Joshua Heller Rare Books, Inc. Washington DCCATALOGUE THIRTY-FOUR

Spring 2007

JOSHUA HELLER Rare Books, Inc.P O Box 39114 Washington D C 20016-9114 U S A

Telephone: 202/966-9411 Fax: 202/363-5658E-Mail: HellerBkDC@aol.com

www.joshuahellerrarebooks.com

Catalogue Thirty-Four - Spring 2007

Conditions of sale:

All items listed in this catalogue are offered subject to prior sale.Each item has been carefully described as to condition. Any purchase may be returned within ten days after its receipt;

if unsatisfactory for any reason - safe return shipment is client's responsibility.Payment terms for new clients are "remittance with order" or from our pro forma invoice.A finance charge of 1.5% per month will be added to all bills not paid within thirty days of the date of invoice.Libraries and institutions will be accommodated by special billing on request.Prices are net, in U.S. dollars. Postage and handling are extra on all orders.Overseas orders will be shipped airmail unless otherwise arranged.D.C. residents will be charged 5.75% Sales Tax.Possession of title remains with Joshua Heller Rare Books, Inc. until books are paid for in full.We purchase single volumes, collections, or libraries in our field of interest.We are pleased to welcome visitors by appointment and are centrally located near convenient bus and Metro stops.

We accept Visa and Mastercard © Joshua Heller Rare Books, Inc. 2007. Photography - Neil Greentree.

No. 96.

Gaylord Schanilec – poet, author, lecturer, printer & illustrator -

30 years of achievement

After more than 20 years in promoting the Book Arts – especially fine printing and artist’s books, we have by way ofour catalogues paid homage to printers and artists who we feel have made a serious and notable contribution to theart of the book.Preceding this homage to Gaylord Schanilec, whom we honor in this catalogue, we have over the years noted the workof master printer Antonio Frasconi (on his 75th birthday) – [Winter 1994 catalogue]; Claire Van Vliet – after 40 years ofpublication of artists’ books under the imprint of the Janus Press - [Spring 1995 catalogue]; Leonard Baskin on his 73rdbirthday - [Fall 1995 catalogue]; and Susan Allix honoring her achievement of 30 years of publishing more than 40books under her own imprint - [Summer 2004 catalogue].For many years, we have been aware of Gaylord Schanilec’s unique illustrative style and his special expertise in theexecution of his fine limited edition books. However, it was only after Gaylord’s Artist-in-Residence time at theGregynog Press in Wales (1993/94) with his very beautiful images from the moving and monumental Walt Whitman’sWrenching Times that we realized he was an important figure in the world of fine press work with his powerfulimagery. Today, his work, which combines his skill as a printer with that of an artist, continues to go from strength tostrength with each new publication. His latest work, Mayflies of the Driftless Region, bears out this observation.Gaylord has had an illustrious career for over 30 years, as a published poet (The Mainstreeter, December 1973), author,lecturer, printer and illustrator. He has received numerous awards, including three Awards of Excellence (1983, 1987and 1989) from the American Institute of Graphic Arts. He was faculty member at the Minnesota Center for Book Arts(1990-1998) and the Penland School, North Carolina, (1997 & 2003). He has spoken to the U.K. based DesignerBookbinders and the prestigious Double Crown Club in London, 2005. He was awarded the Carl Hertzog Award in2006.Schanilec has participated in numerous exhibitions featuring fine printing and Artists’ books in the U.S.A. and in par-ticular the exhibiting of his beautiful New York & New York Revisited at the Grolier Club in New York in 2002. His workis represented in fine collections, including the Victoria and Albert Museum, the British Library, the Bodleian Libraryat Oxford, Yale University, Harvard University, the Walker Art Center, the Grolier Club and the Getty Museum.We hope that with the over 40 entries that follow, our homage to an important contributor to the Book Arts will con-firm our assessment of Gaylord Schanilec as a major force in the production of the ‘book beautiful’ in the U.S.A. today.

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No. 9.

The Books -Gaylord Schanilec and his Midnight Paper Sales Press

Midnight Paper Sales: Early Books. Four booklets, three pieces of ephemera with three business cards. Laid in a beigelinen dropback box with paper title label on spine. Box - 9” x 6”. All fine. $650.00Includes the following four booklets:Midnight Paper Sales. n.p. 4.75” x 8.5”. First book with the use of Midnight Paper Sales. Relief collographs on bluepaper. Cream wrappers with title and illustration on front. Sewn spine. No. 2 in an edition of 25 copies, dated ‘3-13-80’ and signed ‘Gaylord.’ On Returning. [Poem by] Gaylord Schanilec. Midnight Paper Sales Press. 1981. n.p. 6” x 4.75”. Blue title paper wood-cut. Hand-printed at Midnight Paper Sales Press. Grey endsheets with dark blue wrapper with small reproduceddrawing on the front cover. Sewn spine. One in an edition of 70 copies, signed by ‘Gaylord’. Fine. Included is a sheettelling of how Schanilec was inspired to write this poem. One Angel Then. {Poems] By Deborah Keenan with two original prints by Gaylord Schanilec. Midnight Paper SalesPress. Saint Paul. [1981.] n.p. 6.75” x 5.25”. Designed and handprinted by Gaylord Schanilec. Illustration in blue whiteand green. White wrappers with black title and blue angle on front, covered in glassine. In an edition of 280 copies,this is one of 220 regular unsigned copies. Poems from Last Summer. [By] Robert Scott. Midnight Paper Sales Press. 1982. n.p. 6.5” x 5”. Small title page color reliefcollograph. Four-page fold-out color centerfold relief collograph. Designed and printed by Gaylord Schanilec on creampaper. Light tan textured wrappers with illustration in blue on front. Sewn spine. An edition of 120 copies.

2. Buffaloed. Five woodcuts and a few words. ByGaylord Schanilec. Midnight Paper Sales Press. [1983.Saint Paul.] n.p. 11.5” x 8”. Hand-cut text. Fivetipped-in black and white woodcuts - four of a buffa-lo and one of a young man. Tan handmade paperboards; black cloth spine with paper title label. No. 51in an edition of 100 copies. Fine. $175.00

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No. 1.

No. 2.

High Bridge. Ten Wood Engravings of Demolition with Nine Stories of Construction. [Midnight Paper Sales. Saint Paul. 1987.]20p. 10.75” x 7.75”. Color wood engravings by Gaylord Schanilec began with a series of photographs taken during afinal walk around the bridge. Each engraving was printed in five to seven colors using three to five different blocks.Designed and printed by Schanilec at Minnesota Center for Book Arts. Text type is Plantin Monotype. Handbound atthe Campbell-Logan Bindery in grey cloth with paper title label on front and spine. No. 113 of 174 numbered copies,in a total edition of 200 copies. Pencil device of Schanilec on colophon page. Fine. Scarce. $1250.00Includes several proof sheets of text and wood engravings.This book received an Award of Excellence from the American Institute of Graphic Arts.Schanilec writes in the colophon: “The High Bridge was demolished on February 24, 1985. The wood engravings ...began with a series of photographs taken during a final walk around the bridge.” The superb wood engravings are aworthy tribute to a much loved bridge.The text was taken from stories that appeared in the St. Paul Daily Globe and the St. Paul Pioneer Press during thebridge’s construction from 1887 to 1889. ... While minor liberties were taken to meld the stories together, they remain,for the most part, historically accurate. - Colophon.

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No. 3.

Farmers. Wood Engravings - Interviews. [By Gaylord Schanilec.] Midnight Paper Sales Press - Stockholm. 1989. 62p. 10.5”x 7”. Designed and hand printed in Joanna on Mohawk Superfine by Gaylord Schanilec. Four double-panel colorwood engravings plus a smaller title page engraving were done in six colors using six separate end-grain maple blocks.Text derived from recorded interviews conducted by Gaylord Schanilec and edited by Clayton Schanilec. Bound in tancloth with paper title labels on front and spine. No. 57 of 174 copies thus, in a total edition of 200 copies. Pencil deviceof Schanilec on colophon page. Small marks on front cloth, not detracting from the overall fine condition. Scarce.[See illustration bottom of page 14.] $950.00Includes Prospectus and other proofs with illustrations and text. This project was made possible with funds from theJerome Foundation provided through the Minnesota Center for Book Arts.

5. The Bread of this World: Praises III. [Poem by}Thomas McGrath. Midnight Paper Sales.Wisconsin. 1992. 18p. 8” x 12”. Set in GoudyCatalogue and printed on Mohawk Superfinepaper. Color wood engraving by GaylordSchanilec. Japanese sewn into Arches covers. Bluecloth slipcase with silver cloth trim; paper titlelabel on one side. No. 174 of 210 copies. Fine.Prospectus included. $150.00Thomas McGrath was born near Sheldon, NorthDakota in 1916 and died in Minneapolis in 1990. McGrath’s poem celebrates the depth and color oflife. The book itself is a tribute to both the poemand the poet.- Prospectus.

One of only Four Sets of Progressive Proofs

6. Wedding Barrels. Progressive Proofs. Color woodengraving and text for Wedding Invitation byGaylord Schanilec. Midnight Paper Sales. 1992. 8.75”x 6”. 3 Progressive Proofs plus one double fold withcolor wood engraving on the front of two water bar-rels and text for the Wedding Invitation on the inside.Laid in a blue cloth box with paper title label onspine. No. 2 in an edition of 4 sets signed by GaylordSchanilec. Fine. $600.00

7. A House in the country. Four essays by Mary Logue.Illustrated with wood engravings by GaylordSchanilec. Midnight Paper Sales. Minneapolis. 1994.72p. 10” x 7”. Four multi-color wood engravings.Designed and handprinted by Schanilec on Zerkall

mould made paper. Graycloth spine, paper titlelabel, floral embossedgreen cloth boards. In anedition of 250 copies, this isone of 200 numberedcopies thus, signed byLogue and Schanilec. Fine.Scarce. $450.00Includes proofs of titlepage, some illustrationsand text.The essays document thetrials of renovating an oldSwedish farm house aswell as observations on lifein a small town in ruralAmerica (Wisconsin.)

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No. 5.

No. 6.

No. 7.

YTWOK: A Chronological Miscellany of Images Engraved in Wood by Gaylord Schanilec for Books during the SecondMillennium Including the First and Last. Midnight Paper Sales. 1999. n.p. 10.25” x 7”. 10 color and black and white woodengravings. Printed on Mohawk Superfine high finish and Vergatona Buff laid. Printed and bound by GaylordSchanilec in Curwen Press pattern paper over board, black cloth spine with paper title label. One in a numbered edi-tion of 99 copies, signed by Gaylord Schanilec. Fine. $250.00Includes a loose folder of proof title page and prints from the book.

Emerson G. Wulling: Printer for Pleasure. Text mainly from conversations with Mr. Wulling by Gaylord Schanilec.Introduction by Robert Rulon-Miller. Midnight Paper Sales. 2000. 71(1)p. 14.5” x 9.5”. Examples of his work printedfrom his original line-cut blocks, archivalink-jet reproductions of his printing andtwo pieces printed by Mr. Wulling himself.Seven color wood engravings by GaylordSchanilec. Printed on Hahnemühle mould-made paper. Bound in blue Fabriano paperwith a black pattern; brown cloth spinewith leather title label. Blue Fabriano slip-case with brown cloth trim. One of 140numbered copies bound thus in a total edi-tion of 166 copies. Signed by GaylordSchanilec. Fine. Prospectus included.

$445.00Examples of his work printed from his orig-inal line-cut blocks, archival ink-jet repro-ductions of his printing and two piecesprinted by Mr. Wulling himself. Seven colorwood engravings by Gaylord Schanilec. Includes a complete checklist of Mr.Wulling’s printing. The printing ofEmerson Wulling , a retired English profes-sor and a lover of books, consistently dis-plays a lively sense of humor and a cleverliterary wit. He carried on correspondencewith numerous important people in thebook world.[See illustration on page 1.]

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No. 8.

No. 9.

Ernest Morgan: Printer of Principle. Compiled by Gaylord Schanilec. Midnight Paper Sales. 2001. 44(4)p. 14.25” x 9.5”.Introduction and Afterword by Will Powers. Reproductions, color wood engravings and tip-ins throughout, as well astwo pieces of printing produced by Morgan himself. Printed by Gaylord Schanilec on Mohawk Superfine paper. Textset in Poliphilus with Blado Italic. Bound at Midnight Paper Sales in patterned black cloth with grey leather spine; sil-ver title on spine. Black cloth dropback box with gray and silver paper title label on spine. One of 26 specially boundcopies with a bound grey board portfolio containing an extra copy of a portrait of Ernest Morgan and archival ink-jet reproductions of the working materials involved in the portrait’s development, as well as four bookplates pro-duced by Ernest Morgan. Fine. Last copy. $850.00Prospectus included.Gaylord Schanilec writes in his Acknowledgments: “The text for this book was transcribed from the tapes of an inter-view that I conducted with Ernest Morgan at his North Carolina home in the summer of 1997. ... Ernest Morgan was

ninety-two years old when I visited him. Thestories of his exploits were polished by yearsof telling. At times he would launch into astory he had already told, and it would beidentical, word-for-word, to the first telling.He was also bubbling over with ambitiousideas and schemes, but seemed frustrated thatage had robbed him of the ability to carry outmany of them. Still, he carried himself withelegance and grace. Above all, he was proudto be a printer. Ernest Morgan died in hishome on the morning of October 1, 2000.”

11. Ernest Morgan: Printer of Principle. ... Asabove. Grey Fabriano paper over boards withblack cloth spine; paper title label. GreyFabriano slipcase with black cloth trim. No. 93in an edition of 200 thus, signed by GaylordSchanilec in pencil. Fine. $225.00Prospectus included.

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No. 11.

Ink on the Elbow. Conversations between David Esslemont & Gaylord Schanilec. Introductions by J. Andrew Armacost& David Chambers. Midnight Paper Sales & Solmentes Press. 2003. 153p. 13.5” x 9.5”. Printed on Zerkall mould-madepaper in Cronos. Tip-ins and illustrations throughout. Linocuts are by David Esslemont, and the panoramic engrav-ing Looking North from Dragon Ridge by Gaylord Schanilec. Bound in cream linen spine and edges with paper titlelabel on spine; blue paste paper overprinted with text on both back and front boards. Blue endpapers. Cream linenslipcase. No. 176 in an edition of 200 copies. Fine. $480.00Technical competence, lively correspondence and good illustrations combine to make this a very fine book.

One of only Four sets -From the book Ink on the ElbowLooking North from Dragon Ridge. [Wood engraving by] Gaylord Schanilec. One of Four Sets of Progressive Proofs.Midnight Paper Sales. 2004. 14” x 18.75”. Ten states of the proof, with the final proof signed by Schanilec and num-bered. Signed by Schanilec on the title page. Laid in a blue cloth dropback box; paper title label on spine. Fine. A stun-ning set. $2500.00

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No. 12.

No. 13.

14. Excerpts from a Wisconsin Childhood. BySuzanne McNear. With wood engravings byGaylord Schanilec. Midnight Paper Sales.1997. 17p. 6.75” x 4.5”. Hand-set, printed andbound by Ruth Raich and Gaylord Schanilec.Blue marbled paper boards; blue cloth spinewith paper title label. Navy cloth slipcase. Anedition of 120 copies. Signed by SuzanneMcNear and Gaylord Schanilec. Fine. $200.00Includes Proof title page plus folded proof ofseveral pages.

15. Bad Beat: With Joe Crow's Rules for Poker andLife. By Pete Hautman. Wood engravings byGaylord Schanilec. Minneapolis. 1998. 56p. 7"x 4". Seven multiple-color wood engravings

printed from mapleblocks. Hand-set inGaramond with Ratdolttitling, hand-printed onZerkall mould-made, bySchanilec. Bound in blackand gold patternedboards, red cloth spine.Blue paper board slipcasewith color illustration ofplaying card. Edition of200 numbered copies,signed by Hautman andSchanilec. Fine. $150.00First book in the LittleBook Series. Scarce.Includes Proof title andother pages."Novelist Peter Hautmanis a player. Early one

morning the rest of us were moving as quickly as we couldtoward home. Pete, however, stood thoughtfully analyzing thegame - who won, who lost, and why. This was my introductionto Pete Hautman." - Schanilec.

16. I Will eat a Piece of the Roof and You can eat the Window. [By]John Dufresne. With Wood Engravings by Gaylord Schanilec.Midnight Paper Sales. 1999. 64p. 6.75” x 4.25”. Handset inJohanna with Delphian Open Titling and printed on Zerkallmould-made paper by Gaylord Schanilec. Three full-page,multicolor wood engravings with initial letters to open thethree section and also a two-panel engraving for the title page.Bound in red, orange, black and white Curwen Press patternedpaper with black cloth spine; paper title labels on both frontand spine. Orange board slipcase with navy cloth trim. One inan edition of 220 copies signed by John Dufresne and GaylordSchanilec. Fine. $120.00Includes Prospectus and some proofs of illustrations and text.

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No. 14.

No. 15.

No. 16.

The Coriolis Effect. [By] EdwidgeDanticat. Midnight Paper Sales.Stockholm, Wisconsin. [2002.]56p. 7” x 5”. Hand set inWalbaum and printed on Zerkallpaper. Twelve wood numeralsilluminated in color withengraved wood blocks byGaylord Schanilec. Bound inboards covered with blue andgrey paper marbled for the edi-tion by Carol Scott. Paper titlelabel on spine. One in an editionof 170 copies, signed by EdwidgeDanticat and Gaylord Schanilec.Fine. $98.00Includes Prospectus and someproofs of illustrations and text.“Twelve short pieces of prose inspired by lessons in an English as a Second Language workbook.” - Prospectus.

A fine gathering showing Schanilec’s excellence as printer and artist

A Miscellany of Ephemera Produced by Gaylord Schanilec - 1978-2003. 15” x 10.5”. Over 70 items, including prospectuses,invitations with envelopes, business cards, theatrical programs, announcements, etc. In a blue cloth dropback box withpaper title label on spine. One of Ten sets assembled at Midnight Paper Sales in addition to one held at the Universityof Minnesota and another in private hands. December 2006. Signed on the title sheet by Gaylord Schanilec. $950.00

The Intruder. [By] Clayton Schanilec. Midnight Paper Sales. 2004. 19(1)p. 7.5” x 5”. Printed by Gaylord Schanilec onZerkall paper. Title page triple fold-out panoramic wood engraving on blue paper in blue, black, green and grey byGaylord Schanilec. Bound by Gregor Campbell with deep blue slubbed cloth board with small gilt illustration of a fishon front; brown leather spine with gilt title. Copy P of 26 Special copies in a total edition of 146 copies, signed byClayton Schanilec and Gaylord Schanilec. Special copy includes paper folder with copies of photographs and proofsof the fold-out engraving. Illustrated folder covers match the paper lining the blue cloth dropback box. Brown leathertitle label on spine of box. Fine. Prospectus included. O/P. [See illustration top of page 10.] $400.00

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No. 18.

Item No. 19.The Intruder - Special Copy.See entry on bottom of page 9.

20. The Intruder. [By] ClaytonSchanilec. Midnight Paper Sales.2004. 19(1)p. 7.5” x 5”. Printed byGaylord Schanilec on Zerkallpaper. Title page triple fold-outpanoramic wood engraving onblue paper in blue, black, greenand grey by Gaylord Schanilec.Two-color cover engraving printedwith a split-fountain technique onblack Hahnemühle Ingres; bluecloth spine with paper title label.Blue endpapers. Blue cloth slip-case.One of 120 numbered copiesin a total edition of 146 copies,signed by Clayton Schanilec andGaylord Schanilec. Fine. $125.00Prospectus included.

One of only Five sets

21. The Intruder Progressive Proofs. Proofs of thetriple fold-out panoramic wood engraving byGaylord Schanilec. Midnight Paper Sales. 2004.9” x 14.5”. Five proofs in different states on greenFabriano, with the final one titled, signed andmarked ‘Proof’ by Schanilec. Title page alsosigned by Schanilec. In a blue cloth dropbackbox. One of five sets. Fine. $750.00

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No. 20.

No. 21.

