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41. FitzGerald & Co., Vincent. Mamet,
David. The Frog Prince: A Play. Illustrated by Edward
Koren. New York: Vincent FitzGerald & Co., 1984.
$750
 |
One of
130 copies on Rives paper, printed at Wild Carrot
Letterpress by Daniel Keleher. Page size: 10 inches x 8-½
inches, fine. Illustrated by Koren with one original
etching, signed and numbered in pencil by the artist and
four plates after drawings by Koren done for this book. The
etching was pulled by Lynn Rogan of the Printmaking
Workshop. The four additional illustrations were printed on
Misu paper at The Meriden Gravure Company. The title page
calligraphy is by Jerry Kelly. |
All copies were signed by
both Mamet and Koren on the colophon. Bound in orange cloth
stamped in frog-green, hand-made endpapers by Gerard
Charriere. Mamet, a leading American playwright and Pulitzer
Prize winner, has given the reader a witty and touching play
which is perfectly represented by Koren’s familiar hairy
monster people usually gracing the pages of “The New Yorker
Magazine.” (2607)
42. FitzGerald & Co., Vincent.
Rattray, David. To the Blue Wall. Etchings by T. Kurahara.
New York: Vincent FitzGerald & Company, 1993. $2,200
One of
only 50 copies, all on Rives BFK and Dieu Donne’ handmade
paper, each signed and numbered by the artist. Page size: 9
inches x 9 inches. Bound by Zahra Partovi: wood maple covers
by Dennis FitzGerald, Coptic-style binding, opening to full
circle, housed in custom box by BookLab, Inc., fine. The
etchings were editioned by Marjorie Van Dyke and Vincent
FitzGerald at The Printmaking Workshop. The letterpress in
linotype Palatino is by Dan Keleher at Wild Carrot
Letterpress. The calligraphy is by Jerry Kelly. T. Kurahara,
well-known artist, is Professor of Painting at Pratt. This
is a very beautiful book, with a strong color presence that
comes as a shock upon opening the austere maple binding!
(7892)
43. FitzGerald & Co., Vincent. Rumi,
Jalaluddin Mohammad. Deception. Translated by Zahra
Partovi Illuminated by Elizabeth Harington. New York:
Vincent FitzGerald & Company, 1998. $1,500
Signed,
Limited Edition, one of 50 copies all on hand-made paper by
Dieu Donne, signed by Zahra Partovi and Elizabeth Harington
and hand-numbered in pencil, Page size: 6-½ x 9-½ inches;
24pp. Bound by Zahra Partovi assisted by Kristin Winkler,
exposed stitching at spine, hand-made silver paper imbedded
in pulp-stenciled cover sheets by Dieu Donne over boards,
endpapers of red hand-made paper, with box by Priscilla
Spitler of Hands On Bookbinding. fine. The text is
illuminated with six etchings by Elizabeth Harington, each
cut out with circles, half circles, with silver gilt,
editioned by Alexsandar Duravcevic and Vincent FitzGerald at
D2 Studio. The text is printed letterpress by Daniel Keleher
at Wild Carrot Letterpress in Eric Gill’s Perpetua in three
colors. Calligraphy by Jerry Kelly. Rumi’s verse is
admirably served by the artist who has interpreted the
creation story with aspects of the sun and earth in red and
blue and black with silver gilt and cutouts that reveal
world beneath. Another beautiful book in this special series
of books by Rumi. (6643)
44. FitzGerald & Co., Vincent. Rumi,
Jalaluddin Mohammad. Divan-e-Shams. New York: Vincent
FitzGerald & Company, 1996.
$10,000
Signed,
Limited Edition, one of 50 copies, all on hand-made papers
by Dieu Donne and BFK Rives Page size: 12-½ inches x 14
inches; 112pp; 4 of which are double folds, title page of
incredible beauty and delicacy printed in black, light gray,
and title in gold gilt, verso of half-title page printed in
palladium and black, many pages of verse printed in two
colors, the second color varying each time. Index of first
lines page plus colophon signed by Zahra Partovi in Persian.
Bound by BookLab in ivory linen in Coptic style binding with
brown and gray endpapers that are etchings of various
leaves, and housed in silver silk over boards custom-made
clamshell box, title in palladium on spine, engraved
ornament on front panel of box, fine. Translated by Zahra
Partovi and interpreted by Joan Busing, Sandy Gellis,
Elizabeth Harington, Bernard Kirschenbaum, T. Kurahara,
James Nares, Dorthea Rockburne, Betye Saar, Annette Senneby,
Michelle Stuart, Peter Thomson, Judith Turner, Marjorie Van
Dyke, Joan Vennum, and Susan Weil. Etchings editioned by
Vincent FitzGerald and Marjorie Van Dyke at The Printmaking
Workshop. Lothar Osterburg at Lothar Osterburg Photogravure,
and Lynn Rogan at Lynn Rogan Associates. Lithograph by
Judith Solodkin at Solo Impression. Silkscreen by
Colorgirls. Sculpture editioning by John Depp, Inc.
