|
Jump to Items:
1-10
| 11-20
| 21-30 |
31-40
| 41-50
| 51-60
| 61-70
| 71-80
| 81-90
91-100
| 101-110
| 111-120
| 121-130
| 131-140
| 141-148
31. Editions de l’eau. Fainlight,
Ruth. Pomegranate. Mezzotints by Judith Rothchild. [Reynes:
Editions de l’eau, 1997]
$750
| One of
50 copies all on Hahnemuhle paper, each numbered and signed
by Fainlight and Rothchild on the colophon: 14 deluxe copies
with an original drawing and page of manuscript, 28 regular
copies (this copy), 8 hors commerce. In addition, there were
40 additional copies of the mezzotints editioned. Page size:
15-½ inches x 10-½ inches. Bound: loose in original
wrappers, housed in red publisher’s slipcase, paper over
boards. New. With mezzotints printed by the artist, Judith
Rothchild, the text was printed by Albert Woda, the
publisher, who also designed the layout. This is Judith
Rothchild’s first livre d’artiste. |
 |
Noted poet Ruth Fainlight
has contributed a moving poem using the imagery of
pomegranates and its association with the Greek myth of
Persephone and Demeter to pose questions about the life
process, aging, revisiting our youth, death and rebirth. Ms.
Rothchild’s pomegranates are rich and warm, almost
supernaturally lit images — always in pairs — exposing its
complicated fruit. Ms. Rothchild has created six haunting
images to perfectly complement Ms. Fainlight’s poem. (8192)
32. Editions de l’eau. Fainlight,
Ruth. Pomegranate. Mezzotints by Judith Rothchild. [Reynes:
Editions de l’eau, 1997]
$1,100
|
 |
One of
14 deluxe copies all on Hahnemuhle paper, each numbered and
signed by Fainlight and Rothchild on the colophon with an
original drawing and page of manuscript. In addition there
were 28 regular copies, 8 hors commerce. In addition, there
were 40 additional copies of the mezzotints editioned. Page
size: 15-½ inches x 10-½ inches. Bound: loose in original
wrappers, housed in red publisher’s slipcase, paper over
boards. (9731)
|
33. [Farrer, Julia] Thurman, Judith.
Lo 2001. [London, England]: EMH Arts [Eagle Gallery],
2001. $1,000
| One of
15 copies all on Velin Arches paper, each signed by the
poet, Judith Thurman. Page size: 23-7/16
inches x 4-13/16
inches; 14 leaves printed and cut out. Bound: hand-sewn
leporello style in original drab boards, housed in white
linen sleeve and slipcase, all by Charles Gledhill, fine.
Illustrated with original intaglio prints (hand-colored
drypoints) by Julia Farrer, who also editioned the prints.
The book has an architectural, pierced structure
where a folded geometric image reflects and
counterpoints a single poem. The text is printed
letter press by Phil Abel at Hand & Eye Letterpress. Judith Thurman and Julia Farrer have
collaborated to produce this homage to the memory of their
friend, Kate Griffin. A visually stunning production from
this collaboration of author and artist. |
 |
Judith Thurman is the author of well-received biographies of
Colette (SECRETS OF THE FLESH) and Isak Dinesen, as well as
contributions to “The New Yorker” magazine. Julia Farrer, born in London in
1950, attended The Slade School from 1968-1972 and was a
Harkness Fellow at the University of New Mexico and New York
from 1974-1976. Her work is held in many important
collections, including the Arts Council of Great Britain,
the Ashmoleon Museum of Oxford University, the Yale Center
for British Art, the Tate Gallery, and the Metropolitan
Museum of Art. Her recent work explores transformations of
geometric compositions from two into three dimensions,
across the different media of painting, monoprinting, unique
and small run artist’s books. (9511)
34. FitzGerald & Co., Vincent.
Brecht, Bertolt & Kurt Weill. The Seven Deadly Sins of
the Lower Middle Class translated by Michael Feingold from
the original text by Bertolt Brecht and Kurt Weill.
Illustrated by Mark Beard. New York: Vincent FitzGerald
& Company, 1992. $7,500
Limited
to 50 copies only, each signed by the artist, Mark Beard,
and translator, Michael Feingold, over 100 hand-collaged
images of etchings and lithographs, with each of the seven
sins a separate gate fold. Letterpress in at least 14
different colors by Dan Keleher at Wild Carrot Letterpress.