A Printer’s Proof Set

Midnight Ruminator: First &(Last). [Poems or prose by] Li-Young Lee, Richard Ford, SandraBenitez, Robert Bly, LouiseErdrich, Bill Holm. Wood engrav-ings by Gaylord Schanilec.Midnight Paper Sales. 2004. A setof Broadsides loose in a folder.15” x 11”. Board folder covered inblack cloth with paper label ‘MR’across spine. All broadsides aresigned by the writer; the firstBroadside is also signed bySchanilec. Some Broadsides aresigned ‘Proof’, some ‘P P” andothers with number in the editionof 110 copies. This is No. 50, a Printer’s Proof set in an edition of 60 sets signed by Gaylord Schanilec. Fine. $250.00

Turkish Pears in August: TwentyRamages by Robert Bly. MidnightPaper Sales. 2005. n.p. 5.5” x7.75”. Illustrated and printed byGaylord Schanilec on Zerkallpaper. Wrappers of dark bluehandmade paper with silverflecks specially made for this edi-tion. Small gold decoration onfront cover. Slipcase of the samedark blue flecked paper with atrim of blue Fabriano; paper titlelabel on spine. Fine. No. 127 in anedition of 150 copies signed inpencil by Robert Bly on the titlepage and Gaylord Schanilec on the colophon page. Includes two proof pages including a Proof title page signed inpencil by Robert Bly. Fine. $140.00

Mayflies of the Driftless Region. Wood Engravings by Gaylord Schanilec with Identifications by Clarke Garry. MidnightPaper Sales. 2005. 77p. 9.25” x 6.5”. Printed at Midnight Paper Sales on Monadnock Dulcet paper. Text set by hand inBembo Monotype and printed from the original metal type. Images printed from the original hand-engraved end grainmaple blocks. Bound in grey cloth boards with gilt title on spine. Illustrated dust jacket. An edition of 1000 trade copiesand signed by Gaylord Schanilec. Fine. $85.00

Mayflies of the Driftless Region. Wood Engravings by GaylordSchanilec with Identifications by Clarke Garry. MidnightPaper Sales. 2005. 77p. 10.5” x 7.5”. Printed on Zerkall paper inBembo Monotype by Gaylord Schanilec. Bound by GregorCampbell in brown goat spine with gilt title and dark greenpaper boards with illustration of mayfly on the front. Greenslipcase. In an edition of 400 copies, this is No 181 of 300 thus,signed by Schanilec. Includes Announcement of publication.Fine. [See illustrations top of page 12.] $530.00

A Unique Printer’s Proof set

Mayflies of the Driftless Region. Wood Engravings by GaylordSchanilec with Identifications by Clarke Garry. MidnightPaper Sales. 2005. 77p. 10.5” x 7.5”. Printed on Zerkall paper inBembo Monotype by Gaylord Schanilec. Bound in full browncalf by Jill Jevne, and contained in a slipcase of her own design

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No. 22.

No. 23.

No. 24.

In ‘1’ the back of the first sheet include pencil sketch and sig-nature of ‘Herr Gutenberg’ by Henry Morris of the Bird &Bull Press. This unique Printer’s Proof copy also includes: A separategreen paper folder includes approximately 50 progressiveproofs, including a set of Progressive Proofs for all 13images; one on Gampi Torinoko signed by Schanilec; plusa large Publication announcement. Fine. $3200.00From the Introduction by Gaylord Schanilec - “Dr. Garry is... a gifted entomologist. The color and precision of the sci-entific language he uses in this book cannot begin to parlaythe enthusiasm and love the professor has for his subject. ...In the context of a finely printed book, the poetic nature ofthe scientist’s language can be appreciated. I hope the loveof the subject, shared by us both, shines through.”This magnificently produced and illustrated book was aWinner of the Carl Hertzog Award for Excellence in BookDesign.

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that incorporates mayflies tied for the edition by David Lucca under glass at the top of theslipcase. Slipcase with brown leather trim and dark grey handmade paper sides, brownleather title label lettered in gold. Of 50 Special copies this is AP-1 of the Special Editionwith the engravings printed in Gampi Torinoko and signed by Gaylord Schanilec.Special Printer’s Proof copy. The Special Edition includes a board folder of brown leathersides and dark green paper with illustration of mayfly on front which holds two items,each in the heavy dark green paper: ‘1’ has a set of Progressive proofs plus 3 press sheets- one with overprinting and some with graphite corrections (7 in total); ‘2’ holds 13 extraproofs signed and identified by Schanilec.

No. 25.

No. 26.

Old Swayback. By Jim Heynen. MidnightPaper Sales. 2006. 15p. 7.5” x 5”. Triplepage wood engraving fold-out byGaylord Schanilec in three colors.Printed by Gaylord Schanilec and BenVerhoeven in Italian Old Style whichwas cast by Scott King and hand-set byJulia Hinderlie. Black and white illus-trated wrappers which echo the woodstrips of a barn. Black cloth slipcase.Although the printed colophon state ‘Apossible 150 copies’, this book is num-bered 100/128 and signed by Gaylord Schanilec in pencil. Title page signed in pencil by Heynen. Fine. $150.00Includes Proof title page signed in ink by Jim Heynen.

LIMITED EDITION & TRADE BOOKS IN WHICH GAYLORD SCHANILEC PARTICIPATED

The Mainstreeter 5. December 1973. [A magazine of poetry and occasional reviews published irregularly by TheScopcraeft Press, North Dakota.] 18p. 8.5” x 7”. Green illustrated cover wrappers showing a train on the front and por-tions of a train timetable on the back. Stapled binding. Slight fading to the green wrapper edges. $15.00Includes a poem by Gaylord Schanilec.

lunch in fur. [Poems by] anselm hollo. Aquilla Rose - published six times a year by truck press. Minnesota. 1978. 20p.8.25” x 5.5”. Illustration by Gaylord Schanilec. Illustrated wrappers with title in black on front. Staples. One in an edi-tion of 500 copies, plus 26 lettered and signed copies. This copy signed by Schanilec on the verso of the title page. Verygood. First book illustrated by Schanilec. $30.00

An Explosion of White Petals. An anthology of student poetry from the Minnesota Poets in the Schools program, 1978-79, COMPAS. Edited by Mark Vinz. Illustration and design by Gaylord Schanilec. 82(5)p. 10” x 7”. Black, grey, andwhite engravings. Cream wrappers; title on spine with grey, light green, red and white illustration on front. Verygood.A charming anthology of poetry done by students from Grade 3 to Grade 12, many in concrete poetry form. $20.00

Where Is Dancers’ Hill? Winter Songs. [Poems] By Robert Schuler. Lame Johnny Press. Hermosa, South Dakota.1979. n.p.8.5” x 5.5”. Cover sketches by Gaylord Schanilec. Type setting by Paula Huebner for Stout Typographical Society,University of Wisconsin-Stout. White wrappers with black title on front and black and white cover illustrations onboth covers. Bound with two staples. Very good. $20.00

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No. 27.

Composite - Nos. 28-41.

A Box of Night Mirrors. An anthology of student writing from the Minnesota Writers In The Schools Program, 1979-80.Compas. Edited by John Cady. With drawings by Gaylord Schanilec. 120p. 9” x 6”. Grey wrappers with title and illus-tration in black on the front cover. Light fading to spine and edges. $15.00

Deposition. [Poems by] Pete Green. With drawings by Gaylord Schanilec. New Rivers Press. [St. Paul. Minnesota.] 1982.83p. 9” x 6”. Red wrappers with title and black and white illustration on front. First edition of 1200 copies. Spine fadedand slight white marks on back cover. $10.00

Chanticleer of Wilderness Road: A Story of Davy Crockett. [By] Meridel Le Sueur. Engravings by Gaylord Schanilec. HolyCow! Press. Deluth, Minnesota.1990. 53(3)p. 9” x 5.5”. Black and white illustrations. Board covers with title and three-color illustration on the front, title on spine. Very good. $15.00Supported in part by a grant from the National Endowment for the Arts, a Federal Agency.

Listening. [Poem by] David Mura. Illustrated by Kinji Akagawa. Published by Minnesota Center for Book Arts in con-junction with The Loft’s Inroads: Writers of Color series. 1992. Designed and printed by Gaylord Schanilec. Wave-like illustrations in pale green and yellow. Printed on handmade Japanese paper. Grey wrappers with paper title labelon front cover and Japanese stab-stitch sewn binding. No. 45 in an edition of 150 copies signed by David Mura andKinji Akagawa. Fine. $65.00Supported in part by a grant from the National Endowment for the Arts.

Excerpted from ‘The Minneapolis Stories’: Book 1 of the trilogy THE FREEMAN CHRONICLES. [By] Pamela R. Fletcher.Published by Minnesota Center for Book Arts. 1993. 8p. 11” x 8”. Illustration by Noel James. Printed by GaylordSchanilec with Centaur and Lutitia type on Mohawk Superfine paper with Marigold handmade paper endsheets andblack Arches cover wrappers with title and illustration in front in gilt. Sewn with gold cord. No. 105 in an edition of150 copies, initialed in gold by Pamela R. Fletcher. Fine. $65.00

Your Fierce Resistance. [An Excerpt.] [By] Roberta Hill Whiteman. Illustration [by] Ernest Whiteman. Minnesota Centerfor Book Arts. 1993. 10p. 9.25” x 6”. Printed by Robert Johnson and Gaylord Schanilec with Bembo type on MohawkSuperfine paper with Fabriano Italia endsheets and Morike over black Arches cover wrappers covered with red paperwith black title on front. No. 46 in an edition of 150 copies, signed by Roberta Hill Whiteman in ink. Fine. $85.00Supported in part by a grant from the National Endowment for the Arts.

White Pine Sucker River. Poems 1970-1990. By Robert Alexander. New Rivers Press. 1993. St. Paul, Minnesota. 82p. 9” x6”. Book design and artwork by Gaylord Schanilec. Maroon wrappers with title and color illustration on front cover.First edition of 1000 copies. Fine. $10.00

A Walk by the River. A Long Poem. By Dale Jacobson. Red Dragonfly Press. Minnesota. 2004. 58p. 9.125” x 5.375”.Original wood engravings by Gaylord Schanilec. Printed in cooperation with the Southeastern Minnesota ArtsCouncil, Inc. through funding from the Minnesota State Legislature. Light tan wrappers with a pattern of black andwhite plant engravings. Fine. $13.00

Fine Printing in the Twentieth Century: Selections from the Collection of Kenneth Auchincloss Exhibited at the Grolier Club, NY.New York. 2005. 32p. (includes plates). 9” x 5.75”. Design and printing of wood engraving by Gaylord Schanilec. Setin the Diotima and Nofret typefaces designed by Gudrun Zapf von Hesse. Tan wrappers with red title on front cover,and upper case alphabet in blind. Fine. Invitation to opening of exhibition laid in. Fine. $25.00

Rooted: seven midwest writers of place. By David R. Pichaske. Foreword by Wayne Franklin. University of Iowa Press.Iowa City. [2006.] 355p. (includes Index..) 9.25” x 5.75”. Illustrated cover wrappers. Cover art by Gaylord Schanilec.Fine. $20.00American Land and Life Series. “In Rooted, by paying close attention to text, landscape, and biography, David Pichaskeexamines the relationship between place and art by focusing on seven contemporary midwestern authors whose livesand work are grounded in distinct places ...” - Back cover of book.

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33.

34.

35.

36.

37.

38.

39.

40.

41.

No. 4.

(Susan Allix) Bengal Story: Tales from Orissa, Bengal & Sikkim. Artist's book by Susan Allix. [London. 2006.] 58p. 10" x8.25". Printed letterpress in hand set Plantin on handmade Magnani Velata Avorio. Included are textured and coloredpapers brought from Gangtok in Sikkim, where they are made by hand. Three embossed geometric shapes related tothe text serve to unite the stories which are interwoven with 5 etchings and 5 linocuts, in color, plus a small inset mir-ror. Bound with black leather spine, boards covered in black Kyoseishi paper onlaid with brown patterned handmadeTibetan paper. Inlays of a printed fragment from a red prayer flag and an orange rectangle of handmade paper. Onlaidis a piece of distressed parchment with pen drawing, a line of sprinkled goatskin and a red leather circle. Finished withblack leather stripes. Cream cloth slipcase with strip for paper title label on spine, red paper side trim and brown pat-terned paper trim on sides. 5 copies are in a de Luxe binding; 10 Special copies in black quarter leather, and 10 regu-lar copies comprise the edition of 25 copies. One of 10 Special copies, signed and numbered by Allix. Fine. $1450.00Allix writes: "The three stories in this book come from Bengal, from Orissa to the south and the Himalayan province of Sikkim to thenorth. In their mixture of reality, myth and devotion they are concerned with ritual and its use and expression by diverse peoples. Inthe telling, the stories are influenced by local images. The etchings that accompany the tale of Miss Sanderson were drawn 'in situ' inCalcutta, once the capital of British India. The inset mirror is from Pipli in Orissa, a village where mirrors are extensively used in tex-tiles depicting Lord Jagganath, who is celebrated in an extraordinary yearly Hindu ceremony. The bird and plant linocuts derive fromexamples of Sikkimese painted wood-carving. Here the influences are Tibetan and the folklore has been handed down through gen-erations living in the remote valleys."

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42.

No. 42.

43. (Susan Allix) Bengal Story: Tales from Orissa, Bengal &Sikkim.Artist's book by Susan Allix. [London. 2006.] 58p.10" x 8.25". Printed letterpress in hand set Plantin onmouldmade Magnani Aqueforti. Included are texturedand colored papers brought from Gangtok in Sikkim,where they are made by hand. Three embossed geometricshapes related to the text serve to unite the stories whichare interwoven with 5 etchings and 5 linocuts, in color,plus a small inset mirror. Bound with black JapaneseKyoseishi paper over boards and pale red textured canvaspaper spine and fore edge. Rectangles of red and blackprinted Tibetan paper hold shapes of cream handmadepaper and embossed natural leather. Title on a blackleather band which extends over the spine; the endpapersare of matching Tibetan paper. Enclosed in a beige and redslipcase. One of the 10 regular copies in the total edition of25 copies, signed and numbered by Susan Allix. Fine.

$925.00

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Nos. 42 & 43.

No. 43.

(Susan Allix) Palm Tree Sketch Book: Assorted Palms Assembled. Artist's book by Susan Allix. [London. 2006.] Accordionfold. 7" x 2.25". Etchings, linocuts, relief print, reproduced drawings and photograph on Somerset paper with letter-press handset in Spartan. Colored tissues and mounts interleave the pages, which are supported by boards covered ingreen abaca and a line of green reversed suede. The front board continues the concertina effect with a folded palm treeimage. In a cream paper folder with green handmade paper trim, and an illustration of a palm tree on front and titleon spine. One in an edition of 25 signed copies. New.. $375.00Allix writes: " Fourteen palm trees stretch from the cover through the zig-zag of pages ... This is a concertina of palmtrees. As a sketchbook it contains no particular narrative, but each palm, from a different location, both describes itselfand is described by its own title. Thus ‘Palm on Red Grass’ or ‘Coconut Palm by a Lagoon’ possess different charac-ters and exist in different situations."

(Susan Allix) Through Closed Doors. Artist's book by Susan Allix with photographs of Italian doors and accompanyingprints. 7 Paraclausithrya [by] Theocritus, Ovid, Tibullus, Plautus, Horace, Catullus, Propertius. [London.] 2005. 104p.15.5" x 12". 26 photographs - 16 in black and white and 10 in color, of which 20 are full page. With the photographs area series of prints: 7 etchings, 1 linocut and 1 woodcut. Images printed, with the text, on Somerset pure cotton print-making paper using Lysson archival inks. Text is handset and printed letterpress in Bembo as the principal typefacewith the san serif Granby and more decorative types. There is also stencil, air brush and crayon work, and some titlesare printed on grey Japanese or Zerkall papers. Bound in black goatskin on spine and fore-edge with boards coveredin Japanese wood veneer. The wafer thin wood has been printed, stained gray, air-brushed in soft red and black andwax polished. It is onlaid with paper and reversed goatskin in black, gray, magenta and green. The doublures are blackJapanese paper and the endpapers have cut-outs onto a doorway printed onto the fly leaves. Laid in a dark gray clothdropback box, lined with black. One in an edition of 21 signed copies. Fine. $5500.00Susan Allix was the first time winner of the prestigious Gregynog Prize for letterpress printing of this book. (Oxford. 2005.))

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44.

45.

No. 44.

No. 45 - Three images.

Allix writes: "This book combines Romanpoetry with photographs of doorways fromsouth Italy. "Writing mostly during the 1st century BC-AD the poets used a genre of Greek andRoman literature known as theParaclausithyron; a poem spoken "throughclosed doors", that takes the form of versesspoken by an excluded lover outside a doorthat forbids entry. Their themes includepleas for admission, attempts to persuade agirl to come out to them and complaints atthe door's cruelty. The doors speak too.Becoming personified they tell stories oftheir owners and describe their own mis-fortunes and abuse. "The series of photographs taken between1969 and 2004 in south Italy and Sicilyshow aspects of the doorways that relateclosely to the themes of the poems. Theyrange from architectural oddities or extrav-agant Baroque fallen into disrepair to

painted, graffiti-strewn metal. Some come from Taranto, a place that especially pleased Horace ("Quell'angelo di mondo a me piu diogni altro sorride")."The first poem is by the Greek poet Theocritus and is set in Sicily. The more strident voices of the Roman poets follow, with an extractfrom Plautus' comedy Curculio. Among the cast of lovers and their girls are found generals, a wine-biber, a dead husband and thedoors themselves, voicing their own opinions; as Catullus's talking door says, "It's always the door's fault". Thus the words that speakof exclusion, desire for the unattainable, disrespect of age and also the comic foolishness of addressing a door find reflection in theshapes, characters and patinas of use acquired by the doorways. The selected poems have been retranslated or modernized with ref-erence to older, existing English translations."

Arcadian Press - See Sailor Boy Press - Martyr, Mercury & Rooster.

(Arcadian Press) My Father was always sleeping, Shhh, Henry's Sleeping. By Nicole Hollander. Artist's book by CarenHeft. Racine. Wisconsin. 1996. Six shaped and folded leaves; approx. 10" x 7.5". Papers are Root River Mill abaca ofred/gray/green. Printed in black and silver. Photographic reproduction tipped-in. Self-wrappered covers with title inred and silver, sewn with gray thread. Silver dropback box with shaped interior, small photographic reproduction ofa girl on front. One in an edition of 91 numbered copies, signed by ‘Nicole’. Fine. $650.00Caren Heft states: "Nicole Hollander is an internationally famous cartoonist (her strip is ‘Sylvia’). She writes a ratherdark story of her relationship with her family, specifically of her father, who died before she could, as an adult, cometo terms with him. I wanted the book to be off-kilter to reflect the rather off-kilter way Hollander makes her living. "[The papers] were made by beginning with a vat of red and one of green - opposites on the color scale. I charged thedipping vat with red; added green until the color became a rather lavender gray, then added red until the color becamealmost red again. It is an off-kilter way of making paper."

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46.

No. 45.

No. 46.

A powerful book - a homage to the veterans of the Vietnam War

(Arcadian Press) For Boys Who Dream of War. [Text] by AlanGovenar. With quotes by Wilfred Owen and W.H. Auden. Artist'sbook in box by Caren Heft. Stevens Point, Wisconsin. 2005. 16pages. Triangular book - 17" spine x 12" x 12": 8.5" at its widestpoint: triangular box - 25" x 17.75" x 17.75": 12.5" at its widestpoint. Each page on Root River Mill Paper made by Jeff Morin,Brian Borchardt and Caren Heft, on sized and tinted Hahnemühlepaper. Type is Gill Sans. Each differently colored page opens up asa square. Open sewn spine with silver colored endboards whichare lightly marked to form a pattern with a cutout of an airplanein black with gray on the front board. Pages are edged with stars,the USA flag, or statistics relating to the Vietnam War. The book islaid in a scorched and black paint splattered triangular woodenbox which is padded on the inside with a soft reddish cloth. Thebox has a magnet closure. On the top of the box is a silver metalstar, while on the inside of the top is a white plastic airplane. Setin the padded base of the box are two items: a 2.75" glass polished cast of a wounded soldier inscribed either with thenumber of American military dead in Vietnam or the number of Vietnamese civilians killed or wounded during thatwar; and a small metal WWII first aid kit containing only a wound dressing, sulfa powder and instructions. These twoitems are covered with a triangular folded American flag, with the book laid on top of it. One in an edition of 49 copies.Fine. $1750.00Caren Heft writes to us: "I have three brothers, all were in Vietnam and Smokey was the best friend of one of them. Smokey was aBlue Angel ... When Smokey's body was returned to his family, my brother went to the funeral (he graduated from Annapolis, theNaval Academy, where he met Smokey) as did many of their other classmates. Apparently it was a moving reunion." On the left hand page of the book are the names of women who died in Vietnam - whether it be of war, illness or accident, as well asthose missing in action. The book also gives statistics relating to the losses suffered by combatants. This moving work is about a pilot,LCDR Clarence "Smokey" Tolbert, whose remains were returned to his family in 1989. The differing versions of his death were thereason for this book, writes Caren Heft in the Colophon. There are also, at the end of the text, words by an African American ArmyChaplain interviewed by Govenar.Alan Govenar writes about his own gradual understanding of war, but the text is mainly about "'Smokey' Tolbert, born inTishomingo, Oklahoma - the pride of family and community - a boy destined to be whom he became. Graduate of the U.S. NavalAcademy, Class of 1962 - Blue Angel ..."Extroverted, gregarious, the kind of person who made friends everywhere ... always willing to lead ... would not admit defeat,

even in seemingly trivial pursuits such as a television appearance on The Dating Game." "... he made two combat cruises to Vietnam ... He also made one Mediterranean cruise ... He had 145 combat missions and 425 carri-er landings. He was awarded the Silver Star, Distinguished Flying Cross, 14 Air Medals, the Navy Commendation Medal, the NavyUnit Citation, and the Vietnamese Service and Campaign Medals; all this before he joined the Blue Angels in 1968."In 1973 he was reported missing in action, and his remains returned home in March 1989. A true American hero.

