the artist /
printer on the colophon, the etchings on hand made paper
from Wookey Hole and the text on Magnani Acqueforte mould
made paper. Page size: 13-3/4 inches x 9-3/4 inches; 54pp; 2
of each are double page fold-outs. Bound by Gray Parrot:
lime green hand-made pastepaper over boards, brown morocco
spine with title in gold gilt, binder’s ticket on lower back
turn-in, new. The text, taken from the Baltimore 1831
pamphlet, “the Confessions of Nat Turner...” printed by
Thomas R. Gray, is set in 12 pt. Plantin and is printed
letterpress by Mr. Wakefield on a 19th century Albion press.
The seven etchings, two in text, two double page foldouts,
three full page, were drawn and printed by Mr. Wakefield on
a star wheel engraving press and are printed in color. Mr.
Wakefield has created a moving account of one of the most
distressing chapters in American history. (9852)
148. Co-Tangent Press. Vollmann,
William T. Book of Candles. Sacramento, CA:
Co-Tangent Press, 2006.
$10,000
Artist’s
book, one of 10 copies, each signed by the author / artist,
William T. Vollmann on a page of the text as well as in the
box housing the book. Page size: 19 inches x 16 inches;
75pp; (2pp. per folio sheet, 32 sheets in all + 2 unnumbered
double-page spreads). The text is a suite of eight religious
and blasphemous love-poems to prostitutes and was composed
in the Philippines in 1995 and relief-printed on Rives de
Lin paper by the author over a period of years (1997-2003).
The text blocks were photo-etched magnesium plates as were
some of the illustrations. Other illustrations were woodcuts
done in Thailand and Cambodia on Chinese ulo wood. These
were colored a la poupee and further hand colored with
watercolors and acrylics. Housed in a sailcloth-covered
basswood clamshell box which the artist / author has
painted, collaged with hand-painted woodblock prints, and
suitably adorned with gewgaws. The outside dimensions of the
box are 31 inches high x 24 inches wide x 2.5 inches deep.
The woodcut image on the underside of each box is different.
Four Japanese “doughnut hold” coins have been screwed in to
the underside of the box to comprise protective feet. Inside
each box, a narrow channel, collaged with painted paper,
runs around three edges, leaving the spine side open. Within
this are set two wooden corner blocks mounted with
selenium-splotched flower-engraved brass plates, a strip of
painted walnut engraved with a print of a female nude, two
engraved beeswax candles on engraved brass supports wrapped
round with brass wire. Even the brass screws of these
assemblies are engraved and rubbed with oil-based ink. On
the inside of the spine are one engraved and inked aluminum
plate and one engraved and inked brass plate which is signed
and numbered. This is certainly the most labor-intensive
project undertaken so far by William T. Vollmann’s
Co-Tangent Press. (9851)
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