Page size: 12-½ inches x 21 inches. Bound: cloth over
boards, ¾ leather spine, protective box with game board map
of America, fine. THE SEVEN DEADLY SINS OF THE LOWER MIDDLE
CLASS was commissioned in 1933 by Tilly Losch, a famous
Viennese dancer married to the wealthy English aristocrat
Edward James (associated with the Surrealists). Losch and
Edwards were good friends of Lotte Lenya and Kurt Weill who
were in Paris in 1933 and close to broke. This commission
was a way to give some money to Weill/Lenya and serve as a
vehicle for Tilly Losch and her good friend, Lotte. Weill
brought in Brecht to write the libretto, and it was produced
in June of 1933 as part of the review, “Les Ballets,”
choreography by George Balanchine and starring Losch and
Lenya. It is a ballet with words that are sung and an
orchestra (not unlike the recent piece by Brecht/Weill “The
Beggar’s Opera” performed on Broadway in the 1990’s). Auden
and Kallman translated it in the late 1950’s, but Lotte
Lenya was never happy with the translation and asked Michael
Feingold to translate the piece in 1981 for performance by
the American Repertory Theater at Harvard. THE SEVEN DEADLY
SINS is often considered the most important work in ballet
form since “Les Noces” and “Parade,” although Brecht’s text
takes it even beyond that. (7891)
35. FitzGerald & Co., Vincent.
Breuer, Lee. The Warrior Ant. Etchings by Susan Weil.
New York: Vincent FitzGerald & Company, 1992.
$3,500
One of
40 copies only, all on handmade paper by Paul Wong of Dieu
Donne Papermill, each copy signed by the artist, Susan Weil,
and author, Lee Breuer. Page size: 10 inches x 10 inches.
Bound: handmade paper wrappers in custom box by BookLab,
fine. The etchings were editioned by Marjorie Van Dyke and
Vincent FitzGerald at The Printmaking Workshop and the text
printed letterpress in Bembo by Dan Keleher at Wild Carrot
Letterpress. The calligraphy is by Jerry Kelly.
Lee Breuer, one of the pre-eminent figures in contemporary
theater, was a former chair of the Directing Department at
Yale University’s School of Drama. He was commissioned by
the Next Wave Festival of the Brooklyn Academy of Music
(BAM) to write THE WARRIOR ANT to be staged as part of the
innovative productions of this theatre arts festival in
1983. THE WARRIOR ANT has been recorded by Gramavision
titled AN ANT ALONE.
This is dramatist Lee Breuer’s second collaboration with
composer, Bob Telson; the first was a staging of Robert
Fitzgerald’s version of Sophocles’ second Theban play, THE
GOSPEL AT COLONUS which was also staged at the Brooklyn
Academy of Music’s Next Wave Festival. Breuer is the founder
of Mabou Mines, an experimental theater group, which has
mounted Breuer productions of DOLL’S HOUSE, RED BEADS, and
PETER AND WENDY, among others. Breuer has been awarded
OBIE’s for “Best Play, “Best Production,” “Directing,”
“Lifelong Achievement” as well as grants from CAPS, the
National Endowment for the Arts, the Rockefeller Foundation,
Guggenheim Foundation, and The Fulbright and MacArthur
Fellowships.
Susan Weil, an American artist who studied with Josef Albers
at the famous Black Mountain College and later in NY at the
Art Student’s League, was active in experimental artistic
developments and was closely associated with such artists as
Rauschenberg, Johns, Merce Cunningham, and John Cage. Her
juxtaposition of figurative and abstract elements, her
creative use of collage, as well as the pictorial qualities
of the various materials she uses for their sculptural
potential are highlights of her work. All these elements are
present in THE WARRIOR ANT, an intriguing continuum of text
and images where the viewer wishes to move forward and yet
backward sampling fresh pleasures from the pages each time
they are viewed. Once again, Vincent FitzGerald has
integrated an avant-garde collaboration in the performing
arts with the book arts, rewarding the reader / viewer with
text, images, and concepts that challenge and intrigue.
(6652)
36. FitzGerald & Co., Vincent.
Joyce, James. Brideship and Gulls. Illustrated by Susan
Weil. New York: Vincent FitzGerald & Company, 1991.
$10,000
One of
25 copies, text on Apta Royale Laid Richard de Bas paper
(made in 1938), images on Musee paper, backed on custom-made
papers by Paul Wong on Dieu Donne Papermill. Page size: 16
inches x 16 inches. Bound by Zahra Partovi in Coptic-style
mauve-grey silk over boards, box by David Bourbeau, Thistle
Bindery, fine. Six original line etchings by Susan Weil are
hand-painted in watercolor and gouache with gold-leafing
throughout, each mounted on museum board. These images
surround the 40-page text when sitting in the box and when
lifted out become three-dimensional paintings. There are
also two original collages in the text and on the boards of
the cover which is printed in three colors. The calligraphy
is by Jerry Kelly and the letterpress is by Dan Keleher at
Wild Carrot Letterpress. Susan Weil’s third Joyce book takes
an excerpt from FINNEGAN’S WAKE, and it is as much a tour de
force as her previous two. The box itself is a piece of
sculpture, and Susan Weil’s paintings are fully realized
free-standing works of art; yet all combine to form a
harmonious whole book. (4451)
37. FitzGerald & Co., Vincent.
Joyce, James. Giacomo Joyce. Interpreted by Susan Weil.