Letterpress by Daniel Keleher of Wild Carrot Letterpress on
Rives BFK paper. Zahra Partovi’s beautiful Persian
calligraphy is reproduced by offset. This extremely
beautiful book contains original graphic works and one
sculpture (glass laid in to back of custom-made clamshell
box) by 15 artists, some mounted, some on multiple or folded
leaves, some on colored or translucent paper; most signed in
pencil by the respective artist and include etchings by
Marjorie Van Dyke, Elizabeth Harington, Joan Busing, Peter
Thomson, Joan Vennum, Sandy Gellis, T. Kurahara and James
Nares; silkscreens by Susan Weil; photogravures by Michelle
Stuart and Judith Turner; silkscreen and etching by Dorothea
Rockburne; watercolor, collage and glass sculpture by
Annette Senneby; lithograph by Betye Saar; and plotter
drawings by Bernard Kirschenbaum. Etchings editioned by
Vincent FitzGerald (Vincent FitzGerald & Co.); Lothar
Osterburg (Lothar Osterburg Photogravure); Lynn Rogan (Lynn
Rogan Associates), and Marjorie Van Dyke (Printmaking
Workshop); silkscreens by Margo Pelletier (Color Girls);
lithograph by Judith Solodkin (Solo Impression). The glass
sculpture by Senneby, editioned by John Depp, Inc., is
embedded in the case.
Vincent FitzGerald and Zahra Partovi have now collaborated
on nine books presenting the writings of the 13th century
Persian poet, jurist, theologian and teacher of Sufism,
Jalaluddin Mohammad Rumi. One of the central figures of
Islamic culture, Rumi (1207-1273) only recently began to
emerge as a poet of significance to Westerners. Zahra
Partovi, the translator, who now teaches the poetry of Rumi
at The New School for Social Research, is widely
acknowledged as one of the leading interpreters of his work
for English-speaking readers. Her own words on the
significance of Rumi’s poetry explain her work, “...the most
remarkable biographical information about Jalaluddin Rumi’s
life is not the appearance and disappearance of the mystic
Shams, but Rumi’s imperative and conscious decision to make
a change in his career from a Sufi teacher to a poet. Here
the medium is truly the message: the most successful Sufi
teacher of all times with countless devoted followers
chooses to communicate through the path of poetry. This
masterful poet combines philosophy, mysticism, and
psychology in a language so piercing as to enter the realm
of music. It is this element more than any other which has
made Rumi’s poetry so irresistible to readers for over seven
hundred years, even through the fire of translation.”
Many of the artists involved in the complex book have worked
with Vincent FitzGerald and Zahra Partovi on other works by
Rumi - but always those works were more intimate and
featured the art of one artist. For example, Susan Weil
helped created the delicately beautiful book, THE REED, in
1989. Annette Senneby helped create the intriguing ON THE
ART OF PAINTING in 1989. Elizabeth Harington helped create
the formidable DECEPTION in 1998. Other artists featured in
DIVAN-E-SHAMS have worked with Vincent FitzGerald on other
projects: Joan Busing, A WOMAN’S LOVE AND LIFE, T. Kurahara,
TO THE BLUE WALL, Peter Thomson, 10 POEMS OF RIMBAUD, Judith
Turner, PARABLES & PIECES, AFTER, THE PARTHENON PEDIMENTS.
Susan Weil’s many other works with Vincent FitzGerald
include EPIPHANIES, GIACOMO JOYCE, BRIDESHIP AND GULLS,
NUMBERLESS, THE WARRIOR ANT, META MOR FOR THE MOON, BLIND
MAN’S BLUFF, FIVE AUTHORS AND A PAINTER, TENDER BUTTONS, and
recently, SEVEN SECRETS. Daniel Keleher has masterfully
printed almost all the books from Vincent FitzGerald and
Company and Jerry Kelly’s distinguished calligraphy graces
almost all the books.
Working the tradition of the great French publishers of the
livre de peintre, such as Ambroise Vollard, Henri
Kahnweiler, Teriade, and Iliazd, FitzGerald has brought the
20th century art form into the 21st century. With this
assemblage of artists and crafts people, he has presented to
the viewing / reading public some of the most important
texts of our time in elegant and beautiful books.
DIVAN-E-SHAMS is certainly at the top of this list. (6642)
Pre-Codex Text in Pre-Codex Format
45. FitzGerald & Co., Vincent. Rumi,
Jalaluddin Mohammad. Fragments of Light II. Concept and
Design by Kelly Driscoll. Translated by Zahra Partovi.