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47.

No. 47.

No. 47.

A Nobel Prize winner collaborates with unschooled artists

(Artist’s Press) The Ultimate Safari. By Nadine Gordimer. With original handprinted lithographs by Aletah Masuku,Alsetah Manthosi and Dorah Ngomane. Published by The Artists' Press. Johannesburg, South Africa. 2001. n.p. 8" x11.5". Twelve original lithographs drawn on ball-grained aluminum plates by the artists. Proofing and hand-printingof the images was carried out by Mark Attwood, Joseph Legate and Peter Sekole at The Artists' Press. Printed on 250gsm white Arches paper. The text was handprinted from polymer blocks on a Vandercook proof-press. Book designand layout by The Artists' Press. Hand written text by Ella Topham, aged five. Wristwatch pattern lithograph endpa-pers by Alsetah Manthose. Bound by Peter Carstens in cream textured cloth with letterpress printed paper title labelson spine and front. Slipcase with sides of the same cloth, marbled paper trim and leather edges to the open side. Onein a limited edition of 100 books, signed by Nadine Gordimer. Plates signed by the artists. Fine. $925.00Nadine Gordimer's story appeared in a collection of her short stories entitled Jump and other stories published in 1991by Bloomsbury Publishing Ltd. and David Philip. It is printed in its entirety here."The plates for this book were drawn in the village of Welverdiend, near the Kruger Park's Open Gate in the NorthernProvince, South Africa, where the artists now live. This was done during a two week workshop facilitated by TamarMason and Paul Emmanuel in 1995. The women do not normally work as artists. They earn what money they can asseasonal labourers on nearby farms, and were new to the lithographic printing process and the making of images onpapers. The workshop was a difficult and sometimes traumatic experience for the three women, as they closely iden-tified with the story." - Colophon.In the collections of: Library of Congress Rare Book Division, Wellesley College and Smith College.

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48.

No. 48.

No. 48.

Thorsten Dennerline & The Bird Press

Thorsten Dennerline, a Member of Faculty at Bennington College in Vermont, is a teacher, artist and publisher of sevenartists’ books - six under his own imprint of The Bird Press. He is the recipient of numerous awards, including aFulbright Grant. His work, including his paintings and books, has been exhibited at numerous galleries, here andabroad, especially Denmark. The range and depth of his haunting images, and his consummate skill as a fine print-maker and draughtsman, are what make his books unique and so special.We recommend this outstanding young artist to you at the onset of his career as a bookmaker, and predict a distin-guished career for Dennerline and his art.

(Bird Press) Lille Fedtøre/Little Airhead. Written by Naja Marie Aidt. Translated into English by Anne Mette Lundtofte.With Lithographs by Thorsten Dennerline. [Syracuse. 1997.] 8 full-page black and white lithographs, and 1 wood-cuton the colophon page. 20.5" x 15". 5 pages of text. Danish text printed in black and white, English text in blue. Text setin Dante and cast for the project by Michael and Winifred Bixler in Skaneateles, New York. Printed at Wild CarrotLetterpress. Portfolio of black cloth lined in gray by Thorsten Dennerline. Inlay on the front board contains a three-dimensional resin ear, with a rectangular cut-out on the outer board allowing it to be viewed. An edition of 20, eachnumbered and signed by the artist and writer. Each lithograph is also signed. Fine. $1400.00A beautifully produced portfolio with lithographs of the highest artistic standards. A fable of obsession and dominance, which bringsabout its own "rewards". The protagonist in the story calls for Little Airhead by whispering in her ear, thus the resin ear on the frontboard. Superb images.

(Bird Press) "Real Things People Said I didn’t know what to say." Artist’s book by Thorsten Dennerline. 1997. 9 black andwhite engravings. Accordion fold. 5.75" x 7.5". A line of text opposite each engraving. Laid in a brown leather bindingwith a copper plate of one of the engravings in a recess on the front cover. Binding spine sewn with five vertical linesof cream string. In a protective card envelope. No. 1 in an edition of 9 copies, numbered and signed on the title page.Fine. $900.00

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49.

50.

No. 49.

No. 50.No. 50.

Four artists combine their talents to produce a small treasure

51. (Bird Press) Libro Cuadrado. [Square Book.] [Text in Spanish.]Artists’ bookwith images by Jorge Martinez Garcia, Luis Martinez Salas, FranciscoCarroza and Thorsten Dennerline. [Valparaiso, Chile. 2000-2001.] 24 leaves,including title page and colophon. 8.125" x 8.25". 24 plates etched in bronzeby the 4 collaborators are printed on handmade Saint Armand deckle edgedpaper. The first and last leaves are of a simple bronze colored geometricdesign, while some of the 20 black and white etchings contain both text andimage. Black cloth binding with tan inlaid label of geometric design. Tanendpapers. One in an edition of 40 copies for sale, plus 4 H.C. Signed by allfour collaborators. Fine. $650.00Thorsten Dennerline spent a year in Chile on a Fulbright Grant, working on an artand research project.The book was made at the intaglio studios at ‘Taller delAlquimista’ in Valparaiso, on the coast of Chile. The idea of the square book stemsfrom Jorge Martinez's interest in alchemy. He actually named his etching shop ‘Studio

of the Alchemist’ in reference to the processes of intaglio print making. Ideas within alchemy about how geometry is linked to theuniverse were the important starting points in organizing the project. He writes about this in the prologue page. The four participat-ing artists each created 4 square images. Each artist was also asked to work with text in at least two of his images. Four artists, fourplates each with four equal sides. All this contained within a square binding. The number repeats itself and even the edition is 44copies.

52. (Bird Press) Teach Me, Star of Night! Lær Mig,Nattens Stjerne! [In English and Danish.] [Textby] Peter Laugesen. With eight etchings byThorsten Dennerline. Translated by SusanneJorn. Bird Press. 2000. n.p. 10” x 11”. Text castand set in specially cast Perpetua at theLetterfoundry of Michael and Winifred Bixler.All etchings printed by hand by the artist withthe help of Magaly Ponce and overprinted ontocolor woodblocks. Letterpress printed on St.Armand handmade paper by Daniel Keleher.Original Danish version printed on translucentSeikishu Japanese paper so it can be viewedmirroring the English translation. Bindingsdesigned by Thorsten Dennerline and made byPeter Verheyen. Vellum spine with five lacedbands; orange sewn cords visible at top and bot-tom. Boards of cream vellum with dark blueJapanese cloth with title in black on front board.In a total edition of 55 copies, one of 1-40 num-bered regular signed edition. Fine. $825.00Etchings in the special edition are hand col-ored. Special edition bindings designed byThorsten Dennerline and made by PeterVerheyen. Blue leather spine and six whiteleather sewn cords; yellow leather tips to topand bottom of spine. Vellum over boards sideswith small relief star on front board. Grey end-papers. Blue cloth drop-back box. No. VII of 10numbered copies in the Special edition. Signedby the artist. Fine. $1600.00The eight poems in this book were written inDenmark by Peter Laugesen in 1999. He is consideredto be one of Denmark’s most important contemporarypoets and has been a member of the Danish Academysince 1997. He has published over 40 poetry collec-tions in Denmark and abroad.and has receivednumerous awards, including the Danish Academy’s“Store Pris” in 1992.Dennerline writes: “The images are meant to accom-

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No. 51.

No. 52.

pany the poems similarly to the way a jazz drummer might complement a soloist. Each strengthens the other, but neither is depend-ent. This approach is a reflection of Peter Laugesen’s previous collaborative projects.” The beautifully hand-colored images addimmensely to the appeal of the book..

(Bird Press) Lover-Loser. Diagram Poems by Egil Dennerline & Thorsten Dennerline with Lithographs by ThorstenDennerline. [St. Louis. Missouri. 2003.] 9.125" x 5.75". Sixteen multi color lithographs overlaid with sixteen digital let-terpress "diagram poems" by Thorsten and Egil Dennerline. Lithographs and photopolymer letterpress on St. Armandhandmade paper. Bound in red leather with yellow open-sewn spine by Barry Spence. Handmade dropback box ingray cloth lined with black. One in an edition of 24 books. This is one of the first 20 which are numbered 1-20, and theremaining 4 are special copies numbered I-IV. Fine. $1650.00“This book was started in the summer of 2000 as a side project, where the idea took shape. In the summer of 2002 and in the aftemathof September 11, 2001, the project went into production. Color lithographs were hand printed by the artist. Three-color lithographsare overlaid with text/diagrams printed on translucent Japanese paper. Because of the translucency, the text and image become onebut can also be viewed separately by turning the pages. Half of the texts are written by Thorsten and the other half are by Egil.“These diagram poems are inspired by the ridiculousness of this human condition. In the tradition of Vicente Huidobro andGuillaume Apollinaire, the poems become drawings and are held together with lines, shapes and arrows. By printing texts on translu-cent papers, image and text are drawn ever closer. In this way, we add a depth and versatility of meaning to our impressions and lacethem with a little bit of humor, because sometimes there is nothing left to do but laugh!” - Introduction.

(Emily Burnett) Camel. Artist's book by Emily Burnett.[London. 2006.] n.p. 7" x 9.5". Three etchings, a linocut and var-ious ink-jet prints as illustrations. Various papers, including dried grass paper. Inspired by the desert in shades ofbeige, blue and orange. Text printed letterpress in handset Baskerville with Madonna Ronde. Etchings and linocutprinted on Arches Crème paper and the text on Fabriano Ingres. Brown suede spine with beige wrappers and lightbeige set-in sheet with xeroxed title and relief illustration. In a paper and grass beige pouch with handmade wool tas-sels for fastening. One in an edition of 10 copies, signed by Emily Burnett. Fine. $195.00Burnett writes: " This book sets out a series of facts about camels ... The orange and blue paper inspired by the thick colored materi-al made into bags for the camels to carry goods by the Bedouins in Jordan and Syria. ... The dried grass paper highlights the coarsevegetations camels eat.""The tassels mimic the decorative tassels camels wear all through the middle eastern countries."

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53.

54.

No 53.

No. 54.

(Judy Byron) Helga, Jennifer, Willa, Julee, Rachel. Five handmade books by Judy Byron. Washington. DC. 2005. 11" x5.75". Inspired by the artist's drawing series WHERE I LIVE: Exploring Identity Through Bodies and Clothes, each bookconsists of three panels folded over. Each is covered with different color paper, with the paper title label sewn on tothe wrapper. Each is fabricated using 100% cotton handmade paper, home sewing machine stitching, letterpress andinkjet print, as well as paper cutouts. (Loosening the machine bobbin slightly raises the sewn silhouette on the insidepanel.) The color palette for each book is based upon specific blush powders, pressed powder, and eye shadow colorsmatched to each woman and her particular outfit. Every book is protected with an envelope-like folder of a differentcolor. The whole is laid in a cream linen over board folder, lined with black card. The letterpress nameplates and theindividual folders and linen boxings were produced at Pyramid Atlantic Center for Book Arts. Colophon page laid in.An edition of 35 copies, signed and dated by the artist on the inside of each back wrapper. Fine. $2300.00With an established history in printmaking and drawing, these are the artist's first books. Each book incorporates a reproduction ofthe original artwork: a drawing of a favorite outfit worn by the subject as an expression of personal identity, as well as the subject'ssilhouette drawing. The subjects' signatures provide the title. Their personal writings have been transcribed and typeset as composi-tional elements.

(Caddis Case Press) Words of the Teacher. Selections from Ecclesiastes. Design and illustrations by Margaret Sunday.Colorado. 1992. n.p. 12" x 7.75". Printed in Gill Sans Monotype in gray on Sakamoto paper. Illustrations printed direct-ly from endgrain blocks in grays, whites and gray pastels. Binding covered with minimally printed Sakamoto, withlong stitches exposed on the spine. In a triple-gate portfolio covered with gray-blue Japanese silk. One in an edition of60 copies, signed and numbered by Margaret Sunday, proprietor of Caddis Case Press. Fine. $400.00A finely printed book with refined and elegant abstract decorations. "This new version of the printing of selections from Ecclesiasticsimbues the pages with sublime tranquillity." - Bookways, July, 1994.Margaret Sunday is an Associate Professor teaching printmaking and book arts at the University of Northern Colorado. She has illus-trated books for the University of Iowa Center for the Book and the Perishable Press, as well as founding the Press in 1992..

(Caddis Case Press) East of Avalon. [Poetry by] James Harms. Illustrated, designed and printed by Margaret Sunday.[Greeley, Colorado. 1998.] n.p. 11.5” x 7.5”. Letterpress printed in Neon Optima type and hand engraved maple and

acrylic blocks. Layered multi-color illustrations printedon a variety of translucent Japanese papers; text inblack. Bound by Caroline Gilderson-Luwe with foliopages sewn onto goat parchment tapes, which arelaced through a spine jacket of English calf vellum andinto light boards covered with pale goldenrod-orangeJapanese paper. Spine structure non-adhesive, withexposed interlaced stitches. Japanese paper label print-ed in 5 colors. One in an edition of 54 numbered copies,plus 4 artist’s proofs. Signed by James Harms on thetitle page. Fine. $510.00James Harms is Head of Creative Writing at West VirginiaUniversity. He is the recipient of a PEN/Revson Fellowshipand an award from the American Academy of Poets. He hashad several books of poetry published by the Carnegie-Mellon University Press.

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55.

56.

57.

No. 55.

Nos. 56 & 57.

Margaret Sunday is an Associate Professor teaching printmaking and book arts at theUniversity of Northern Colorado. She has illustrated books for the University of IowaCenter for the Book and the Perishable Press, as well as founding the Caddis Case Pressin 1992. Caroline Gilderson-Duwe, who bound the book, is former Head ofPreservation at Golda Meier Library, University of Wisconsin-Milwaukee.

(Chiswick Press) The Printer's Vocabulary: a collection of some 2500 technicalterms, phrases, abbreviations and other expressions mostly relating to letterpressprinting, many of which have been in use since the time of Caxton. By CharlesThomas Jacobi. London. 1888. [First edition.] 158(6)p. 7.5" x 5.5". Dark greencloth binding with gilt title on spine. Spine and corner edges starting to go,else very good. $75.00

(Laura Davidson) Fish Book. Unique artist's book in a painted wood contain-er by Laura Davidson. [Boston.] 1993. Container - 13" x 9" x 4". Book - 8" x 6".Book contains ten images of fish borrowed from manuscripts and paintingsin art history; these references are identified on the final page. Each paintedimage is matted with museum board and bound together to create solidpages. The green and brown painted box is in two parts - the lower one hold-ing a large fish hook mounted on a sea chart; the upper section with a metal'roof' and a glass door, behind which the book is visible and removable forviewing. Fine. $2000.00

(Laura Davidson) Homage to Masaccio andMasolino. Unique Artist’s book by LauraDavidson. [Boston. 1999.] 10.25" x 5". Accordionbook of four wooden boards hinged together. Allboards, except the back board, hand painted.Title on front board. Three of the boards withlantern slides used in teaching art history, thepaintings are enlarged details from the lanternslides. Slides are black and white and can beviewed from both sides. Signed and dated byLaura Davidson. Fine. $1800.00

(Laura Davidson) Mapping the Ancient World.Unique artist’s book by Laura Davidson.[Boston. 2001.] 10.5" x 4.5". Accordion book offour wooden panels hinged together. Title laidon front board. Boards, except for the backboard, are hand painted, the internal panelspainted to resemble a map. Three of the boardswith lantern slides of ancient sites, including a sphinx. Slides areblack and white and can be viewed from both sides. Unique booksigned by Laura Davidson. Fine. $1800.00

(Laura Davidson) Tunnel Vision. A handmade 3-D book by LauraDavidson. [Boston.] 2001. Tunnel book. 4.375"x 7". Xeroxed

images. A view ofthe Big Dig inBoston from theartist’s studio win-dow on the cornerof "A" and Worm-wood Streets inBoston. Unlimitededition. Fine. Acharming littletunnel book at avery good price.

$38.00

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58.

59.

60.

61.

62.

No. 59.

No. 60.

No. 61.No. 62.

(Laura Davidson) Mapping My world - buildings & bridges. Artist’s book by Laura Davidson. [Boston.] 2002. 12 leavesplus Colophon. 14 prints and 6 pop-ups. 7.5" x 5.5". Prints are on Rives BFK and are hinged with rice paper. Pop-upelements are made from Canson. Maps are hand colored linoleum prints. One color illustration of a church laid on: 3old mint stamps glued in on appropriate pages. Bound with black leather spine and wood boards containing a vintagecompass set into a painted map. Black and white decorated globe map endpapers. An edition of 30 copies, signed bythe artist. Fine. $1100.00 "Inspired by a 1570 Ortelius Atlas, these maps, floor plans, buildings and bridges create the blueprint of my physical world." -Colophon. Davidson also states: "In each location (Boston, Florence, and Michigan), there are pop-up structures of significant build-ings and bridges.”.

(Laura Davidson) A Birder’s Alphabet. By Laura Davidson. [Boston.] 2002. 56p. 7" x 5". A series of painted birds, eachof which corresponds to a letter of the alphabet. Offset printed on Monadnock dulcet paper and reproduced in color.Soft bound with illustrations of birds and leaves on the wrappers. One in an edition of 500 copies, signed by LauraDavidson. Fine. A charming little alphabet. $38.00

(Laura Davidson) Florence. Artist’s tunnel book by Laura Davidson. [Boston.] 4.75” x 6.75”. The images were painteddirectly onto travel guidebook pages published in the 1920s, then offset printed. Bound by hand. 500 signed copies.Fine. $38.00This charming tunnel book shows a view of the city of Florence from the steps of the church of San Miniato al Monte. It is the first ina series of books to incorporate old travel guidebooks and maps. Tunnel books date back to early peep show boxes from the 1600s. They held cutout cardboard panels to create many religious, his-torical and mythical scenes. Davidson writes that she chose this format to reproduce an effect of real distance and space. "I have beenbuying old travel guidebooks about Italy since I first visited there nearly 20 years ago. In these books I have found handwritten itin-eraries, postage stamps, ticket stubs and restaurant receipts. They represent the desire to travel, and the love that I have for Italianart, architecture and culture." - Davidson.

(Laura Davidson) A Tool Alphabet. By Laura Davidson. [Boston. 2004.] n.p. 7" x 7". Illustrated wrappers and endpapers.Front wrapper with wrench in relief. Bound with three copper colored grommets. One in an edition of 1000 signedcopies. Fine. $40.00Laura Davidson is not only a book artist, but a tool collector.

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64.

65.

66.

No. 63.

No. 66.

No. 65. No. 64.

(Laura Davidson) Random Thoughts on Hope. Artist's book by Laura Davidson. [Boston.] 2005. 4.625" x 4.625".Accordion fold card book with color images. Moving wheel with words which allows the words to form differentphrases. Painted in shades of brown on the back of the images. One in an edition of 500 copies, signed by LauraDavidson. Fine. $30.00

(Laura Davidson) Travel Guide Series: PARIS. Tunnel book by Laura Davidson. [Boston. 2006.] 7" x 5.25". The imageswere painted on pages from Les Guides Bleus published in 1952. Xerox printed. One in an edition of 500 signed copies.Fine. $38.00This tunnel book is part of an ongoing series of artists' books referencing old travel guidebooks and maps. The viewof Paris is from the top floor of the Institut de Monde Arabe.

