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91. [Perishable Press] Olson, Toby.
Reading. [Madison, WI]: Friends of Typography, 1992. $375
Signed
Limited Edition, one of 150 copies, 97 of which were
designated for sale as a benefit project, all on Nideggen,
Frankfurt cream, and Tobi papers, each signed by the author,
Toby Olson, on last page. Page size: 7 inches x 5 inches;
19pp. Bound: concertina style in original gray wrappers of
hand-made paper from the 1313 mill with original three-panel
collage of stamp fragments in glassine envelope fragments
that have been perforated and otherwise manipulated,
fragments of maps, blind stamps, onlays of various papers
and gray rules, notched cutout with underlay of colored map
fragment visible beneath the translucent ivory paper, fine.
Designed and printed letterpress under the direction of
Walter Hamady with nine of his students over two-plus
semesters. Hamady tells the reader / viewer in his
Introduction that READING “is a celebration of reading and
transpositions there caused...the recurring discussions
(about making this book) seemed to conclude deja vu that the
text itself should answer and guide all questions in the
quest for appropriateness.”
The poet, novelist and essayist Toby Olson (1937-) has
published over twenty-two books of poetry as well as works
of fiction including the PEN/Faulkner Award-winning SEAVIEW
(1982). His work is defies easy categories, yet it is
accessible making it a perfect fit with Walter Hamady.
Olson’s essay on reading - where it will take you - provides
the perfect vehicle for a text-driven Hamady book. A
pleasure to hold, to view and to read, this is a little gem.
(9834)
92. Perishable Press. Ondaatje,
Michael. Two Poems. [Mt. Horeb, WI]: Perishable
Press, 1986. $200
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First
Edition, one of 275 copies, broadside folded in thirds, all
on Tergiverse Shadwell gray-green paper, all signed in
pencil by the author, Michael Ondaatje, on the verso of the
last fold. Five copies reserved for Woodland Pattern.
Printed in black, blue and brown as triple-fold broadside
with title on first fold, “All along the Mazinaw” on second
fold, and “Birch Bark” on third fold. Page size: 22 inches x
9-¼ inches folded to 5-½ inches x 9-¼ inches. Printed
letterpress in Vintage Sabon by Walter Hamady, fine. (9835)
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93. Peter, Sarah. Don’t Care.
[New York: By the Artist, 1994]. $350
First
Edition, one of 35 copies, all on Fabriano Ingres paper,
each signed and numbered by the artist. Page size: 2-1/8
inches x 11-5/16
inches. Bound: oriental fold, front and back boards covered
in Moriki dark mauve-brown paper with “open” printed in
black with a red arrow on front foredge
3/8
inch x ½ inches; housed in bemboka oatmeal paper case with
flaps and elastic band. Illustrated with eight one-color
etchings. The artist, a collector of buttons, has presented
them here in all their intriguing variety. Printed one per
page in Van Dyck brown and matching the cover color, they
are brightened by the addition of colored threads that
pierce the paper appear to sew them to the page. By
featuring these valued fasteners, the artist reveals the
fallacy in the expression that provides the book’s only
text: “Don’t care” on the first page and “a button” on the
last. (8236)
New from Sarah Plimpton
94. Plimpton, Sarah. Hand Over
Hand. [New York: 2006]. $950
One of
15 copies, all on Arches and Hosokawa Ohban papers, each
hand numbered and signed by the author / artist / printer,
Sarah Plimpton, in pencil on colophon page. Page size: 7
inches x 10 inches; 30pp. Bound by Claudia Cohen: wrappers
of gray handmade paper, sewing exposed on spine of red linen
thread, also visible in the gutters of text pages, label
printed on red Japanese paper with author’s name and title,
fine. Containing 8 original woodcuts, 7 of which are in
black; the 8th is in red. Printed letterpress in Dante by
Brad Ewing at The Grenfell Press in New York, this prose
poem explores a man-woman relationship always against a
background of great natural beauty. The words themselves
take on the organic feel one associates with nature writing.
Throughout the book, the artist / author juxtaposes sharp
images, angular and geometric, that intrigue and refer back
to the letters on the printed page - making the soft,
intimate words seem all the more piercing. (9833)
95. Plimpton, Sarah. The Over and
Over. New York: 2002. $750
| First
Edition, one of 20 copies, signed and numbered by the artist
/ author, all on handmade Arches. Written, designed,
illustrated and printed by artist Sarah Plimpton. Page size:
11 inches x 7-¾ inches; 20pp. Bound: loose folios gathered
in handmade black paper wrapper; custom made clamshell case
in mustard cloth by Claudia Cohen, fine. Poems printed at
the Manhattan Graphics Center and at the Grenfell Press in
Spectrum; aquatints printed by Peter Pettengill in Hinsdale,
New Hampshire; title letterpressed on paper label on cover
of wrapper, and on paper label on box spine. Shades of gray
and mauve color the abstract designs shadow Plimpton’s
thoughtful verses. (9236) |
 |
96. Poehlmann, JoAnna. Art Nose.
[Milwaukee, WI]: 2005. $850
Artist’s
book, one of 15 copies, all on one-ply Strathmore paper,
signed and dated in pencil by the artist on the front
pastedown. Page size: 5 inches x 7 inches; 43 pages. Bound
by the artist: blue paper over boards, front cover with a
detail of Magritte’s “The Beautiful Relations” with a
plastic nose pencil sharpener protruding from the cover,
tied with white twill with a “real museum pencil” provided
at the spine. Hand lettered and hand collaged by the artist
with color copies of art and postage stamps. The artist’s
statement tells us the book resulted from discovering a nose
pencil sharpener in the gift shop of the Whitney Museum. The
text consists of various sayings about the olfactory sense.