New York: Vincent FitzGerald & Company, 2004. $3,000
One of
35 copies, each copy consisting of 7 plates of Depp Glass,
each plate with a laser etch of the English translation of
the verse of thirteenth-century Sufi philosopher and poet,
Rumi. There is, as well, a laser etch of the original
Persian verse. Laser etching accomplished by Laser Edge
Designs. Each plate of glass is 6-½ x 9-½ inches. The
concept and design for this book sculpture is by Kelly
Driscoll. The type for the English translation is Diotima.
The calligraphy is by Jerry Kelly. The printed colophon is
by Wild Carrot Letterpress. Housed in a pale sea-green suede
box with fall-down sides and held together by magnets
imbedded in the box sides, fine. This is an extraordinarily
beautiful book with the laser etch on each tablet visible
through to the bottom from the top. The subtlety of the
designs created by this assemblage is breathtaking, and the
play of light through the glass captivating. Of course, the
idea of a pre-codex text being made available in a
contemporary pre-codex form seems miraculously simple;
rather it is simply miraculous. Known for publishing the
finest of contemporary artist’s books, Vincent FitzGerald &
Co., has once again created a thing of intriguing beauty.
Selected for inclusion in Wellesley College’s catalogue and
exhibition RESONANCE AND RESPONSE (2005). (9385)
46. FitzGerald & Co., Vincent. Rumi,
Jalaluddin Mohammad. Gazelle in the Donkey Stable.
New York: Vincent FitzGerald &Co., 1999.
$1,500
Signed,
limited edition, one of 50 copies all on hand-made paper by
Paul Wong at Dieu Donne Papermill, hand-numbered and signed
in pencil by the translator, Zahra Partovi and initialed by
the artist, Aleksandar Duravcevic. Page size: 9-5/8
inches x 6-½ inches; 16 separate leaves, + 4 leaves with two
overlays, lithograph and etching on each over lithograph.
The etchings were accomplished by the artist at D2 Press and
the lithographs by Kelly Driscoll at D2 Press. The text is
set in Bauer Bodoni and Feliciano and printed letterpress by
Daniel Keleher at Wild Carrot Letterpress. Bound by Zahra
Partovi in leporello style fold-out with wood panels at each
end, housed in custom-made black cloth clamshell box by
Priscilla Spitler, Hands On Bookbinding, title printed on
gray label on front of box in red and black, fine. The text
is printed 3 times: in black, in blind, and in gray, on
three different papers. The images are also repeated on 3
papers in 3 formats and the effect is subtle but powerful.
(9551)
47. FitzGerald & Co., Vincent. Rumi,
Jalaluddin Mohammad. Lover Beloved (From the Masnovi)
Translated by Zahra Partovi with Etchings by T. Kurahara.
New York: Vincent FitzGerald &Co., 2000. $3,000
Signed
limited edition, one of 50 copies, all on Apta Verge Royal
paper by Richard de Bas, hand-numbered and signed in pencil
by the artist, T. Kurahara and the translator, Zahra
Partovi. Page size: 9-½ inches x 6-½ inches; 27pp; +
colophon, with four separate suites of etchings by T.
Kurahara, each measuring 9-½ inches x 38 inches when
unfolded (6 folded leaves). Each of the four suites is on
paper etched on the reverse - one in gold, one in deep
brown, one in lighter brown, and one in brick. These are
laid into the bottom of the custom-made blue cloth clamshell
box, each of the inner trays lined with color-field etch in
gold with brick line on brown and reddish-brown with brick
line on red. The clamshell box is lettered in palladium gilt
on the spine with the title. The book is bound in blue cloth
by Zahra Partovi. The binding is a long stitch technique
using only one piece of thread - a periwinkle blue, visible
on the spine in five different lengths on top and bottom
with title stamped in palladium gilt on front panel. There
are four original etchings in the bound book as well as the
suite. Again, these are color field etchings and the artists
has interpreted this part of the MASNOVI by the times of day
at which the tale is set: early morning, mid-day, dusk and
evening with corresponding colors - moving from light pink
to inky blue-lavenders. The text has been printed
letterpress by Daniel Keleher at Wild Carrot Letterpress in
Aldus by Hermann Zapf in black and in light gray for the
Persian calligraphy by Zahra Partovi (from polymer plates).
The two color printing is a masterpiece in itself with the
moving English translation by Ms. Partovi above and below
each line of Ms. Partovi’s lovely calligraphy. The title
page is printed in red and black with the blue thread
exposed and knotted in the gutter of the title page. Jerry
Kelly has accomplished the calligraphy on the title page.
The etchings were editioned at D2 Press by the artist. The
moving text cannot be summarized but must be experienced -
preferably in the profoundly beautiful setting of this book.
It is an aesthetic experience to savor. (9552)
48. FitzGerald & Co., Vincent. Rumi,
Jalaluddin Mohammad. On the Art of Painting. Interpreted
by Zahra Partovi. With 26 line etchings by Annette Senneby.