An elegant new Designer Binding

(Paul Delrue - Bookbinder) The Flute of Sardonyx. [Poems by] Edmund John. Images & introduction by NicholasWilde. The Old Stile Press. [Near Monmouth, Gwent. GB.] 1991. 76(1)p. 9.75" x 7". Printed in 12 pt Spectrum on Rivolipaper. The sixteen pencil images printed at The Senecio Press by Adrian Lack. Unique binding by Paul Delrue inHarmatan goatskin in various shades of light biscuit colors, with darker tooling lines at irregular distances across theboards adding to the design of a double outline of a boy's face in dark red onlay on both back and front boards.Handsewn head and tail endbands in gray. All edges painted in three shades of gray to a wave-like design. In a graycloth dropback box lined with beige suede; gilt title on front and spine. No. 239 in an edition of 260 numbered copies;plus a Special edition of 26 lettered copies. Signed by Nicholas Wilde and inscribed 'Bound by Paul C. Delrue ;Llandudno. Springtime. 2005.' in ink, but his pencil signature below. Bottom corner of box with slight bump, else fine.

$3750.00Edmund John was a young poet who died in 1917 at 34. Although his poetry is largely unknown, there is a sensuous beauty with theauthentic voice of love and loss - not only of love, but of his own youth. Nicholas Wild's exquisite pencil drawings of a young boyare beautifully reproduced by litho printing.Paul Delrue states that this binding was done in his 'tudor style'.

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67.

68.

69.

No. 67. No. 68.

No. 69.

70. (Evelyn Eller) More Words. Unique artist's bookby Evelyn Eller. [New York. 2005.] 8" x 9.75".Accordion fold vertical. Book glued to inside backcover. Multi-colored mixed media collage. Collagetitle on front. Black bookcloth binding. Signed anddated by Eller on inside back cover. Fine. $800.00

The Elements awarded the Ninth Biennial CarlHertzog Award for Book Design

71. (ELM Press) The Elements. A Poem by SusanStewart with lithographs by Enid Mark.Wallingford. Pennsylvania. 2002. n.p. 11.125" x15.25". The type, 14 point Monotype Dante, was castby Michael and Winifred Bixler, and printed byDaniel Keleher at Wild Carrot Letterpress onmouldmade English Somerset. Within three of thesections, parts of the poetry are printed on fold outsheets of various Japanese papers. The lithographedimages were conceived with a camera but manipu-

lated digitally with Photoshop software in order to generate the films used to create the duotone and tritone images.These films were transferred to plates and printed as hand lithographs by Timothy P. Sheesley. Bound in silver-grayItalian book cloth over boards; the binding is enriched with blind embossing and spine label. Textured gray paper fromTwinrocker Handmade Paper is used to line the covers and for the end pages. Hand bound by Sarah Creighton. Anedition of 45 numbered copies, signed by the poet and the artist. Fine. $2,250.00

Susan Stewart wrote The Elements, this long poem in four parts, in collaboration with artist Enid Mark, who created the book’s visu-al form. The poet, author of three previous books of poetry and a MacArthur Fellow, called on the long Western history of myths andliterature on air, fire, earth, and water; in the end she created a sequence unified by the themes of love and strife traditionally associ-ated with the elements. ... The poem unfolds in time as a meditation on time and mortality. “Each of the sections of The Elements - Air, Fire, Earth, and Water - is defined by a visual image. This image is introduced as a hori-zontal band that has its own rhythm, fading and increasing in dimension and intensity as the pages turn. On the final page openingwithin each section, three-color lithographs bleed over the four edges of the ... spread of the book. Throughout the work, the concreteforms of the sections of the poem, unique to the volume with its wide format, become an integral part of the visual imagery.” -Prospectus.Susan Stewart received the 2004 National Book Critics Circle Award for poetry, for Columbarium, a trade edition published by theUniversity of Chicago Press. Columbarium features Air, Fire, Earth, and Water from The Elements.

Enid Mark’s very beautiful book of flower poems

(ELM Press) Ars Botanica. [A Compilation of fourteen poems] with Lithographs by Enid Mark. Wallingford,Pennsylvania. MMIV. [2004.] n.p. 15.5" x 10.75". Fourteen 12" x 8" duotones created by scanning plant material direct-ly onto a flatbed scanner and manipulating the resultant digital images with Photoshop software. These digital fileswere used to prepare film positives that were transferred photographically to lithograph plates The duotones and

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No. 70.

No. 71.

hand drawings, realized as hand-lithographs, embody bothstate of the art digital technology and traditional printmakingstrategies. Papers are mouldmade English Somerset and Denrildrafting vellum. Type cast by Michael and Winifred Bixler andprinted by Arthur Larson, Horton Tank Graphics. Lithographshand-pulled by Timothy P. Sheesley. Calligraphy by SusanneMoore. Hand bound by Barbara B. Blumenthal in green Italiancloth lined with green Japanese Echizen Saiko - giving the feelof grass. Recessed square of the Japanese Echizen Saiko withgilt decoration on front cover. One in an edition of 40 numberedcopies, and 10 artist's proofs. Fine. $2750.00Poems by Diane Ackerman, Betty Adcock, Nathalie Anderson, AnnieBoutelle, Rachel Blau DuPlessis, Daisy Fried, Celia Gilbert, MaxineKumin, Heather McHugh, Constance Merritt, Alicia Ostriker, SusanSnively, Susan Stewart, Eleanor Wilner. Inspired by a long tradition ofherbariums and botanical books, especially those published in Europefrom the 7th century onward. In this contemporary edition the scientif-ic description of flora presented in such early volumes is replaced bypoetry. Enid Mark invited the various poets to participate in the book.Each was asked to write a poem in which a flower or plant served as thecentral image or metaphor. The collected poems, with one exception,were written specifically for Ars Botanica. ... The poems reflect thebroader concerns of each individual writer." ... the images ... describe more than one aspect of the featured plant specimen. Facing each poem is a photo-based duotone litho-graph of the plant, printed in warm gray and black tones. A second lithograph, derived from a hand-drawing of the same plant, print-ed in glowing floral colors that vary from page to page, appears on a translucent sheet tipped into the gutter between the duotoneand the poetry.”

The latest and most equisite book from the ELM Press

(ELM Press) The Inconstant Moon. Poems to the Moon by Mark Jarman, Phillis Levin, James Longenbach, JacquelineOsherow, Susan Stewart, Mark Strand, Elaine Terranova and Eleanor Wilner. With the Homeric hymn “To Selene” inGreek and an English translation by Apostolos N. Athanassakis. Lithographs by Enid Mark. Philadelphia. 2006. 14” x10.5”. Blind embossings of the crescent moon and duotone lithographs of star field printed in indigo blue and black.Letterpress printed in Monotype Dante and Monotype Gill Greek Caps and Gill Sans Caps by Arthur Larson onSomerset papers. Lithographs hand-pulled by Timothy P. Sheesley. Calligraphy by Jerry Kelly. Hand bound in blackcloth with marbled paper panels overlaying the front and back covers. One in an edition of 45 signed and numberedcopies. New. Matching box available on request at cost. $2600.00 “In The Inconstant Moon, the motif of the moon binds the lithographs and poems together; the diverse verbal responses create a richand intriguing text.“The visual and poetic exploration of the moon commences with a presentation of the Homeric hymn ‘To Selene.’ ... the hymn intro-duces the poetic suits; its translation, .. concludes the collection. “Of the eight contemporary poems, six were written specifically for this edition. Two poems appeared in journals at the time this bookwas conceived, but are previously uncollected.“The duotones bleed from edge to edge of the pages, creating a deep space for varying profiles of the luminous moon. This moonwaxes and wanes, shifting shape and color from page to page, its majestic progression interrupted only at the centerfold by a detailedhand drawn image of the lunar landscape, this printed in two colors on black mould-made English Somerset paper.” - Prospectus.

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73.

No. 72.

No. 73.

(Andy Farkas) M.M. & I. : a love song. Poem by Andy Farkas. 9.75" x 5.25". Two french-fold sheets with text in blue andred; hand colored illustrations. Sewn with red cord into light tan wrappers. No. 3 in an edition of 12 copies, signed byAndy Farkas. Fine. Delightful! $175.00

(Andy Farkas) hmmmm... Words and pictures by Andy Farkas. Six black and white woodengravings printed by theartist. Eight leaves, plus endpapers. 10.25" x 7.5". Two fold-out illustrated pages, the rest French-folded. Printed andbound by hand by Andy Farkas with the support of the Minnesota Center for Book Arts. Printed in black with red LTCJenson on Okawara with cover paper of Kyoseishi. Cream wrappers with illustration in black and title in red; Japanesestyle stab-sewn binding in black cotton. An edition of 70 copies, signed by the artist. Fine. A charming book! $300.00

A great collaboration - Leonard Baskin, Ben Shahn - and poetry by Wilfred Owen

76. (Gehenna Press) Thirteen Poems. [By]Wilfred Owen. With Drawings by Ben Shahn.Printed at the Gehenna Press. NorthamptonMassachusetts. 1956. n.p. 13.5" x 10". Printedby Esther and Leonard Baskin and RichardWarren. Drawings printed by MeridenGravure. The portrait of Owen wooden-graved by Leonard Baskin from a drawing byBen Shahn and printed from the wood block.Press logo in red on a free endpape at theback. Red leather spine with gilt title; green-gray paper boards. In an edition of 400copies, this is a regular copy; signed byLeonard Baskin. Fine. $900.00

77. (John Gerard) Colors of the Spirit. WilliamShakespeare 16 Selected Sonnets. Paper Imagesby Mary Beth Schmidt Fogarty. John Gerard.

Rheinbach. [2000.] 20 leaves. 8.5” x 11.5”. Handmade papers by John Gerard, all especially made for this edition in hisstudio, with Schmidt Fogarty creating 6 original double page pulp paper images. Handset in 20 pt. Baskerville byOffizin Haag-Drugulin/Leipzig. Printed by Klaus Raasch/ Hamburg. Bound with an original paper painting overboards; deep red linen spine. Deep red cloth dropback box with relief title on spine and front. A unique variant in anedition of 40 copies, plus 3 artist’s proofs, each signed by Fogarty and Gerard. Fine. $1600.00 Universal landscapes of vast horizons offer a varying prospect for subtle and poetical dreams of color as well as fordramatic scenarios. Love and beauty have been brilliantly interpreted in Shakespeare’s spirit with these sonnets span-ning the vital range between youth and age. Gerard states: “This is Fogarty’s fourth book made in my workshop; shehas been coming to Germany since 1988, when she made her first book with Dickinson poems. Fogarty lives with thetexts for months and prepares extensively before beginning her illustrations, which she paints with wet pulp on afreshly made sheet of handmade paper. In this technique, there is no chance for correction - the lines and washes ofpulp must work immediately or a new sheet is made.”

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74.

75.

No. 74. No. 75.

No. 76.

(John Gerard) Das Herz der Rose. [By] Rose Ausländer. Pulp paper paintings and calligraphy by Heide Bauerle.Rheinbach. 2004. 15 leaves. 17.5" x 15.5". 6 pulp paper paintings, including the title page. All text in calligraphy. Redcloth boards with onlaid decorated title. Relief title on spine. Pale dusky pink handmade endpapers. Red cloth drop-back box with relief title on front and spine. One of 15 unique variants, signed by Bauerle and Gerard. Fine. $950.00Rose Ausländer (1901-1988) was a German writer and poet. Born in Bukowina, she left her native country with her husband whenshe was 20, and moved to the United States of America. Returning to Europe, she was arrested in 1941 in Russia, and in 1946 sheagain moved to the USA. Returning to Germany in 1965 she lived in Dusseldorf, where she was a poet, author and translator. Heide Bauerle has created wonderful free images of roses in her paintings to accompany the 16 beautiful love poems of Rose Auslnder. An elegant and beautiful book.. Translation available..

(John Gerard) Worte sind Vögel (Words areBirds). [Text in German.] Poems by HildeDomin. Double sided paper paintings byHeide Bauerle to 12 poems by Hilde Domin.John Gerard. 28p. 14.5" x 22". 12 doublesided paper paints and calligraphy byHeide Bauerle. All handmade papers byJohn Gerard. Bound in golden brown linenwith a handmade paper title and illustra-tion covering front board. Slightly darkertoning dropback box with embossed title inbrown. One in an edition of 15 uniquevariants. Signed by Bauerle and Gerard.Fine. An exquisite book. Last copy. $1600.00

(John Gerard) Die Häuser meiner Straße/lescases del meu carrer. [A poem in German and

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78.

79.

80.

No. 78.No. 77.

No. 79.

No. 80.

Catalan] by Enric Casasses. With images by Victoria Rabal. John Gerard. Rheinbach. 2006. First edition. n.p. 14" x 7.75".6 French-fold full page pulp paper paintings. Typeset in 24pt Galliard Roman, handprinted in black and blue. Boundin Japanese style with open stitching in blue. Blue linen spine, original pulp paper painting over boards. Title on front.Bblue linen dropback box. An edition of 30 unique variant copies signed by the poet, artist and Gerard. New. $600.00Enric Casasses is a Catalonian poet. Victoria Rabal is a Catalonian artist and also director of the Paper Museum inCapellades, Spain. English translation of the poem laid in at the bottom of the box.

(Louise Genest) Anemone. A sculptural book-object by Louise Genest. Approximately 2003. Box - 12.75" x 10.75" x 6.75".Book-object - 8" x 8" x 4". Blue cloth lidded box containing a flower-shaped paper book object made of narrow stripsof cream paper bound in smaller sections and then combined to form the object. This is held in place to the base withgold wire, which is also used as a decorative element to the piece. This is on the box base, with the 'book' itself placedin the middle of a floor of blue mottled paper handmade by a master Japanese craftsman.. Lid of box decorated withtwo found objects, which have had color and a small piece of gold wire added to enhance the design. Fine. $1650.00A wonderful visual piece - as only Louise Genest can make it!

(Jean Giraudoux) Amica America. Par Jean Giraudoux. Gravures de Jacques Mauny. Aux Editions Emile-Paul Freres.Paris. 1928. [4],164, [2]p. 7 leaves of plates. 11.25” x 7.5”. Cream paper wrappers with title in blue and black on uppercover; glassine covered. One in an edition of 225 copies, printed on Holland paper. Half-title signed by the author andthe artist. Very good. $1250.00The fine etchings in this work depict an Atlantic crossing and street scenes in America, and illustrate the author’s visit to this coun-try. Jean Giraudoux, who lived from 1882 to 1944, was a diplomat by career, and one of the most distinguished and original modern

French authors. Hefirst made hisname with novels,then turned to playwriting with evengreater success.Jacques Maunywas a painter andwood engraverwho consideredhimself a post-expressionist, andlived for a time inAmerica. His etch-ings for this workevoke the spirit ofthe 1920s, whenthe only way tocross the Atlanticwas by ship.

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82.

No. 81.

No. 82.

More than two years in the making - a triumphant and memorable work from America’s premier bookbinder - Donald Glaister

(Donald Glaister) Angelique and the Pearl Necklace: A homage to sail. Artist’s book by Donald Glaister. [Vashon Island,Washington. 2007.] 40p. 15.25” x 9.25”. Studies of the materiality of wooden boats and the spirit of sailing were madeof cotton fabric, wood veneer, cork, brass, polyester film, linen thread and acrylic. Type is Scala Sans, printed letter-press with photopolymer plates on Zerkall Frankfurt by Jessica Spring at Springtide Press. Quarter leather binding ofNigerian goatskin, wood veneer and grey cloth over boards. Grey cloth dropback box lined with black felt, white papertitle label on spine. No. 5 in an edition of 50 copies for sale in a total edition of 60 copies. Signed by Donald Glaister.Fine. $5000.00“Hand made wooden sailboats are a wonder of custom craftsmanship, exotic materials and a balance of wild adven-ture and the need to survive it all. ... This book is an homage to the material and spiritual grace of these boats and tosailing. ... Angelique and the Pearl Necklace combines a two part poem with studies of the materiality of sail boats, thespirit of sailing and the rhythm of the sea. Most of the book’s pages are of painted stiffened fabric on which dimen-sional constructions are mounted. “ - Glaister in Prospectus.An artist’s book of abstract constructions and poetry that celebrates the essence, wonder and beauty of the fine sailingcraft. A superb work - highly recommended!

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83.

No. 83.

84. (Grey Spider Press) States of Grace. Poetry and prose by Jody Alieson. Seattle. [1992.]n.p. 9.75” x 6.5”. Designed and printed letterpress by Chris Stern on watermarkedNideggen. Covers from sheets of Indian Bagasse, a paper made from cotton, jute andsugar cane fibers. Handpainted title label and inside cover with acrylic medium brown,tan and orange. Bound with natural color woven ribbon both inside and outside wrap-pers. One in an edition of 175 copies, signed by C. Stern on the colophon and Jody Aliesonon the title page. Fine. A beautifully printed little book. $75.00

85. (Jenni Grey - Bookbinder) Il Cantico delle Creature. di Francesco di Assisi. Italy. 2001.9.5" x 6". Box - 11.5" x 8" x 2.75". No. 417 in an edition of 1200 copies. Unique binding byJenni Grey signed and dated 2004 on the Colophon page. Bound in black suede embroi-dered with various threads and glass beads. All edges flecked with tan paint. Ribbon pagemarker with tassel. Veneered wooden box with inlaid embroidered panel echoing thedesign of the binding, lined with black suede and ribbon for ease of book removal. Brasshinges. Fine. $3750.00The design has lines of sewing that flow out from, and back to, a central point on the spine. The inten-tion is not to interpret the canticle but to symbolize how little we really know about our world and

our existence.This poem was written out in a calligraphichand in 165 different dialects and lan-guages for this facsimile edition speciallypublished for a Bookbinding Competitionheld in Italy. Translations in over 100 differ-ent languages (three in English).Illustrated in Vol. II, p.35, of the catalogueMaestri Rilegatoni Per Il “Cantico delleCreature” (2002), which is included withthe purchase of this item..

86. (Jenni Grey - Bookbinder) TheCanterbury Tales. (2 vols.) By GeoffreyChaucer. Woodcuts by Edna Whyte.The Folio Society. London. 1956.276(1)p. 8.5" x 5". Box - 11" 7.5" x 3.75".Unique set of bindings done by JenniGrey in 2005. Books bound in zebranoveneer, with light tan leather spines,toad skin bands, and brass studs. All

edges with shaded brown stripes. Box covered in ash and zebrano veneer, with oak trays and brown felt linings. Brownribbons to remove books from trays. Signed and dated in pencil on the rear doublure. Fine. $5800.00

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No. 84.

No. 85.

No. 86.

Grey writes: These books were found when searching for something to fitin with the 'British Classics' theme of the exhibition. The illustrations arerather stylised, so the covering veneer was chosen to echo the boldness ofthose lines. The 'Tales' are told by pilgrims to while away the time whentravelling to Canterbury, and the simple arrow forms on the covers sym-bolise their journey there and back again. Although the often bawdy talesdon't always have a moral behind them, the pilgrimage is a religious one,and this is hinted at in the design as the arrow shapes and spine form across when the book is opened." This set of two volumes was on exhibi-tion in Japan in 2006.

(Jenni Grey - Bookbinder) Shakespeare's Sonnets and A Lover'sComplaint. By William Shakespeare. The Folio Society. London.1989. Illustrated by Simon Brett, Peter Reddick, Jane Lydbury,Harry Brockway, Peter Forster, George Tate And Michael Renton.n.p. 8.5" x 6". Box - 9.75" x 7.5" x 2.25". Unique binding by Jenni Grey in olive green suede, with hand embroideredbeads in gold and bronze and threads in shades of green across front, spine and back. Gray-green doublures. All edgeswith olive green dots. Box with separate lid covered in oak veneer with olive green suede linings. Pattern on lid han-dle. Green ribbon for ease of removal of book. Book signed and dated '2005' in pencil on a rear free endpaper. Fine.Recently exhibited in Japan for the Designer Bookbinders Exhibition. $4500.00

Grey writes: "This book was selected specifically to fit in with the ' British Classics' theme of the exhibition, chosen because I likedthe way it is designed and illustrated, and for the challenge of dealing with a variety of illustrators. I think it is important for the bind-ing to work integrally with the book, so the design had to complement the different styles without copying any one of them. I'vebound other versions of the Sonnets, and have picked up on the themes of the fair young man and the dark lady before, so this timeI focussed more on the fact that Shakespeare contemplates his own ageing, and therefore mortality, in contrast to the youth of thosereceiving his affections, hence the subdued autumnal colour of the suede and the brighter energetic marks of the embroidery. Wedon't actually know who Shakespeare was in love with, or in fact whether he was in love with a person or more with being 'in' love.The embroidered lines reflect these themes in their meandering form, and are simply reflected on the lid of the box."