New York: Vincent FitzGerald & Company, 1989. $4,500
One of
50 copies only, on hand-made Dieu Donne cotton paper, signed
by the artist on the colophon, page size: 10 inches x 13-½
inches. Printed by Dan Keleher and Bruce Chandler at Wild
Carrot Letterpress in Dante type designed by Mardesteig and
set by Michael Bixler. This extraordinary book is
hand-collaged using specially made papers, some with flower
petals in the paper, Japanese laces, and silver tea paper.
It explores several graphic media, including pochoir and
etch and also contains a number of original watercolors.
Bound: grey linen over boards stamped in two colors with
specially made papers in grey and lime green, fine.
Published on the 75th anniversary of the writing of Joyce’s
prose poem, which was first published in 1968 in a facsimile
of the original manuscript, this edition is a delight. The
affinity of Susan Weil’s art to the works of Joyce has been
demonstrated in the now out-of-print 1988 publication,
EPIPHANIES. (2762)
38. FitzGerald & Co., Vincent.
Joyce, James. Meta Mor for the Moon. Illustrated by Susan
Weil. New York: Vincent FitzGerald & Company, 1995. $3,000
 |
One of
25 copies each signed by the artist, on various papers. Page
size: 8 x 8 inches. Bound by Zahra Partovi: blue silk in
Coptic-style binding with two paintings by the artist on the
inside flyleaves, housed in matching blue silk box by
BookLab. Illustrated with etchings and paintings by Susan
Weil and Vincent FitzGerald, the work is printed on Mylar,
apta royal and Richard de Bas papers. The book is 72 pages
with text identifying various geographical locations
of the moon, i.e. Sea of Tranquility etc.
|
The moon — and the book —
is divided into quadrants; the title is a pun, referring to
Joyce. Each quadrant of the moon is introduced by subtitles
on Mylar. Weil has executed two blueprints for this book —
the first she has done since those with Robert Rauschenberg
some years ago. The letterpress is by Kelly/Winterton Press.
The screenprints are by Color Girls. (4649)
39. FitzGerald & Co., Vincent.
Kondoleon, Harry. The Cote d’Azur Triangle. Etchings and
lithographs by Mark Beard. New York: Vincent FitzGerald
& Company, 1985. $6,000
|
Signed,
Limited Edition, one of 119 copies only on Rives BFK, all
signed by the author and artist, hand set in Janson,
lithographs and etchings pulled by the Printmaking Workshop
of Bob Blackburn. Page size 12 x 14 inches. Bound by Gerard
Charriere, in cloth of vibrant yellow, with title stamped in
blue within a red triangle on front cover, housed in black
clamshell box by Charriere, fine.
In this play by Harry Kondoleon, “A woman, her husband, and
her husband’s lover go up and down the Riviera only to be
disappointed by the Riviera. |
 |
The
dullness of the Cote D’Azur reveals to these Americans the
dullness and impossibility of love...they tire of one
another and pursue sex partners at random until they are
attacked and consumed by sea dragons.” Mark Beard’s brilliant illustrations of these “two
dimensional and ironic” characters, in their bathing suits
and sunglasses, in saturated primary colors, and his flat
presentation, are overwhelming in their impact of the
characters’ vapidity. With illustrations such as Greek
temple caryatids folding out to reveal the Cote d’Azur and
paper doll players, Beard’s art inexpressibly moves the
viewer to the inevitable crush by the dragon of these
pitiable self-centered creatures. A brilliant mixture of wit
and irony with difficult and innovative printmaking
techniques producing prints with highly unusual textures,
especially in the final fold out, which has an effect of
great richness and mystery. (7449)
40. FitzGerald & Co., Vincent.
Kondoleon, Harry. My New Existence. New York: Vincent
FitzGerald &Co., 2002.
$3,000
First
Edition, one of 35 copies only, all on hand-made papers
including Magnani, Japanese Gampi and special paper by Dieu
Donne Papermill. Signed by the artist, Aleksandar Duravcevic
with his initials on the colophon. Page size: 14-1/5
inches x 9-½ inches, 38pp. Bound by Zahra Partovi: hand sewn
with exposed spine and stitching covers of brushed aluminum,
with title etched in black on front, housed in heavy felt
case, fine. The type was set in Century Schoolbook and
printed letterpress by Daniel Keleher’s Wild Carrot
Letterpress. The nine etched pages, comprising various
flowers, are by Aleksandar Duravcevic and were editioned by
D2 Press. Harry Kondoleon, a graduate of Yale Drama School,
won an Obie in 1983. His death from AIDS in 1994 left a void
in an American theatre but he had, by his death at age 39,
created 17 long and short plays as well as poetry. These
posthumously published poems, written by the dying Kondoleon,
are particularly moving meditations on life and death. The
book is a loving and beautiful tribute to this gifted young
author. (9568)
Next
Jump to Items:
1-10 |
11-20
| 21-30 |
31-40
| 41-50
| 51-60
| 61-70
| 71-80
| 81-90
91-100
| 101-110
| 111-120
| 121-130
| 131-140
| 141-148
|