New York: Vincent FitzGerald & Company, 1989. $2,500
One of
50 copies only, each on Rives Johannot and Dieu Donne
handmade paper, signed by both Partovi and Senneby on the
colophon. Page size: 6-½ x 9-½ inches. Illustrated by the
noted Swedish sculptor, Annette Senneby, with a continuous
etched line that extends across the box housing the book,
across the covers and endpapers and on each page of text, in
white on the mottled endpapers lining the box and the
endpapers of the book, in charcoal gray on the white text.
The line crosses the pages in various directions - now going
diagonally up, now down. The strong etched line can be seen
through the pages forming a ghostly pattern on the viewed
page. This mirrors Rumi’s parable of the painting contest
between the ancient Greeks and Chinese. The text is repeated
in Persian calligraphy after the English text, divided by a
rust-colored paper insert, but the etched line continues.
The text is printed in gray ink by Daniel Keleher at Wild
Carrot Letterpress. The etchings were accomplished by
Marjorie Van Dyke and M’Lis Bartlett at The Printmaking
Workshop. The Persian calligraphy is by Zahra Partovi. Bound
by Zahra Partovi: black silk with blind etched line on both
covers, rust-colored gray endpapers with white etched line,
sewn with Persian signature on the diagonal as are the
covers, forming a trapezoid. Housed in a black linen
trapezoid box with a steel panel set into both covers
covering the entire surface but for a small border. The
steel panels are etched with a continuous line. The book has
a sculptural feel about it; yet it is still the printed work
in book form that can be held and read. Rumi’s parable is
set off by the simplicity of the book’s conception and
design. (2786)
49. FitzGerald & Co., Vincent. Rumi,
Jalaluddin Mohammad. The Reed. Translated by Zahra
Partovi. Etchings by Susan Weil. New York: Vincent
FitzGerald & Company, 1989. $3,500
One of
50 copies only on handmade J.B. Green paper, each copy
signed by the artist and translator. Illustrated by Susan
Weil with 18 original hand-colored line etchings, mirrored
on verso in colored mezzotints by Shigemitsu Tsukaguchi. The
text was hand printed by Dan Keleher at Wild Carrot
Letterpress in Diotima type by Gudrun Zapf-von Hesse with
calligraphy by Jerry Kelly and Zahra Partovi. Page size: 9-½
x 6-½ inches, 24.5 x 16.4 cm. Bound: gray Dieu-Donne
handmade paper over boards in Japanese style binding, title
in silver gilt on lighter gray paper label bordered in green
paper on front cover. Housed in matching gray Dieu-Donne
paper folding box with ebony and silk ribbon closure.
This poem of the thirteenth century Persian poet is
translated into English by Zahra Partovi. The original
Persian text is also printed (offset from Ms. Partovi’s
calligraphy). The book reads front to back in English and
back to front in Persian in an accordion-style binding. The
English text is printed in slate gray over the delicate
grey-green lines of the etch on gray paper. The Persian text
with its calligraphy is printed on the gray paper. Ms.
Weil’s illustrations are of reeds with one or two stalks per
page. The top quarter of each page is cut away leaving only
the tops of the reeds on each page forming a
three-dimensional bouquet — no matter what page or language
the book is opened to! Classic in its simplicity, yet
elegant in conception and execution, this is one of the most
subtle books from the best publisher of livre d’artiste
working today -Vincent FitzGerald. Featured in the
exhibition “Jewels in her Crown - Treasures from Columbia
University Libraries Special Collections.” (2751)
Metamorphic Card Game
50. FitzGerald & Co., Vincent. Weil,
Susan. Blind Man’s Bluff. New York: Vincent
FitzGerald & Co., 1997. $1,500
One of
50 copies, all on Fabriano Artistico paper, each signed by
the artist on the colophon. Page size: 4-7/8
inches x 4-7/8
inches; 31 individual leaves (cards) including “Joker” and 2
“Wild Cards,” title page, and colophon. Bound: housed in red
cloth clamshell box by BookLab with title printed in silver
gilt on front cover, new. The calligraphy is by Jerry Kelly
who has printed it letterpress at Kelly / Winterton Press.
There are 59 etchings of body parts - some hand water
colored - by Susan Weil from her drawings that were
blind-drawn on copper, a technique that Weil has used for
more than 50 years. The double-sided cards can be shuffled
and dealt in any pattern, which contributes to the humorous
possibilities in the title pun. Further, the cards can be
re-arranged by simply turning them over, creating a new
figure. The simple line etchings become incredibly
complicated upon closer inspection. Playful and sly,
touching and always imaginative, Ms. Weil gives us her
unique view of the human condition, touching on varieties of
emotions and stages of life, with an artist’s eye. (9654)
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