(Jenni Grey - Bookbinder) "Fall" & "Rise and Fall". Text and book design by John Crombie. Kickshaws. [Paris.] 1984.6" x 7". Text in gray and plum. Handset and printed by the author. A unique set of two bindings by Jenni Grey in onebox, which then forms a larger pattern. Covered in dark grey goatskin and brown reptile skin, with exposed sewingon the spine. The turn-ins form the design on the insides of the boards which are lined with suede. The clasps are madeof brass which has been chemically aged. The box is made of mahogany, with customized brass hinges, and a brasstitle plate. There is a wooden division in the middle to separate the two books. Both books signed in pencil on a backendpaper by Grey. Fall - No. 61 of 135 numbered copies. Rise and Fall - No. 14 of 185 numbered copies. Fine. $6000.00"The designs of the bindings are inspired by the design of the text block, traditional with a contemporary twist." - JenniGrey. She also writes: [These books] were initially part [of a larger piece] ... I dismantled the piece, re-using the covers,but re-binding the books, making new clasps and wooden box." [Illustration top of next page.]

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87.

88.

No. 86.

No. 87.

89. (Renate Habinger) Der Raupelikan. Der Text ist von GerdaAnger, Die Bilder von Renate Habinger. Vienna, Austria. 1986.Offset prints by Renate Habinger. n.p. 7.5" x 7.5". Various papers.Some pages of different size; pop-up cut-out. Spiral-bound papercovers. An edition of 500 copies. English translation of TheCaterpillican laid-in. Fine. $75.00Renate Habinger's work is in the collections of The SacknerArchive, Harvard University's Houghton Library, Mills Collegeand many other public and private collections.

90. (Mary Heebner) Deep Thermal. Images by Mary Heebner.Poems by Clayton Eshleman. simplemente maria press. [Santa

Barbara, CA.]2007. 13” x 17”. APort-folio featur-ing six archivalsigned and num-bered pig-mentprints of paintingon Somerset Velvetrag paper by MaryHeebner and sixpoems by ClaytonEshleman inspiredby the prints print-ed from pho-topolymer plateson gray Rives BFKin Spectrum In agray card folderwith paper titlelabel on front.. Anedition of 26copies, signed byboth the artist andpoet.Fine. $1200.00

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No. 88.

No. 89.

No. 90.

Eshleman writes in the Colophon: “As a poet, I have been working off paintings, from the Upper Paleolithic to the contemporary, formany years. ... I am interested in what I see in paintings as well as what the paintings see in me. ... I found in certain Mary Heebnerwatercolors a resonating psychic stimulation, and attempted to improvise on the words, narrative nodes and associational “chains”they flushed forth.”

(Gloria Helfgott) Westfälisches. 2001. Unique artist’s book by Gloria Helfgott. [Pacific Palisades. CA] 2001. 11.5” x9.75”. Single fold-out book with front boards opening in the middle. Color copy of early German map, text fromRussian Futurist writings on Moriki paper, ink drawings with collage. All on brown acrylic painted boards. Frontboards with circular opening showing text, surrounded by two semi-circles of map, as well as cut-out below, allowingfold-out of ink drawings with collages to be viewed. Green cloth dropback box lined in brown-green paper. Uniquebook signed by Helfgott. Fine. $1250.00

(Gloria Helfgott) Footprints (of the Dance.) Unique artist's book by Gloria Helfgott. 2006. 13.5" x 18.5" opened. Anirregular gray board accordion fold book depicting a stage featuring the 'corps de ballet' in white cut-out figures. Onthe reverse is the language of the dance - the steps of the dancers in lilac with white dotted lines to show their move-ment. The collages are of original cutouts made from handmade papers by the artist on Japanese papers over binders'board.The title page is in lilac with the title and a dancing figure in black. Laid in a black cloth dropback box lined withlilac painted paper. Signed by the artist at the bottom left of the title page. Fine. $1250.00

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91.

92.

No. 91.

No. 92.

93. (High Tide Press) Venice Saved from the Sea. Printsby John Ross. Text by various authors. High TidePress. [New York. 1995.] Accordion fold. 11.5" x 8.25".Conceived, designed, illustrated and printed by JohnRoss in the High Tide Press workshop on Rives BFK;set in Janson and printed on a Vandercook proofingpress. Collagraph images with two three-page foldouts. When open the pages can be unfolded to show apull-out soft ground etching 22" x 30" with hand col-oring. Prints done on a Brand etching press. Turquoisecloth boards with a wave pattern, lined in blueslubbed silk. Matching silk slipcase with recessedpaper title label. One in an edition of 15 copies, signedby Ross. Fine. $1750.00Texts by Emerson, 1833; Fynes Moryson, 1617; Dickens, 1846;George Eliot, 1860; Percy Bysshe Shelley, 1818; Canon PietroCasola, 1494; Philippe De Commynes, 1495; George Sand,1854; Lord Bryon, 1818; and William Beckford, 1780..

Ross comments: "My wartime experiences in Italy lasted over a year without giving me the pleasures of a trip to Venice. It wasn’tuntil 1949, during a nine month stay in Europe, that we first visited Venice. However, in the past 14 years, my wife (Clare Romano)and I have spent two months every summer living and working in Venice, absorbing the sights and feeling of this venerable city. Itsarchitectural flamboyancies have impressed thousands of artists and writers through the years and I have joined this group. I haveproduced 4 books on Venice and may do more." A wonderful book, with a dramatic surprise of the fold-out etching.

94. (High Tide Press) Visible Cities. With excerptsfrom 'Invisible Cities’ by Italo Calvino. Translated fromthe Italian by William Weaver. Prints by John Ross.High Tide Press. New York. [1993.] 18" x 13". 12 archi-tectural collagraph images, each on an 18" x 26"spread. Plates printed by John Ross with the help ofTim Ross on a Brand etching press at the High TidePress on Rives BFK; text in Palatino printed on aVandercook 219 press. Headlines and display typeare from the High Tide collection of antique woodtype. Bound in 30-year-old cream handmade paperfrom India. Black cloth drop-back box by JamesDiMarcantonio with original cream collagraph plateand thick card title label laid into a recess of box front.Box lined with black and white marbled paper. In anedition of 25 signed copies this is one of 20 copies inblack and white. Fine. $3,000.00

Ross writes: “A student in my New School [N.Y.] printmaking workshop saw some of my architectural fantasy prints and asked if Iwere affected by Italo Calvino’s writings. When I said "No" she brought me a copy of Calvino’s Invisible Cities and I found a distinctrelationship between his fables and my prints. It was possible to complete my Visible Cities using Calvino’s text and my images with-

out having to design a single new work. All the prints werejust waiting for his text. This was one of the rare times whenI paid Calvino’s publisher the required royalties to use 10paragraphs of his writings. We had both been inspired by themagic of Venice."

95. (High Tide Press) A Home for Hominstructs. Printsby John Ross. Text by Selected Authors. High TidePress. New York. [1997.] 14" x 10". Multi-color colla-graph images in a cut paper accordion that folds into a3-D house. 20" x 15" x 14". Plates made in Venice in1994 and printed on an etching press in the High Tideprint shop in 1995 and 1996. Text printed fromLinotype Helvetica on a Vandercook proofing press,with display letters from wood type; printed onCoventry. In a tan cloth portfolio box with magnetizedcovers that open in the middle. The two front boardseach have two recesses with a matching wood veneer

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No. 93.

No. 94.

No. 95.

and two flat knobs - giving the effect of a cupboard with opening front doors. Boxing made by James DeMarcantonioin Providence, Rhode Island. One in an edition of 15 copies, signed by John Ross. Fine. $2000.00Colophon: “ The collagraph plates for this project show the metamorphosis of structures into people, or hominstructs, with a textfrom early Russian Constructivist architects.” The whole opens to form a marvelous, vibrant structure of a house. Text by RussianConstructivist authors - Lazar Lissitsky, Ilya Golosov, Alexander Nikolsky, Nikolai Ladovsky, Alexander Vesnin, Moisei Ginzburg.Ross writes: "A Home for Hominstructs is based on the same principles of transformation and regeneration, [as in An ArchitecturalBestiary] with a title page and text influenced by Russian Constructivist architects of the 1920s and 1930s. It is my hope to be able todevelop some sculpture from these images."

The latest book from the great John Ross(High Tide Press) Portraits of the Twentieth Century: Volume One. Text by Lloyd Jonnes. Prints by John Ross. EastHampton, New York. [2006.] 13 leaves. 12.25” x 8.75”. Images of 8 people who influenced the twentieth century, twowith pop-ups. Images were made by a variety of methods, including woodcut, soft ground etching and collagraph.Printed on Lenox 100 in Garamond, set on the Linotype by Kent LeFebvre. All printing of type and images was com-pleted by John Ross at the High Tide printshop in East Hampton, New York. Letterpress printing was done on aVandercook 219 and the etchings and collagraphs printed on a motorized Brand etching press. Bound by JamesDiMarcantonio of the Hope Bindery. Bound in tan cloth with red cloth spine; title in black on spine and incorporatedin a large yellow ‘20’ which stretches across both back and front covers. Tan cloth slipcase. Red endpapers. Alternativebinding in red cloth with tan cloth spine; title in black on spine and incorporated in a large orange ‘20’ which stretch-es across both back and front covers. Red cloth slipcase. Tan endpapers. One in an edition of 17 copies, signed by LloydJonnes and John Ross. $1750.00Jonnes writes: “The prints by John Ross that make up this volume memorialize a number of men and women preeminent in theworld of the twentieth century.” Images includes those of Ghandi, the Wright Brothers, Franklin D. Roosevelt, Albert Einstein, LouisArmstrong, Pable Picasso, Georgia O’Keeffe and Kathë Kollwitz. There is text for each. A planned second volume will be an excel-lent companion for an artist’s overview of the past century..

(Sandra Jackman) The Juggler. Artist's book-object by Sandra Jackman. [NewYork.] 2005. 12" x 12" x 4". Mixed media book-object and collaged cylinder set ina black wood box with a clear plexiglass front through which the book-objectmay be viewed. The box can be opened and the cover of the book-object laidback to reveal seven individually illustrated scrolls, which are notremovable.The book’s mylar cover is covered with bits of collaged imagery thatform the background to the artist's interpretation of Chagall's 'Juggler'. Uniqueitem signed by Jackman. Fine. $3500.00Jackman writes: "This is a symbolic work filled with images to tease the imagination. ..."The juggler on the cover of my book- object concentrates on keeping the three figures inthe air without being distracted by the many images floating around him. So, too did theJews concentrate on what is significant to the religion and to themselves as a people, evenas they had been forcefully dispersed to wander. They have had to juggle all the identi-ties that life required of them in order to survive." [See illustration top of page 40.]

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97.

No. 96.

No. 97.

98. (Janus Press) What the Owl Said. By James Cortese. [Vermont.] 1979. First edition.32p. 12" x 9". 19 linoleum cut illustrations and one linecut decoration from a pen draw-ing by Claire Van Vliet. Designed, set and printed by Van Vliet. Titles printed in blackand ochre; text in black, ochre and brown. Linoleum cuts printed in sap green and twoshades of blue, white, and two shades of yellow. Linecut decoration printed in blue.Printed on Promatco Heavy Library Endleaf, with ochre Fabriano for the end sheets.Bound in printed natural Belgian linen over boards. Masonite cut decoration printed intan on front and back covers. Paper title label on spine. No. 92 in an edition of 150 num-bered copies, plus 15 H.C. copies. Fine. $350.00Published with grant assistance from the Literature Program of the National Endowment for theArts in Washington DC, a Federal agency, and a seed grant from the Wisconsin Arts Board, thestate arts agency.

99. (Janus Press) The Gospel of Mary. English Translation from the Greek by Karen Kingwith Commentaries by Rosemary Radford Ruethen. Newark. Vermont. 2006. n.p. 11.5"x 10". Printed in Monotype Plantin, cast at Golgonooza Letter Foundry, and printed oncalendered Barcham Green Boxley. The cover and pop-up center piece were pulp paint-

ed by Claire Van Vliet with Katie MacGregor in Maine. Blue and light green thick card covers. Woven open-spine bind-ing in gray Barcham Green Cairo paper. Dropback box with birch trim, red paste paper decoration on side, and titleon spine. Paste paper decoration inside box. One in an edition of 150 copies, signed by Claire Van Vliet, Audrey Holdenand Andrew Miller-Brown. Fine. A wonderful new book from Claire van Vliet's Janus Press. $1500.00

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No. 97.

No. 98.

No. 99.

(Paul Johnson) Watch and Wait for the Surprise. Unique cut-out and painted book by Paul Johnson. 8 leaves. 8.25" x5". A painted, decorated, shaped book with cut-outs, onlays, and hanging multi-colored braided threads with smallpaper cylinder and paper attached. In a red card envelope-type container. Signed by Paul Johnson. Fine. $275.00

Paul Johnson) The Light Shines in the Darkness. John I,v.1. Artist’s book by Paul Johnson. [Manchester. 2002.] 13.5” x9.75”. Double-page pop-up three-dimensional multi-colored and gold paper book, with many cut-outs and wheel-likeand spiral onlays. Glued to black inside boards with mottled red cloth outer boards; gilt title on front. Unique booksigned by Paul Johnson. Fine. $925.00An exuberant and exciting pop-up book by the master of paper engineering, Paul Johnson..

(Paul Johnson) Merman. Pop-up pull-out book by Paul Johnson. August 2005. 7.75" x 4.75". Laser printed on mould-made Hahnemuhle Aquarell. Hand engineered and assembled by Paul Johnson. With cut-outs and onlays. All in color.Red leatherette spine with red paper boards and illustrated title on the front. Red card envelope type folder. No. 14 of20 copies of the first edition. Signed by Paul Johnson. Fine. $150.00A most amusing book telling of the Merman who seeks a mermaid 'for lasting relationship.'

(Paul Johnson) Heaven is Available to All who do not allow themselves to be distracted. Unique cut-out and painted bookby Paul Johnson. Pull-out accordion fold. 5.5" x 4.25" x 1.75". A painted, decorated, shaped book with cut-outs, onlays,hanging multi-colored braided threads with small paper cylinder and paper attached. Spine decorated. Paper 'mock'closure. In a black card envelope-type container. Signed by Paul Johnson. Fine. $175.00

(Paul Johnson) Ask your Dreams to Wait until you are ready for them. Unique cut-out and painted book by Paul Johnson.5 double-page pop-up spreads. 2.75" x 3.5". A painted, decorated, shaped book with cut-outs, onlays, hanging multi-colored braided threads with small paper cylinder and paper attached. Spine decorated. Paper 'mock' closure. In ablack card envelope-type container. Signed by Paul Johnson. Fine. $95.00

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100.

101.

102.

103.

104.

No. 100. No. 101.

No. 102. No. 103. No. 104.

(Paul Johnson) Thank you this Good Day for the Gift of Light. Unique cut-out and painted book by Paul Johnson. 4 dou-ble-page pop-up spreads. 2.75" x 3.5". A painted, decorated, shaped book with cut-outs, onlays, hanging multi-coloredbraided threads with small paper cylinder and paper attached. Spine decorated. Paper 'mock' closure. In a red cardenvelope-type container. Signed by Paul Johnson. Fine. $95.00

(Paul Johnson) The Quest. Pop-out book by Paul Johnson. 2005. 4" x 3.5" x 1.75". House-shaped box, with fold-out bookinside. Book held in place in white stick spine under rolled card. Color Laser printed with text on mouldmadeHahnemühle Aquarell. Handmade by Johnson. Paper closure. In a red folded card box with illustrated paper title labelon top. One in a 1st edition of 50 copies, signed by Paul Johnson. Fine. $70.00The story of a princess's quest for happiness, and how she finds it by teaching and making books!

(Paul Johnson) Heaven on Earth. Accordion fold out book by Paul Johnson. 2005. 2.75" x 3". Color laser printed illus-tration and text on mouldmade Hahnemühle Aquarell. Hand engineered on hand dyed cotton by the artist. Colorcords and threads with small attached paper shapes and designs. Paper closure. In a purple open box container withred paper title label. One in a 1st edition of 50 copies, signed by Paul Johnson. Fine. $65.00

108. (Peter R. Jones - Bookbinder) TheGarden & Other Poems. By Andrew Marvell.Engravings by Harry Brockway. The FolioSociety. 1993. 4.5" x 3.375". Unique bindingby Peter Jones. Bound with wood boards;open sewn spine with three black metal rodsand two white leather strips across the spinewith two small black studs at each side. Blackendpapers. Black card protective envelopefolder. Book signed in pencil on the back ofthe final free endpaper by Peter R. Jones anddated 2005. Fine. $1150.00

109. (Peter R. Jones - Bookbinder) Aesop'sFables for Modern Readers. WithIllustrations by Aldren Watson.The Peter Pauper Press. MountVernon. New York. 1941, 1955.60(1)p. 7.5" x 4.5". Illustrationsin black and red throughout. Setin Baskerville types and printedon specially-made paper.Designed, printed and pub-lished at the press. Uniquebinding by Peter Jones. Blackleather spine with two raisedbands and boards of oak stripsshowing the natural grain.Black free endpapers. All edgesgray. Black binder's cloth overboard slipcase.Fine. $2500.00

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105.

106.

107.

No. 105. No. 106. No. 107.

No. 108.

No. 109.

(Kairos Press) The Stone Beloved: Six poems from Dante Alighieri. Translatedby Harry Duncan. With Lithographs by Peter Nickel. Austin, Texas. 1986.14.375” x 10.25”. With 7 lithographs, including the double-page fron-tispiece, soft tinted and printed on one side by Peter Nickel. Set inRomanee and printed by Bradley Hutchinson, Nancy Ruppert, ElaineSmyth, and Thomas Taylor on gray Rives BFK paper. Quarter bound byCraig Jensen in vellum and gray abaca paper over boards. Title in silveron spine. In a slipcase of abaca paper over board. No. 7 of 25 special softtinted copies in an edition of 150 signed by Peter Nickel. Fine. $625.00

(Kairos Press) Just Such a Time: Recollections of Childhood on the TexasFrontier, 1856-1867. By J.M. Carroll. Austin, Texas. 1987. 65p. 9.5” x 6.5”.With woodcuts by Barbara Whitehead. Frontispiece in yellow, title-pagewoodcut in second color. Set in Bulmer type, printed on Nideggen paper.Quarter bound in calf and wood veneer paper over boards, title in blindon spine. Dust jacket. One in an edition of 150 copies. Fine. $195.00

We welcome a new creative talent to these pages

Sara Langworthy’s recent works show a deep interest in the exploration of layering and texture through an unusualand intriguing combination of painting, drawing, and printmaking processes. In 2001, she completed graduate stud-ies in Book Arts at the University of Iowa, and has taught classes in Minnesota, Iowa, and North Carolina. She has hadher work exhibited nationwide.

(Sara Langworthy) First Visit. Artist’s book by Sara Langworthy. Coreopsis Press. 2001. 8.75” x 7”. Conceived andassembled in the winter, using transparencies of etchings, with U1CB kozo, Japanese book cloth and 2-ply museumboard. Six ‘leaves’ of board, covered with black cloth with rectangular plate inset and held in place with string. Eachplate illustrated and with minimal text. Smaller plates inset in both back and front boards. Grey cloth boards and blackcloth spine. One in an edition of 40 signed and dated copies. Fine. $500.00

Langworthy writes that for best viewing, place in front of bright light.“Sara Langworthy was trained in bookbinding, printing, and papermaking at the University of Iowa Center for theBook. She has been a resident artist at the Minnesota Center for Book Arts and Highpoint Center for Printmaking inMinneapolis. She currently divides her time between her studio in Minneapolis, and Iowa City, Iowa, where she teach-es Bookbinding and Letterpress Printing. [Her work] can be found in a number of national collections, including theWalker Art Center and Yale University.” - Women’s Studio Workshop Summer Arts Institute 2007.This book was published with a grant from Women’s Studio Workshop, which is funded in part by the New York StateCouncil on the Arts. An interesting structure to a charming book.