Brillat-Savarin, “For unknown foods the nose acts always as
a sentinel and cries, ‘Who goes there?’” Shakespeare,
“Though authority be a stubborn bear, yet he is oft led by
the nose with gold.” Proverb, “Keep your nose to the
grindstone.” Orwell, “To see what’s in front of one’s nose
needs a constant struggle.” The images vary from an Aztec
pendant to Magritte to Archimboldo to Steinberg - and
delight and amuse. (9593)
97. Poehlmann, JoAnna .
Cancelling Out (from the Stamp Collection) A Compilation of
Last Words and Grave Observtions. Milwaukee, WI: 1988.
$1,200
One of
10 copies only, each signed and numbered by the artist, all
on Strathmore laid paper. 96 accordion pages. Bound: card
stock with title hand-lettered by the artist and with a
stamp from Belgium. Housed in brown micro wood coffin-shaped
box made from veneer, lined in pink padded satin - the book
fits into the coffin. The text is hand lettered in pen and
ink and each page is illustrated with a postage stamp that
has been color Xeroxed and perforated on a sewing machine.
Among the authors represented, “If you will send for a
doctor I will see him now.” Emily Bronte. “Get my swan
costume ready.” Anna Pavlova. Interesting - and not morbid.
New. (8909)
98. Poehlmann, JoAnna. Spot, or
Goodnight, Sweet Prince. [Milwaukee, WI: 1997.
$350
One of
25 copies only, each signed and numbered by the artist. Page
size: 4-½ x 5-½ inches, 16 accordion fold pages. Bound:
green hand-painted Arches paper over boards decorated with
black spots, deckle edge, black gros-grain ribbon marker.
The artist has copied her own pencil studies of a frog on
mi-tentes paper and hand painted each with watercolors. The
text is both letraset and hand lettered in pencil. JoAnna
Poehlmann adds bold text below the images of frog, “See
Spot.” “See Spot Sing.” “See Spot Snack.” “See Spot Nap.”
etc. Surrounding the image of the frog on each page, she has
hand-written notes on the “Rana Pipiens” also known as
Meadow Frog, Leopard Frog, Water Frog and Grass Frog,
including size, mating habits, food sources, hibernation
patterns, habitats, etc. Along with that she has added,
“it’s not easy being green” and “some day my princess will
come” etc. This humorous look at the amphibian ends
seriously and soberly with, “but WAIT! from the past - See:
Galvani’s experiments, the frog leg recipes, the Biology
class dissections, the lost wetlands, and now the thinning
ozone... See spot jump ...no more.” Followed by an image of
a very dead frog. (9239)
99. Poehlmann, JoAnna. Under
Cover (The Naked Truth). [Milwaukee, WI]: 1992.
$1,500
 |
One of
10 copies, all on one-ply Strathmore, signed and numbered by
the artist on the colophon page. Hand-lettered with quotes
from various texts - “Adam whilst he spake not, had paradise
at will.” William Langland The Vision of Piers Plowman; “And
Adam was a gardener...” Shakespeare Henry IV; “The serpent
deceived me and I ate.” Genesis 3:13. Hand collaged with
color copies of various paintings, cuts, postage stamps, and
botany. 30pp; page size: 7-3/8
inches x 5-3/8
inches with a small book on botany bound in: 10pp;
5-½ inches x 4 inches. |
The smaller inserted book contains eight
(8) varieties of fig leaves - from the over 700 known. The
originals were gathered from the Mitchell Park Conservancy
in Milwaukee and reproduced herein. The covers are handmade
French paper in pale green; the front cover has a fig leaf,
copied, cutout and laid on French handmade paper and
attached at stem only. The fig leaf lifts up to reveal the
title hand-written underneath. Wrappers attached with dark
green grosgrain ribbon. Bookmark of dark green grosgrain
ribbon with carved wooden apple (already eaten so that only
core remains) at end. Fig leaves and apples and Adam and Eve
- and just some of the things said about them. (9312)
Pop Up Book
100. Red Angel Press. Crane, Hart.
Three Poems from The Bridge. [Bremen, ME: Red Angel
Press], 2004. $900
Limited
Edition, signed by the artist and designer, Ron Keller, one
of 100 copies, the poetry on Saunders Waterford paper and
the title page and illustrations on Sekishu. Page size: 12-½
inches x 7-½ inches, oblong octavo. Bound: beige linen cloth
with painted silver lines resembling cables of Brooklyn
Bridge. Text hand set and printed letterpress in American
Garamond 648 for the poetry, Garamond Italic for the text
and Caslon 471 for the title. The text is printed in black
and the title page and colophon in a gray green. Keller has
chosen to reprint three poems that strongly use the imagery
of the Brooklyn Bridge. The book is presented in a
horizontal format reflective of the span of the bridge. The
first two poems, “Cutty Sark” and “Atlantis” are illustrated
with three relief print images of the bridge’s interesting
stone arches and steel suspension cables. These images are
each printed in six colors in a style reminiscent of early
20th century poster graphics. The third poem, “To Brooklyn
Bridge” is printed on four hinged leaves that extend to 42
inches when opened. This poem’s typographic layout forms the
bridge’s roadway and is bordered by a depiction of the
suspension cables - the poet’s “choiring strings!” - that
rise up from the pages when opened. An elaborate and
imaginative design from Red Angel Press honoring one of New
York’s most recognizable landmarks. (9540)
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| 121-130
| 131-140
| 141-148
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