(Sara Langworthy) Mortho Terrestre. Poems [by] Emily Wilson. Prints [by] Sara Langworthy. 2006. 11.25” x 5”. Four 4-page fold-out color images created on and off the press by Langworthy, who also designed and printed the book. Textin Janson printed on Sakamoto paper from photopolymer plates. Pages are sewn with silk in a Japanese multisectionbinding. Laid in a recess in a brown silk dropback box with cream paper title on the spine and paper color illustrationon the top of the box. One in an edition of 50 copies, signed by Wilson and Langworthy. Fine. $600.00[See illustration top of page 44.]

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110.

111.

112.

113.

No. 110.

No. 112.

Emily Wilson lives in Portland, Maine, where she is the proprietor of the Spurwink Press, which publishes letterpresseditions of poetry books. She graduated from the University of Iowa Writers' Workshop in 1999. Six of the poems inthis book have previously appeared in various publications.

114. (Susan Lowdermilk) Momento Mori. Quote by Shakespeare. Woodcut artist's book bySusan Lowdermilk. [Eugene. Oregon. 2005.] Accordion fold. 12.75" x 4.75". Two colorwoodcuts. Text and image printed on Stonehenge paper. Black corrugated card covers

with Indonesian palm leaf style binding sewn with white cord. Paper title label on front.One in an edition of 12 copies, plus 2 artist's proofs. Signed, numbered and dated on thereverse side. Fine. $400.00

Youth matures into Russia’s greatest contemporary Book Artist

115. (M.K. Publishers) Self-Portrait: Mikhail Karasik.[In English and Russian.] Exhibitioncatalogue. The State Russian Museum. The Ludwig Museum in the Russian Museum. SaintPetersburg. 2003. 96p. 13.25" x 8.5". Illustrated in color with black and white descriptionsthroughout. Illustrated paper over board covers with title on front. One in a limited editionof 300 copies, signed by Mikhail Karasik. Fine. $65.00M.K. Publishers is the personal publishing house founded in 1987 by Mikhail Karasik, anartist, pioneer, ideologist and dedicated promoter of the genre of artists’ books in Russia. Itproduces limited edition book and book-objects. Karasik has published numerous booksand catalogues on artists' books and Russian avant'garde art of the early 20th century. Hehas written more than 30 articles on artists’ books and modern art. Under his own imprint,M.K. & Khar-m s i z d a t ,M i k h a i lKarasik initi-ated a seriesof avant-garde festi-vals in St.Petersburg,including theD a n i lKharms festi-

vals (1995-1998, 2005). Patronizing artistsfrom St. Petersburg, Moscow, NizhnyNovgorod and Lvov, M.K. Publishershas brought Russian artists’ books tointernational art fairs regularly since1997.

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No. 113.

No. 114.

Image of Karasik as a child; cover of #115.

(M.K. Publishers) David and Uriah. Lithographs by Mikhail Karasik. Text in English. St. Petersburg. 1996. 20p. 16" x13.75". Three full page lithographs and one double-page double-sided lithograph. Boards of dark blue with dark bluecloth; open spine of Japanese style sewn binding of natural cord. Light blue outline illustration of two figures on frontboard. Dark blue dropback box with light blue title on front. White card chemise and heavy white card slipcase. No. 8of 27 numbered copies, signed by the artist. Each lithograph also signed. Fine. Last copy. $1500.00

(M.K. Publishers) Shulamite: The Song of Solomon. Lithographs by Mikhail Karasik. St. Petersburg. 1998. 23.25" x 15". InEnglish. Text in purple and yellow. Loose in portfolio with thin white card wrapper. 9 color lithographs plus 2 sepa-rate leaves with title-page and text. Lithograph on cover of front board of dropback box; beige cloth spine. No 3 inan edition of only 15 copies. Each lithograph numbered and signed; the white wrapper with edition number and ini-tials of Karasik. Fine. Last available copy. Stunning and brilliantly colored lithographs. $5000.00

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116.

117.

No. 116.

No. 117.

(M.K. Publishing) Arabian Eros. Artist's book by Mikhail Karasik. St. Petersburg. 1998. n.p. (24p.) 19.5" x 13". Nine full-page original color lithographs. Green titled wrappers. In a striped multicolored dropback box with black cloth spine.One of 17 copies signed by the artist. Fine. $2900.00In a series of original glowing lithographs, Mikhail Karasik puts his artistic vision to play with The Yashmak; Morning;Voluptuousness; The Source; Midday; Caresses; Evening; Dream and Moon. Beautiful images with a salute to Matisse!

(M.K. Publishing) Acts. Dedicated to Bloom. Tableaux after James Joyce's Ulysses. Artist's book by Mikhail Karasik.Translated into English by Kenneth MacInnes. St. Petersburg. 2003. 36p. 20" x 13.5". English text silkscreen printed. 15colored lithographs featuring early 20th century erotic postcards. Frontispiece of monochrome lithograph. Brownboard cover with black title and decorative border on the front. Pink paper covered slipcase. One in an edition of 12copies, signed by the artist. Fine. $3000.00“Dedicated to Bloom employs old erotic postcards, which would not initially appear to bear any direct relation to theartist’s own life. In this way, however, Mikhail Karasik recalls the secret dreams of his tender years and indulges in hisown reminiscences of ‘another, distant life - childhood.’ “Bloom takes a pack of postcards from the bureau. He studies his collection of pornographic postcards. He probablyremembers when he was a boy. In the evening, on the seashore, he watches a girl in white stockings sitting across fromhim. ... Life passes so quickly. All that remains are a few smudged pictures. Yet for some reason these pictures - the sil-liest naïve, useless ones - always seem the most important.” - Self Portrait.

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118.

119.

No. 118.

No. 119 -3 images.

(M.K. Publishers) Board of Honor. Artist's book by Mikhail Karasik. St. Petersburg. 2004. 16.75" x 13". 15 manipulatedcolor images of various public and private figures on canvas. A contents page is bound in giving the names of the var-ious people; on the verso of the page Karasik discusses the concept of this book and his reasons for using these partic-ular images. Illustrated boards with gray spine; metal studs for binding. In a gray slipcase with a white metal ovalplate on front; titled and dated in black on the spine. An edition of 25 numbered and signed copies. Fine. $2000.00Images of Stalin, Brezhnev, Karasik's grandfather, parents and himself, El Lissitzky, Danil Kharms, Marc Chagall,Kazimir Malevich and Boris Pasternak, among others. Karasik discusses his 'imaginary portrait gallery', and how hereplaced older images with newer names. He writes: "All that now remains of these people - talented and untalented,good and bad, kind and cruel - whom I either looked up to or disliked with all the hatred of a child, are photographsin family albums, old books, encyclopaedias and calendars. ... They all now belong to history. All that remains areshadows and photographs.“... Part of them only exist in my mind and memory. Yet isn't a memory all that is needed by those who are no longerwith us?" - Karasik.

(M.K. Publishers) The Silver Age: Russian Types. An Album for contemplation. Artist's book by Mikhail Karasik. Texttranslated into English by Kenneth MacInnes. Saint Petersburg. 2004. 13 leaves. 14.25" x 21.25". 11 color lithographs byMikhail Karasik. Text and illustrations printed on BFK Rives. Board binding with title and manipulated images.Doublures of images from old photographs. Blue spine. Board dropback box with blue spine and six images of oldcards, some with color, on front. Further grey protective thick card box with separate lid, trimmed with grey and sin-gle onlaid image. One in an edition of 17 copies signed by Karasik. Fine. $3000.00

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120.

121.

No. 120 -3 images.

No. 121 - box, binding & an image.

(M.K. Publishers) Genesis. Artist’s book by Mikhail Karasik. St. Petersburg. 2006. 17” in diameter. Seven round colorlithographsof manhole covers by Mikhail Karasik; on the verso is text consisting of the first three chapter of ‘Genesisin three colors to form a palimpsest pattern in four languages. Lithographic title on front and back of aluminum cov-ers, orange verso. Bound with one metal screw. Orange box with loose lid; round pattern on the lid and nine imagesof manhole covers on the inside and bottom of the box. In an 18.25” x 18.25” dropback card box with grey and orangetrim and copy of title page lithograph in orange on top. One in an edition of 15 numbered copies, signed and dated onthe inside back cover. Fine. $1500.00“Seven days of creation, seven sheets of paper, seven iron Petersburg manhole covers. In seven days the Lord createdman and everything on the earth. Seven old iron manhole covers, seven tables on which is written the text of the firstthree chapters of the Book of Genesis. Manhole covers are artifacts of city life, a hidden land beneath them ... There island there is the underground, but ... [they] never meet. ... From my childhood they frightened me .“Manhole covers, like the old pages of a book scattered across a vast city. I wander through the streets and read theirmetallic words. Seven manhole covers, seven signs of the elements ...” Karasik, New Books 2004-2006.

(M.K. Publications) Ryba. [Essays, Tales, Articles in Russian and English.] Artist’s book by Mikhail Karasik. [St.Petersburg. 2006.] 56p. 8” x 17”. Text and illustrations in black and white, silkscreen printed on black paper. Black cardcovers with title in white; black sewn binding. Black cloth and board dropback box with white silkscreen of a dominopiece. Wraparound black card protective folder. One in an edition of 37 numbered and signed copies. Fine. $350.00“The dictionary translates the Russian word ryba into English as fish. It does not translate the other meanings of theword. In Russian, ryba also means the end of a game of dominoes. It is the word spoken by the player who makes thelast move, before all the dots on the remaining dominoes are added up.“In publishing and printing, a ryba also means a dummy book design. The title of the Ryba collection of essays, arti-cles and short stories reflects both meanings of the word. ... “In this particular publication, the artist is also the author of the short stories. He throws his texts onto the table likedominoes. The dots are the facial side and the texts are the reverse side of the domino. The game ends when the sixthdomino is placed on the table. This book also ends unexpectedly. All that is left to be done is to count the dots on theremaining dominoes, like the empty pages. Dominoes remaining in the hand and unpublished text are the results ofthe game and the results of life, summed up by the short Russian word ryba.” -

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No. 122.

No. 123.

Martin - the essential bibliography on the early Private Presses

(John Martin) A Bibliographical Catalogue of Books Privately Printed: including those of theBannatyne, Maitland and Roxburghe Clubs, and of These Private Presses at Darlington,Auchinleck, Lee Prior, Newcastle, Middle Hill, and Strawberry Hill. By John Martin, F.L.S.J.and A. Arch. Payne and Foss; J. Rodwell. London. 1834. 2 vols. xiv, 314; 317-563p,includes Index. 11" x 8". Colored frontispiece to Vol. I, black and white frontispiece andvignettes to section headings to Vol. II. Later black leather spine and tips, gilt title onspine; marbled paper boards. Marbled endpapers. Neat labels in each volume top cor-ner of front pastedown dated 1881. Very good. $650.00John Martin - bookseller, publisher, editor, and librarian - compiled this first bibliogra-phy of privately printed books based on replies to his advertisement seeking informa-tion about these titles in Gentleman’s Magazine (February 1829). Martin also obtaineda wealth of information from contacts with some of the greatest English collectors ofthe day, including Thomas Grenville, George John Earl Spencer, Francis Wranghamand the Duke of Bedford, while Sir Thomas Phillipps provided details of the publica-tions he issued under the Middle Hill imprint. A second edition of this catalogueappeared in 1854. - From Almeloveen to Whittington: Book & Manuscript Catalogues 1545-1995, The Grolier Club, 2007. An essential bibliographic tool in the study of the earlyPrivate Press movement.

(Nora Lee McGillivray) To Be Read in the Light. Artist's book by Nora Lee McGillivray. 2006. 27 leaves. 10" x 13.125".Gocco screenprinted on Masa. Original text, title page and colophon are inkjet printed on Arches 88 in Papyrus. Singlesheets are post and nut bound between covers of handmade Cave Degener Black over boards and lined with CaveGalaxy with mica. Title is printed on Cranford silver. Flyleaves are crater paper from the Philippines. Black box andseparate lid with title label and edition number on front. One in an edition of 26 initialed copies. Two A/P copies. Fine.

$375.00McGillivray writes: "To Be Read in the Light is an interactive artist's book, in which pairs of printed images and 13 verybrief verses of words use light as material and metaphor to illustrate luminous moments of discovery. This book is myattempt to give form to those exhilarating ‘ah-ha’ moments of insight and revelation, when the elusive becomes clear.“Pairs of images are screenprinted to single sheets of semi-transparent paper: one image to the recto and one to theverso. The ephemeral moment of enlightenment will come to the reader as she lifts and turns the page. A new imageis created as surrounding light shines through the paper, blending the two images into one. Brief, self-contained sto-ries, printed on opaque pages on either side of the image page, are clearly revealed at the moment of the turning. "I am inspired by Ezra Pound's idea that "the book should be a ball of light in one's hand"; the physicists' understand-ing that light is the primal element that makes everything possible; the philosopher's view that light is life, knowledgeand reality; the mystic's belief that light is the divine."

Two fine works by Robert Johnson of the Melia Press from the early 1990s

(Melia Press) Tickletoes. John Wills, Poet. Robert Johnson, Artist. (Minneapolis. MN. 1993.] 13 French fold leaves. 18” x12.75”. Designed and printed by Robert Johnson. Shapes and colors printed using a relief collagraph letterpressprocess. Hand printed using Bembo, Huxley Vertical, and Clarendon type on Rives BFK paper. Bound by Jill Jevne

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124.

125.

126.

No. 124.

No. 125.

with an open sewn spine; boards of yellow fabric with a blue Moriki inset front and back. Pages are hinged with yel-low Moriki guards sewn on to five linen tapes. Bright blue cloth dropback box with paper title label on spine. No. 35in an edition of 40 copies, signed by John Wills, Robert Johnson, and four other contributors to the production. Fine.

$4500.00This large format book presents fourteen of Wills’ cheerful poems in combination with Johnson’s colorful, animatedtwo-page spreads. Approximately 160 press runs and 180 handmixed colors were required to achieve these unusualgraphic images. An exciting visual book with charming text.

(Melia Press) A Private Fall. [Poems by] Robert Bly. Illumination [by] Robert Johnson. [Minneapolis. MN] 1995. 15French-fold leaves. 14.5” x 10”. Designed and printed letterpress by Robert Johnson. Images created using multiplelinoleum blocks. Text in handset Goudy Old Style and Kennerley. The fold of each leaf has an onlay at the edge of atoning slightly darker fiber. Bound by Jill Jevne in a board of gray leather with brown leather inserts at each cornerwith a large rectangular inset of browns and beige patterned paper on both back and front boards. In a brown clothdropback box with cream paper title label on spine. One of 9 copies in an Artist’s Proof edition, in a total edition of 61copies. Signed by Robert Bly and Robert Johnson. Fine. $2500.00An elegant and beautifully printed production.

(Lois Morrison) Snakes are not nice. Artist's book by Lois Morrison. [New Jersey.] 2005. 2..375" x 3". Opens to form asnake shape. Printed from Staedtler's Master-carve onto oriental paper. Handlettered onto Nideggen and grommeted.

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No. 126.

No. 127.

Bound in sharkskin over board. Laser-cut by Julie Chen.Title on front. In a plum textured bag with green tie. Onein an edition of 25 copies, signed by Lois Morrison. Fine.

$195.00

(Lois Morrison) Geryon’s Country. Artist's book by LoisMorrison. [New Jersey.] 2005. Tunnel book format. 9" x5.5". Color copied from crayon drawings. Gocco-printedand color penciled onto digital color Supreme Glossy recy-cled, Arches text wove and Fabriano Tiziano Lava Red.Typeface is Font Lister. Together with the colophon in ared folder at the back of the book are three handcut andmovable grommeted figures of two Geryons and a dog.These figures can be placed between the layers of the bookto form an interactive scene. Laid in a patterned tan clothwrapper lined in deep red with a three-button closure.One in an edition of 25 copies, signed by Lois Morrison.Fine. $750.00Inspired by the Greek myth wherein Hercules is caught stealing Geryon's herd of red cattle and kills him as one of his labors. "Geryonis described as being red, incredibly strong and having six arms and six legs" - from the text. Lois Morrison has again created a clevercontemporary visual book inspired by a classic text.

(Nelleke Langhout Nix) 1940-1945 Remembered: translated and retold from my diary. An artist’s book by Nelleke Nix.Nelleke Nix Studio Gallery, Inc. Seattle, Washington. [1991.] n.p. 10.75” x 7.5”. Sixteen handwritten ‘memories’ photo-graphically reproduced. Various papers were used, including some Japanese. Illustrations in color; collages with somereproductions of photographs, cut-outs and pieces of blue and white striped cloth. Beige colored cloth sewn into a cut-out on one page. Black cloth with white inserts, the front including a black and white photograph and title in red. Tiedwith a white ribbon decorated with black cows and milking pails with red hearts. One of 125 copies. Fine. $350.00

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No. 129.

No. 130.

Nix states in her Preface: “I felt that our children in the United States know so little about war that perhaps it would be a challengeto create a non-scary book that told about things that happen during a war. I recalled some of my most vivid childhood memoriesand wrote about my experiences in Holland during World War II. I used the names of the people involved because they should notbe forgotten. ... Please consider this artist’s book as an expression of the happiness I feel because I survived and as a reminder thatwar is not just about armies but very much about fathers, mothers, and children.”

(Nelleke Langhout Nix) Papua New Guinea: where She invented bow & arrow. An Artist’s Book [with] stories and origi-nal art by Nelleke Nix. [Nelleke Nix Studio Gallery Press Inc. Mercer Island. Washington.] 1996. n.p. 8.5” x 11.5”.Illustrated with 30 black and white block prints, some color added, and linocuts in color. The block prints are made onmetal blocks, using the raised line - the reverse of engraving. Printed letterpress by the artist on cream Mulberry paperand Clearprint. Black feather laid in; one page with sewn-on collage. Endpapers of handmade navy, orange and natu-ral striped Japanese paper. Bound in tan cassowary bird skin, with striped Japanese paper. The cassawary skin hasbeen used in as natural a shape as possible to form its own design, with the bottom spine extending slightly over theedge of the book. Binding sewn Japanese style to back cover. An edition of 32 numbered copies. One of 10 thus, signedby the artist. Fine. $450.00One of 20 copies: printed on Reeves etching, Fine and Clearprint. Gray and white endpapers of original prints madeusing a very fine mosquito netting over the linoblocks on Reeves paper. Bound in a brown skin of the lizard family,with cut-out tail-feather shapes added to the back cover. Nix writes that the leather is antique from animals that wereeaten, not wasted for their hide and feathers! Fine. $300.00A fascinating record of the author/artist’s trip to Papua New Guinea in 1995, where she was invited to visit by artists from the Sepik

region whom she had met when they were traveling in the United States. Theillustrations are all of the people and their activities, and the text combinesstories and legends together with facts relating to the life of the people.

132. (Jan Owen) Garden Library. Mixed media sculptural book by JanOwen. [Bangor. Maine.] 1996. 8" x 11" x 3". Open 'book' on boardcovered with paper of reproduced text and old botanical illustration.The covers of the 'book' itself are covered in decorated paste paperof various colors with paste-ons of xeroxed text relating to booksand gardens. Thin strips of xeroxed decorated papers and and stripsof white paper with text form a pop-up display from the center ofthe book. Laid in an archival box with paper title label, giving theedition number, as well as a large illustrated paste-on. One in an edi-tion of 10 copies, signed by Jan Owen on the base of the inside backcover of the book. Fine. $250.00

133. (Jan Owen) Rhyme & Rhythm. Unique calligraphic panel by JanOwen. [Bangor. Maine.] 2005. Hanging accordion fold book. Closed- 14" x 10.5". Open - 14" x 55". Acrylic on paper, painted woven Tyvekand two half CDs as decoration. All backed with plum color paint-

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No. 132.

ed Tyvek. Painted tan/blue/black-plum; orange background painted withblack and brown inks. Decorated paper boards with colored paper title labeland white hanging cord. Laid in a patterned gray/black cloth portfolio caselined with hand decorated tan/gray/black paper. Paper title label with blackcord closures; lined with hand decorated paper. Unique signed work. Fine.

$1000.00Owen writes: "[This work] began as a quiet book of blue and black paper but Iwas chopping up a copper paper and together, they came to life. The brushmarks in the copper paper made me think how exciting and vital our writingand our words can be - no matter if written or stored on CD. Yet, as DanaGioia's quote says, 'Reading is never more intimate than with script. The handof the poet reaches out to greet the reader.’” Text includes words by BorisPasternak, Lu Chi, Dana Gioia, Virginia Woolf, Iris Murdoch, Joseph Conrad,John Tagliabue, and Walt Whitman.

(Pacific Editions) red thread, two women. [Collaborative poem by] Paula Sager& Lizbeth Hamlin. Images & Design by Charles Hobson. [San Francisco.] 2006.Accordion fold. 7.75” x 8.25”. Extends to 8’. Set in Cantoria MT Light, printedon BFK Rives and Strathmore papers. Images by Hobson are hand-coloredhigh resolution digital prints. Constructed with two signatures sewn into anaccordion structure incorporating hand-colored cotton and jute twine. Boundin decorated paper boards and red cloth spine with paper title label. Bookattached to the inside of the back cover. Red fabric slipcase. No. 21 in an edi-tion of 38 copies, signed by Paula Sager, Lizbeth Hamlin and Charles Hobson.Fine. $1500.00“red thread, two women” is an intimate exploration of insight, discovery and personal rev-elations. ... “ ... What made the process even more intriguing was that we moved and witnessed inrelationship to each other from a distance of 3,000 miles.” Sager & Hamlin.The poets, Paula Sager and Lizbeth Hamlin, are practioners and teachers of AuthenticMovement, a practice that is concerned with the exploration of relationship. In its sim-plest form there is a mover and a witness. The mover, with eyes closed, waits for animpulse to move. The witness follows or tracks his or her own experience while beingpresent and attentive to the mover.The design of the book has been inspired by the poemand evokes the experience imbedded in the writing. The string/thread acts like a drawnline and can be moved around by the reader to change the “drawing” and the experience. “The reverse of the book uses images of beets, accentuating characteristics of the poem -their string-like roots and the fullness and ripeness of their shape. The back pages alsocarry and emphasize individual words from the poem: voice, awaken, heart, distance,silence, tears, flame, breath, birth. - Charles Hobson in the Prospectus.

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No. 133.No. 134.

135. (Passim Editions) Ultima Thule. [By]Nicholas Christopher. Woodcuts by Wesley B.Tanner. [Ann Arbor. 2004.] Over 125 colorwoodcuts throughout. n.p. 12.75" x 10". Printedand bound by Wesley B. Tanner using BauerBodoni type and Vit Bloma handmade paper.Title woodcut lettering by Susan Skarsgard.Illustrated boards in red, tan, orange and black;green cloth spine with paper title label. One inan edition of 30 copies, signed by NicholasChristopher & Wesley B. Tanner. Fine. $1500.00An epic poem by the author of A Trip to the Stars,Atomic Field and Franklin Flyer, Ultima Thule is thestory of a bold adventurer on a journey to the veryend of the world, while the young queen of Spartawaits and ponders her fate. ... [it] is the work of amaster at the top of his form.Nicholas Christopher is well-known for his manyappearances in The New Yorker and The Paris Review,and is keenly appreciated by the poetic community,

amongst them Anthony Hecht and Catherine McSweeney.Celebrating forty years as a printer, Wesley Tanner created this book with handmade Swedish paper of the late 1950s, utilizing therare Bauer Bodoni types. He is now on the faculty of the School of Art & Design at the University of Michigan. His illustrations forthis book are well integrated with the text, resulting in a powerful and appealing work.

A wonderful new book by Wesley Tanner, with illustrations that compliment the poems of Jack Spicer

(Passim Editions) The Red Wheelbarrow. Poems by Jack Spicer. Lithographs by Wesley B. Tanner. [Ann Arbor. 2006.] 11signatures. 20" x 14". Designed and printed by Wesley B. Tanner. Color woodcuts printed on Rising Stonehenge paperusing a Charles Brand etching press; the text was handset in ATF Garamond and printed on a R. Hoe & Co.Washington handpress. Loose in gray wrappers with black title and red wheel on front of wrapper. The portfolio boxeswere made at the press with pale green Iris bookcloth with illustrations on the front and title in red on spine; linedwith gray Twinrocker paper. One in an edition of 25 copies, signed by Wesley B. Tanner. New. $2000.00

(Passim Editions) Psalm 148. Calligraphic art and writing by Susan Skarsgard. Ann Arbor. [MI] 2006. 10 french foldleaves. 10.75" x 10". Printed by giclee on Hahnemuhle cotton rag paper. Text in brown and background in shades ofbeige, brown, black. Bound by Wesley Tanner with black spine and yellow, black, gray and beige hand decoratedpaper. Colophon in gray on french fold black back free endpapers. In a matt black cloth dropback box with a decorat-ed paper spine; lined with toning yellow suedette. Signed by Susan Skarsgard on the back page. One in an edition of60 copies. Fine. $850.00[See images top of next page.]

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No. 135.

No. 136.

(Passim Editions) This Lunar Beauty. [By] W.H. Auden. Ann Arbor. 2007. 7 leaves. 19.25” x 13”. Calligraphy by SusanSkarsgard. Green front leaf with silver moonlike device. Five light grey leaves with calligraphy, plus Colophon page.Calligraphy in dark green printed by giclée and letterpress colophon on Twinrocker handmade paper. Open spinesewn binding with four cloth strips held in place with thin cream cord stitching by Wesley B. Tanner with laser-etchedacrylic cover and silver bead-etched aluminum box. Box lined with dark green suedette and tape for ease of removalof book. One in an edition of 25 copies, signed by Susan Skarsgard. New. $1250.00A very beautiful and elegant book by two very talented bookmakers.

(Perishable Press) New Hampshire Journal. [By] Joel Oppenheimer. With an afterword by Theresa Maier. Wisconsin.1994. n.p. 9" x 5.25". Woodcuts by Margaret Sunday. Printed in black and gray on Sakamoto and Kurotani papers. Topedges uncut. Thick cream handmade paper wrappers with three narrow white leather raised bands and beige stitch-ing on the spine. No. 64 in an edition of 125 numbered copies. Fine. $400.00

The last Gabberjabb from Walter Hamady

(Perishable Press) Hunkering: The Last Gabberjabb: No. 8 Being the Fade-out Volume of an (Unforeseen) Series. [Largely by]Walter Hamady. Begun in 19-Seventy-3 by WSHH & (TH) Prshbl Press Lmtd as an Expendation of Energy for thesake of Expending (it). {States 2005 on one of the first pages, but in the colophon gives the date as 2006.). n.p. (63p.)10.25" x 7.25". Photograph reproductions, illustrations, diagrams, envelopes, collage, stamps, various tip-ins fromother sources. One three-page fold-out. Various papers, gauze and thin card. Bound in brown cloth with black presslogo across the back, spine and front. No. 80 in an edition of 185 copies, signed and numbered. The signature is belowa cut-out of a profile and a price label of 44c. Fine. $3250.00The last of Walter Hamady's wonderful Gabberjabbs. A marvelous book! [See illlustrations top of page 56.]

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No. 137.

No. 138.

141. (Press on Scroll Road) ThreeEssays by David Kline. Abigail Rorer -Engravings.[Carrollton. Ohio. 2006.]28p. 10.75” x 6.75”. Two full-pageblack and white engravings. Printedfrom handset Cloister Lightface typeon Twinrocker paper in an old ironhandpress. Sheila Waters drew thetitle page initial. Bound by PriscillaSpitler in brown slubbed silk withpaper title label on spine. An editionof 60 copies. Fine. $225.00“David Kline writes from the farm wherehe was born in Holmes County, Ohio. Amember of the Amish community, hefarms there with his wife & children andthe help of his neighbors & horses. -Prospectus.“An internationally recognized engraver,Abigail Rorer’s work can be found inmajor institutional and private collec-

tions, in the publications of various fine presses as well as in the books from her own press, the Lone Oak Press.” - Prospectus.

(Press on Scroll Road) In Time and Place. Writings by Hayden Carruth, John Berger, and W S Merwin. With woodengravings by Wesley Bates. [Carrollton, Ohio.] 2006. 56p. 12.25” x 8.25”. Three full pagebrown and white engravings and one small black and white engraving by Wesley Bates.Printed from handset Cloister Lightface on Twinrocker handmade paper in an iron hand-press. Bound by Priscilla Spitler in light brown/tan slubbed silk with title paper title onspine. Brown endpapers. One in an edition of 54 copies.Fine. $345.00

143. (Red Angel Press) The Owl King. By James Dickey. New York. 1977. n.p. 12.25” x 8”.Design and illustrations by Ronald Keller. Woodcuts throughout. Frontispiece in black andblue. Set in Centaur & Arrighi and printed by hand in black and blue at the press in NewYork & Bremen, Maine, on Rives. Pages are divided into three sections, with illustrationsflowing through all sections. Tan cloth spine, blue cloth boards with indentations in twoplaces, echoing the three sections of the book. Title in blue on spine. An edition of 100copies, numbered and signed by James Dickey and Ronald Keller. Fine. $750.00A fantasy poem in parts, pages are cut to present the three voices in separate ‘leaflets’allowing parallel incidents of the three characters to appear together.

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No. 140.

No. 141-right;No. 142 -far right.

No. 143.

(Red Angel Press) The Bridge. Three poems by Hart Cranefrom his collection, The Bridge. Illustrated and designed byRonald Keller. New York. 2004. 12.5” x 7.5”. Printed inAmerican Garamond 648 type on Saunders Waterfordpaper. To illustrate the first two poems three relief printimages of the bridge’s stone arches and steel suspensioncables are printed on Sekishu in six colors in a style remi-niscent of early 20th century poster graphics. The thirdpoem is printed on four hinged leaves that extend to 42inches when opened and create a pop-up design of thecables and supports. Cover designed to representabstractly the bridge’s suspension cables. An edition of100 copies signed by Keller. Fine. $900.00The last poem, To Brooklyn Bridge, has a typographic layout toform the bridge’s roadway and is bordered by a depiction of thesuspension cable (the poet’s ‘choiring strings!’) that rises up from the pages when opened.“Much of Crane’s poetry in this collection was written while Crane lived in Brooklyn Heights, certainly within sight of the BrooklynBridge. Critics contend, however, that his early conception of a bridge was metaphorical, not specific. It was at this time that Cranefell in love and work on The Bridge intensified. In 1924 he wrote [to] Waldo Frank, ‘... the ecstasy of walking hand in hand across themost beautiful bridge in the world, the cables enclosing us ...’. The specificity of the Brooklyn Bridge seems to take hold now, but issymbolic of his new lover, not just a paean to a monumental structure.” - Prospectus.

(Red Howler Press) Burgomasters. Unique book by David Moyer. 2005. n.p. 6" x 5.25". Box 9.75" x 6.5". Unique origi-nal ink drawings and text, drawn and written on Velke Lozing handmade Czech paper during the fall of 2005 inMuncy, Pennsylvania. Bound in dark blue leather with gilt title on front board. In a dark blue dropback box with papertitle label on spine. Box laid in recessed space with dark blue ribbon for ease of removal. Signed by David Moyer. Afinely drawn and fascinating gallery of faces. $1500.00

Martyr, Mercury and Rooster - A contemporary trilogy on the theme of ‘Ars Moriendi’A new interpretation of 15th century texts now seen through modern eyes.

(sailorBOYpress) Martyr, Mercury, and Rooster. [A series of three books on the theme of 'ars moriendi'.] A collaborativeproject between Caren Heft and Jeffrey Morin. [The text is taken from various sources, stated in the books.] The

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No. 144.

No. 145.

Arcadian Press & The sailorBOYpress.[Stevens Point, Wisconsin. 2004/2005.] n.p.11.75” x 9”. Various colored and texturedRoot Mill cotton, Larroque andHahnemuhle papers. Hahnemuhle paperwas gelatin sized with pigment added in.With onlays of metal, string,tape, plastic,pins, mica, beads and paper. Illustrationsand decorations in various colors; typeused as part of the design. All books print-ed in 14 pt Cochin Light. Bound with opensewn spine and five cream bands across thespine which end inside the front cover; themiddle band is larger than the two oneither side of it. Pale blue/green texturedcloth dropback box with small mica squareinlaid on the front. An edition of 50 copies.Fine. $2250.001. Shahida - The factual story of the firstPalestinian female suicide bomber.2. The Dancing Cats of Mercury - Mercury

and its destructive effect on the lives of fish, animalsand humans.3. Sibongile and the Murderous Rooster - tells of thespreading of HIV in Southern Africa through themeans of a fable.“In fifteenth century Europe, the level of literacy had beenon the decline. ‘Ars Moriendi’ are picture manuals for one’spreparation to meet death. On one level they are intendedto ease the transition and prepare one’s family for the com-ing loss. On another level, these manuals are a form ofpropaganda, advising the soon-to-be-departed to giveheavily to the Church to guarantee a better place in Heavenor at least a seat further from the flames of Hell.” -Colophon, Rooster."The way the project worked, we decided on scale, paper,and page count first. We spent last summer hand-sizingmany papers with gelatin and pigment, and then moved onto text. The first and last books are our own individualattempts at sticking to the format while the middle book isa project that went back and forth between the two of usuntil it was completed." - Letter from Jeff Morin.

"The collaboration between two printers, ...came out of Walter Hamady's 1983 letter-press class." - Colophon, Martyr.This series of books dealing with contempo-rary ways in which people 'prepare' to meetdeath in various forms in different societiesis a moving treatise, withoutsentimentality..It is thought-provoking andimportant as a document on the state of manand our civilization to-day. We believe itshould be read and shown to as wide anaudience as possible.Already in the collections of The Library ofCongress; Rochester Institute of Technology;The Bruce Peel Special Collections Library,University of Alberta, Canada; The JackGinsberg Collection, Johannesburg, SouthAfrica; Wheaton College Library, Norton,MA; Smith College, Northampton, MA;Scripps College Library, Claremont, CA, andWellesley College Library, MA.

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No. 146 -3 images.

World War II remembered in a series of letters home - from a sailor to his wife

(sailorBOYpress) My darling, My reason. Text from letters by Roger D.N. Design and construction by Jeffrey Morin.[Stevens Point, Wisconsin.] 2006. 7" x 10". Letterpress printed in 20th Century Light, which was purposely chosen notto emulate script or typewriter, both formats of the original letters. Gelatin-sized Hahnemuhle watercolor paper in bluewith gray. Black and white and sepia reproductions of photographs of sailors from the World War II period, as well astwo photo postcards from the same era. Illustrations, postage stamps of the period and some cut-outs throughout. Allphotographs placed with black photographic album corners, reinforcing the idea of an album. Bound in brown mot-tled paper endboards with postage stamp on the right hand side of front board. Four signatures sewn with open spine.Brown cloth dropback box with postage stamp on side on sideof front. An edition of 48 copies. Fine. $750.00Morin writes: "Every project starts with a type of predicted vision but they never become what was envisioned.""The photographs, with the exception of two obvious photo postcards, have never been published and are part of my large collectionof such images of sailors. They are editioned using an archival inkjet process on Kodak Ultima paper." Morin also states in the Colophon: "The letters came to me in an anonymous way with no knowledge of the author or the relation-ship with his wife. This book has evolved over time from the original intention of a photo album to that of a book which presentsthe possible thoughts of Roger D.N. who wrote to his wife faithfully while a sailor during World War II. Misspelling and grammati-cal oddities remain from the original letters."

(Catherine Satterlee) Rapunzel, Rapunzel. Text by Isabel Fucigna. Images by Catherine Satterlee. [Arlington, Virginia.2007.] Loose in portfolio form with text on the left-hand side and image tipped on the right-hand side. 10” x 12”. Thisedition was designed by the artist. The letterpress text is Bembo and was printed on 216 gsm Oxford Cover WealthTexture by Bowerbox Press from polymer plates. The sixteen images are from gouaches scanned and printed byAdamson Editions on 365 gsm Crane Museo Max paper on an Epson 9800 using the Ultrachrome pigmented ink-jet.Each set of 18 folios is wrapped in a silk chemise and tied together with pink ribbon affixed to the fabric with dark redFrench sealing wax. Housed in a black clamshell box fabricated by Cat Tail Run Hand Bindery; the outer cover of thebox is encased in black paper with an embossed grain pattern; blindstamped title on the front cover; the inside is fin-ished with Moriki paper. One in an edition of 10 signed copies. Fine. $1350.00

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No. 147.

No. 148.

Catherine Satterlee studied painting with Philip Wofford and Lawrence Poons at BenningtonCollege. She continued painting on a full-time basis, exhibiting her work in Washington DCgalleries, until 1999 when she began working in the exhibits department of the HirshhornMuseum and Sculpture Garden. Rapunzel, Rapunzel is the first book for Ms. Satterlee andher first collaboration with author Isabel Fucigna. Their current project is based on theSleeping Beauty myth.Satterlee writes”When our manuscript was exhibited –at the staffshow of the HirshhornMuseum, where I had begun to work, and at the library of the National Museum of Womenin the Arts, where it had inspired the exhibition Rapunzel, Rapunzel, Let Down Your Hair! –the response was so encouraging that the third stage of our project, developing multiples,was begun. This small edition of ten books was inspired by seeing the possibilities of greatprinting – it is uncanny how the prints convey the same intense colors and velvety quality ofthe original gouaches....“Although our version of Rapunzel is not for children, the reference to children’s books is per-haps a recognition of the archetypal nature of this and many other classic fairy tales, of thevery fundamental parts of our selves that the stories relate to, and the profound lessons theyhave to teach.” Isabel Fucigna writes: “I began my writing career in third grade in an effort to enliven theback row during English class. After graduate school in journalism at the University of

Missouri-Columbia, I worked for several newspapers, then spent almost 15 years at Time-Life Books in Alexandria, Virginia. Afterreceiving an M.A. in fiction writing at The Writing Seminars, Johns Hopkins University, where I taught for two years, I abandoned apaying job. Currently, I am at work on two novels and a memoir, and a book of poems. I live on an undiscovered mesa in the SanJuan Mountains of Colorado.“Rapunzel, Rapunzel is not like anything I have ever done before. There were numerous creative hurdles, among them: how to be com-fortable with a collaborator when my being wants to go it solo, how to see a story as art and in color when my likes are blank pagesand gray-black text, what to bring to a classic fairytale that has stood the test of time and is an extraordinary work of art on so manylevels. I ended up deciding I could bring nothing to the Brothers Grimm story but a different language, different words, and differ-ent emphases. Ultimately working with these many constraints proved creatively liberating.”

149. Ilse Schreiber-Noll) Hamba KahleSolomon Malangu. Poem by DennisBrutus. Printed and illustrated by IlseSchreiber-Noll. 1987. Color woodcuts.n.p. 22" x 15". French fold. Printed onblack Arches Cover paper. The poem iscut out of the woodblock and is printed inwhite ink over a populated green andbrown landscape, which is continuousover 18 pages. In a dropback box coveredwith dark brown handmade paste paper.Small woodcut inlaid into the front cover.One in an edition of 10 copies signed bythe poet and artist. Fine. $2250.00Dennis Brutus was born in Zimbabwe in1924 to South African parents. He attend-ed university in South Africa. Politicalcampaigns led to his being banned fromall political and social activity. When heldcaptive on Robben Island, near CapeTown, South Africa, he spent time break-ing stones with Nelson Mandela. After

leaving South Africa, he made his home in England until 1983, when he won the right to stay in the United States asa political refugee. He is an Emeritus Professor at the University of Pittsburgh, and has also taught at NorthwesternUniversity, Swarthmore College, the University of Denver, as well as other major universities. He was the recipient ofthe Langston Hughes Award in 1987 (the first non-African American to receive that award) and he was also honoredwith the first Paul Robeson Award in 1989 for “artistic excellence, political consciousness and integrity.” Brutus’ firstcollection of poetry, Sirens, Knuckles and Boots (1962) was published in Nigeria while he was in prison. Although hiswork is protest poetry, there is a maturity and restraint in his poems that prevent them from ever becoming self-pity-ing.Schreiber-Noll writes: “I encountered the poetry of Dennis Brutus the first time in 1987. ... I read the poem “HambaKahle Solomon Mahlangu” in a magazine and was so moved that I decided to contact the poet, who was teaching at theUniversity of Pittsburgh. That is how my first collaboration with a contemporary poet started.

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No. 149.

(Ilse Schreiber-Noll) Homage to Friedrich Holderlin. Poetry by Friedrich Hölderlin, Robert Kelly, Justus Noll, NathanielTarn. [In German and English. German poems translated by Richard Sieburth.] Illustrated by Ilse Schreiber-Noll.Woodcuts and Monoprints. n.p. 19.75" x 13.75". Printed letterpress in Baskerville and Universe on Domestic Etchingpaper. Laid in a cloth dropback box. An edition of 20 copies, signed by the poets, artist and translator. Fine. $2500.00A tribute to Friedrich Hölderlin (1770-1843). The text includes two poems by Hölderlin and three tributes by modern poets, this beingthe first printing of these works. The book opens with Hölderlin's last poem, Die Aussicht (The Prospect), and is followed by Hölderlin,a tribute poem by Justus Noll, a German musician and writer. The poem by Nathaniel Tarn is based on a theme from a Hölderlinpoem. The work by Robert Kelly is a "sound hearing" of a Hölderlin poem. The final poem, Columbus, is taken from a manuscript ofHölderlin. The changes he made over the course of time in his manuscript are represented with changes in type.

(Ilse Schreiber-Noll) Reading John Cage [by] Octavio Paz: White on Blanco [by] John Cage. Translations by EliotWeinberger. Printed and illustrated by Ilse Schreiber-Noll. [In Spanish and English.] 1989. Woodcuts and monoprints.22" x 15". Printed in Baskerville. John Cage hand wrote the mesostic for this book, which then was reproduced fromthe original manuscript by photo offset. Printed in Baskerville on Rives Lightweight paper. Some pages are stained inyellow-orange. Housed in a sepia linen dropback box with two small woodcuts inlaid in the front cover. An edition of14 copies, signed by the poets, artist and translator. Fine. $3000.00In this book all participants join voices in a complex bilingual counterpoint of mutual admiration. Octavio Paz's poem Reading JohnCage is responded to by Cage, himself, in verses titled White on Blanco. Cage terms his handwritten poem a "mesostic", a form whichpermits reading down through the center of the verse as well as left to right. Eliot Weinberger completes the triad with his own"mesostic" on Paz and Cage..

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No. 150.

No. 151.

Schreiber-Noll writes: “I had listened to the early piano pieces of John Cage and read his books. At the same time I found OctavioPaz’s poem dedicated to John Cage. I thought that I would like to make a book, which [would] be a mutual admiration of [two] greatartists for each other, Paz and Cage. After getting permission to use Paz’s poem I contacted John Cage asking him if he would writesomething dedicated to Octavio Paz. [He agreed to re-write White on White which he had written for Paz’s 80th birthday,] but Octavionever responded to it. Maybe he will this time, we thought. And he did when I met him at his home in Mexico City to bring him hisbook and to sign the others. He seemed to be pleased.”

Ilse Schreiber-Noll) When the Towers Fell. A poem by Galway Kinnell. Concept, illustration, design and binding by IlseSchreiber-Noll. 2005. 30" x 20". Woodcuts on paper and cheesecloth and mixed media on paper. In two parts. Thehandwritten manuscript, which contains the first stanza and seven lines of the eleventh stanza of the poem, was writ-ten by Galway Kinnell for this project in January 2005 and was reproduced, slightly enlarged, from the original. Theentire poem was printed letterpress in a wrappered book. The excerpts in the second part of the book were cut fromlinoleum. Housed in a cloth dropback box. One in an edition of 8 copies, signed by the poet and the artist in both parts.Fine.Last copy. $3500.00“Galway and I have collaborated on five artist’s books ... Our last collaboration is a poem Galway Kinnell wrote in response to 9/11entitled When the Towers Fell. It took me two years to complete the final version of this book. My first attempt failed. I disregarded thefirst version since I felt that the destruction and horrors and the senseless war in Iraq, a consequence of 9/11 cannot be conveyed onbeautiful white paper. The surface had to be destroyed to become the reflection of the despair and destruction.”This book to me became not only a memory of 9/11 but also symbolizes the uselessness of war, and with this becomes a call forpeace.” - Schreiber-Noll. Galway Kinnell was born in Providence, Rhode Island, and studied at Princeton and the University ofRochester. He was influenced by and participated in the civil rights movement, and much of his work deals with social issues, as wellas with the spiritual dimensions of poetry. Kinnell is the Erich Remarque Professor of Creative Writing at New York University anda Chancellor of the American Academy of Poets.In the collections of The Library of Congress Rare Book Division, Dartmouth College Library and the Arthur & Mata Jaffe Collection,Florida Atlantic University, Boca Raton.

(Ilse Schreiber-Noll) [Three poems from] Bertolt Brecht's Buckower Elegien. A set of three artist's books by Ilse Schreiber-Noll. 2006. 6.5" x 5". Mixed media, ink drawings and Xerox transfers on paper. Three 'sand' books plus a sewn wrap-per with title on front. Inside are translations to the three poems, plus a colophon page signed and dated by Schreiber-Noll. Laid in a gauze-covered board dropback box. Signed on the colophon page as well as on the last page of the thirdbook. Fine. [The original German text was used with the kind permission of Barbara Brecht-Schall, 2005, Berlin.] $950.00

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No. 152.

No. 153.

(Carol Schwartzott) Concept Color. Jacob's Ladder format book by CarolSchwartzott. [Freeville. NY.] 2006. 4" x 4". Printed on Rives BFK and with colorfulcollages mounted on acid free boards, tied together with an assortment of color-ful ribbon, the book is about the color experience. A paper wrapper houses the lit-tle book and as each layer unfolds it provides a short description of color. One inan edition of 20 signed copies. Fine. $75.00Concept Color flips to reveal fragments of text and color shapes. An adventure in color, thebook is simple and joyous, and the jacob's ladder structure, a book technique developed dur-ing the 1800s. The ladder must be picked up at the end and held in a horizontal position torelease the first section, which then tumbles down into the next, continuing until it reachesthe bottom. Reversing the direction brings the ladder back to its original position..

Dramatic and haunting etchings illustrating a great Epic

(Kristiane Semar) Gilgamesch: Die Weltränder Im Auge. Text aus dem Gilgamesch-Epos. Radie-rungen von Kristiane Semar. [Text from the Gilgamesh Epic. Etchingsby Kristiane Semar.] [Belfast. September 1994.] n.p. 23.25" x 15.25". Illustrations inblind at beginning and end of text. 26 original black and white etchings, all signedand dated, illustrating different sections of the Epic. Etchings on different paper,depending on copy number. Text in Perpetua using an Apple Macintosh withPageMaker 5.0 on translucent Japanese Shoinbis paper or Chinese Xuan paper.Endpapers of black and white etchings. Bound by the artist in black linen spine,with cream paper boards; title and recessed etching in black on front board. No.4 in an edition of only 5 copies, signed by Kristiane Semar. One page creased, elsevery good. $2,500.00This book was made in 1993/1994 during Kristiane Semar’s Postgraduate Course in AppliedArts at the University of Ulster, Belfast. It is a monumental production of love, well suitedto one of the world’s oldest written stories which comes from Ancient Sumeria,and was originally written on 12 clay tablets in cuneiform script. The subject isthe legends and myths that have accrued about the historical King of Uruk(somewhere between 2750 and 2500 BCE) who lived in Babylonia on the RiverEuphrates..

A creative collaborative project - still exciting after a decade

(Silver Buckle Press) The Exquisite Horse. Madison. Wisconsin. 1997.Thirty-two contemporary book arts and letterpress printers collabo-rated on this project. Prints are housed in a drop-back box measuring16" x 11.75" x 1" when closed, with the inner tray divided by a wall thatseparates the head and tail parts. Each artist designed and printed 100copies of a section of a quadruped, with the specification that the partsmeet in the middle. The displayed prints can be arranged and re-con-figured to create many combinations. Edition of 100 copies; this is oneof 60 for sale. Fine. $850.00There is a familial connection between this book and The Exquisite Corpse, pro-duced by the same press. The printers involved in The Exquisite Corpse wereasked to recommend other printers’ names for this project so that the printingnetwork would be spread even wider. These two books form a major samplerof contemporary printing techniques and printmakers working in the United States to-day.

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No. 154.

No. 155.

No. 156.

157. (Silver Buckle Press) Specimen Book of Wood Type: from the col-lection of the Silver Buckle Press. Introduction by Rob Roy Kelly.Foreword by Stephen O. Saxe. University of Wisconsin-Madison.1999. 10" x 7". Letterpress printed on Mohawk Superfine from theoriginal wood type with text set in Joanna. Cloth case binding,printed with decorative wood ornaments in black on green. Thebook displays over eighty catalogued wood type fonts, with deco-rative wood ornaments interspersed throughout. Includes a copyof an original commemorative broadside. One of 165 copies for salein an edition of 200. Fine. $75.001999 marked the 25th anniversary of the Silver Buckle Press at theUniversity of Wisconsin at Madison. The Silver Buckle Press was acquiredby the University in 1973 from the estate of Robert Shaftoe, whose oneexpressed wish was that his press not be broken up or disposed of piece-

meal; he also wished it operated by a museum, library or historical institution. In providing a home for the Silver Buckle Press, theUniversity has been the fulfillment of that wish. The Press is a working tool used to support training and instruction.

158. (Tern Press) The Morning Wind. [Poems by] John Clare. With anintroduction by Ronald Blythe. Selected & Illustrated by NicholasParry. [Market Drayton. July 2006.] n.p. 10.5" x 9". Set in Caslon byKelsy Thornton, who also modified the punctuation & spelling.Printed on Whatman Paper. Bound in turquoise floral self-patternedpaper, with paper title labels on spine and front. No. 30 in an editionof 40 copies, signed by Nicholas Parry and Mary Parry. Fine. $195.00

159. (Tern Press) Twenty Poems of London. [By] Ivor Gurney. Selectedwith an Introduction by R.K.R. Thornton. [Market Drayton. June2006.] 34p. 11" x 8.5". Set in Poliphilus and printed on Magnani paperwith 12 prints from photographs taken in 1900. Light tan handmadepaper spine with the word 'London'; light brown paper over boardsides with gray letters and numbers forming a background design tothe black title on the front. Artist's copy in an edition of 30 copies,signed by Mary Parry. Fine. $195.00

The poems have all been re-edited from their sources and slighteditorial changes introduced: Gurney's dots have been stan-dardized to a regular three; apostrophes have been suppliedwhere necessary; titles of plays and other works have been ital-icized; Gurney's amendments have been incorporated. -Colophon. Wonderful black and white prints of London whichevoke the feel and atmosphere of the time.

160. (Beth Thielen) Temptations. Created by various par-ticipants at the Armory Center for the Arts LetterpressStudio, a collaborative program with the Woman’sBuilding. Winter. 1997, in Beth Thielen’s and KathrineNg’s class at The Armory Center for the Arts.[California.] 7.5” x 5.5”. Unbound with loose title pagelaid in. Accordion folded and cut to create a three-dimensional effect with the black and white collographs.Letterpress text in red. In a black dropback box with col-lograph on front and title on spine. No. 1 in an edition of

15 numbered copies, signed by some of the participants. Fine.$350.00

161. (Larry B. Thomas) guerre du jour: A Guidebook: What theymean When they say What they say. Alphabet book by LarryThomas. 2006. 4.5" x 5.75". Accordion fold book glued intoback board. Green boards with green cloth spine. Illustratedcolor paper title label inset on front board. One in an editionof 5 signed copies. Fine. $145.00{See illustration top of page 65.]

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No. 157.

No. 158.

No. 159.

No. 160.

(Larry B. Thomas) Curious Forms of Forgetfulness. Artist's bookby Larry B. Thomas. [Georgia.] 2006. 7" x 6". Collaged xeroxpages. Accordion fold in brown boards with cream spine;recessed illustrated title label. Unique book signed by Larry B.Thomas. Fine. $395.00

(Larry B. Thomas) Christmas, 2004. Artist's book by Larry B.Thomas. [Georgia.] 2005. 5.75" x 5.75". Five double-page pop-up spreads in color. Book in shape of house with chimney.Illustrated card endboards and spine. Unique book signed bythe artist. Fine. $395.00

(Larry B. Thomas) Book out of the Box. Artist's book by Larry B.Thomas. [Georgia.] 2005. 6.75" x 5.25" x a.375". Mottled greenbox with inset cloth title label and metal closure. In the insideof the lid is a layered collage. In the base of the box if a pull-outaccordion fold 'book' with color and black and white collages, aswell as graphite, ink and pencil crayon handwriting. The last pageis an old library sheet, with the due dates of return stamped on it.Unique work signed and dated by the artist. Fine. $595.00

(Tideline Press) The Bottle Hill Studio Pottery of Arthur W.Rushmore and Delight Rushmore Lewis. By James H. Fraser. 2003.34(2)p. 12.25" x 9.5". Designed, printed and bound by LeonardSeastone. Handprinted on handmade, dampened, vintageFabriano Pace paper utilizing a Vandercook 215 press. MonotypeBembo cast by Michael Bixler and Weiss Initials handset at TheTideline Press. Duotone printing by The Stinehour Press.Seventeen duotones of the pottery, as well as tip-ins of twoGolden Hind Press broadsides reproduced only for this edition,and reproductions of Bottle Hill Pottery pots and documentstipped-in as well as bound-in. Maroon cloth spine with brownpaper title label; matching brown paper boards. Together with: A brown paper envelope on a free back endpa-per holding an eight page small booklet Pottery by DelightRushmore, The Rushmore Pottery at the Fortuny Shop, 1934.[6.25" x 4.5"] Three black and white photographs and text.Handset in Weiss Antiqua at the Golden Hind Press, Madison,N.J. Photographs by Ingemann Sekaer, printed by The HarborPress, New York. An edition of 75 copies, signed by the potter,Delight Rushmore Lewis, in the week of her 90th birthday..Fine. $325.00

This book is the firstin a series on BookArts and Art byTideline-Phaedrus."Founded in 1916 and still in opera-tion today, Bottle Hill Pottery is theoldest, continuously operating stu-dio pottery in New Jersey and one ofthe oldest in the United States."This illustrated history outlines yetanother chapter in the larger cre-ative undertaking of the Rushmorefamily which has included theGolden Hind Press, its paste paperproduction - the "Fairview Papers,"and other contributions to the deco-rative and printing arts in the mid-twentieth century." - Prospectus.

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No. 161.

No. 162.

No. 163.

No. 164.No. 165.

166. (Tiramisu Press) C : O : L : O : N. Text by Ivan Soll.designed in close collaboration by Ivan Soll and Marta Gomez.Madison, Wisconsin. 1995. 17 printed pages, 9 with images. 11”x 6”. Printed letterpress by Marta Gomez on Sakamoto andFabriano Ingres papers, and bound by her with green slubbedsilk spine and brown paper boards with design on front cover.Dropback box of brown-red slubbed silk with green slubbedcloth sides. One of 75 numbered copies, signed on the back freeendpaper by Soll and Gomez. Fine. $400.00Initially inspired by the 500th anniversary of Columbus’ arrival inAmerica, the book’s completion was delayed by occurrences of the veryphenomenon it discusses - long voyages to other continents, and explo-rations of terra incognita. Using wordplay, etymologies, and rebuses, C: O : L : O : N weaves a fabric out of ideas, images, and echoes suggest-ed by the various names of the explorer: referred to in English asChristopher Columbus, but born Cristóforo Colombo in Italy, andCristobal Colón when he sailed west. These names give rise to a bizarre,disparate, but still surprisingly unified landscape.

A sophisticated book from the Tiramisu Press, produced after Soll and Gomez returned from teaching in eastern Europe.

(Laura Wait) Four: Book II. Fire, Water, Air, Earth. Or 'The Elements.' Unique variant artist's book by Laura Wait. 2005.n.p. 15" x 11". Beginning with several intaglio printings, monoprints were printed in several layers, using Akua-color.The pages were then organized according to promising relationships. Painting with acrylic ink, paste, and paint fol-lowed. Images in the prints were obscured or enhanced, and additional writing was added to finish the pages. Boundby the artist in black Harmatan goatskin tooled in gold and blind, with leather onlays. The design of the cover wasinspired by the book pages. Black dropback box with paper title label on spine. A unique book in a series of five, withpainted pages and leather binding, signed by the artist. Fine. $5750.00This book explores symbols of four, such as fire, earth, air, and water.

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No. 166.

No. 167.

No. 167.

(Laura Wait) X: letter of danger, sex, and the unknown. Artist's book by Laura Wait. Akimbo Arts.[Steamboat Springs.]2006. 12 painted leaves. 15" x 7.75". Collographs and paste stencils used to create shapes throughout the book.Multimedia painting on BFK Rives paper using acrylic, paste, Akua color, ink on top of offprints of woodcuts and textfrom In the Garden. Layers of handwriting using a ruling pen and traditional pointed pen. Bound in brown leather withgold and color tooling. The designs are based on the 'x' forms throughout the books. Handsewn endbands, brownCave paper endpapers, with leather joints. Black cloth dropback box made by artist, lined in light brown Kurzuyupaper. No. V in a series of seven unique books, numbered Volume I-VII, signed by the artist. Fine. $4000.00Wait states: "An investigation into the uses, development, and meaning of the letter X throughout history.”"The introductory text reads ‘X’, the 24th letter of the English alphabet. The West Greek letter sound ‘ksi’ became ‘x’ in words of Greekorigin when used by the Etruscans. ‘X’ was the last letter of the Latin Alphabet from about 750 BC to about 100 AD when ‘y’ and ‘z’were added. ‘X’ became an English letter used for words with ‘ks’ sounds at the end - like 'mix' and 'ox'. ‘X’ is usually only found atthe beginning of words of foreign origin like xerography."The inner text reads: "Descartes introduced the use of ‘x’, ‘y’ and ‘z’ for unknown variables in geometric equations. Röntgen discov-ered electromagnetic radiation and named it ‘x-ray’ for the unknown substance. Words of common usage are used through the booksas text and repetitive pattern writing. These include: X-ray, Xena, Planet X, Xtreme, Xgames, X box, Mac OSX, Xenon, Xmas, X rated,X men, X marks the spot, XX dos Equis, xoxox, Xtra large." - Wait.

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No. 168.

No. 168.

An exciting collaboration showcasing poetry by women

(walking bird press) To stretch the Night: Eleven Love Poems by Women. A series of eighteen unique monotypes by ElenaPopova. Printed and bound by Tara Bryan. A unique cover bronze bas-relief by Luben Boykov. Newfoundland.Canada. 1999-2001. n.p. 11.5" x 10". Images are unique monoprints printed on Fabriano Artistico paper. The sheets areglued together. Endpapers of indigo-washed kozo backed with another paper to make it thicker and easier to glue.The boards are black walnut coated with black lacquer; black calf spine. Each binding has a unique bas-relief of bronzewhich is bolted to the cover. The bas-reliefs are created from grass and wax and then bronzed with its gold and greenpatina. An edition of 18 unique variant copies, with only 15 for sale. Signed by all three collaborators. Fine. $5500.00A list of the eleven poets, spanning many centuries and countries, is given at the end of the book. They include Louise Labé, HwangChin-I, Anna Akhmatova, Lady Suo, Christina Rosetti, Edith Sodergran, Sulpicia, Emily Dickinson, Sappho and Amy Lowell. Popova and Boykov are Bulgarians who moved to Canada in 1990 and have lived in Newfoundland from that time. Their workshave been shown nationally and internationally, with examples in public and private collections in North America and Europe.Tara Bryan was born in Texas and has a MFA degree from the University of Wisconsin-Madison. She has lived in Newfoundland since1992. Printing and making books both on her own and with collaborators, her work in public and private collections in NorthAmerican, Europe and South Africa. Highly recommended!

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Below is one of the superb monotypes illustrating To Stretch the Night.

No. 169 - Each copy has a unique box and binding.

169.

A new work of great creativity and a major contribution to the

art of the book{Wayzgoose Press) Dorothy Lamour’s life as aphrase book. By Noëlle Janaczewska.Introduction by the author. Katoomba.Australia. 2006. Bound as a concertina, thebook consists of 11 triple-gate pages, folded toapprox. 17” x 12”; opened each page measuresapprox. 24” x 17”.This typographic rendition ofNoëlle Janaczewska’s play was conceived,designed and illustrated with multi-coloredlinocuts by Mike Hudson. Hand set in a varietyof types by Jadwiga Jarvis. The book was print-ed in numerous colors with further illumina-tions by hand on some pages making each copyin the edition unique. Hand printed letterpresson Magnani Incisioni 220 gsm on a Western proof press, the book is contained ina brightly patterned cloth-covered box with the title printed on a recessed labeland a purple ribbon tie. An edition of 30 numbered copies, signed by the poet,Jarvis and Hudson. Numbers I-V are not for sale. Of the remaining 25 copies,three are in designer bindings. Fine. $3800.00“Noëlle Janaczewska is an award-winning Sydney based playwright whose work has beenstaged locally and internationally, as well as broadcast on radio. Her play, Dorothy Lamour’slife as a phrase book, is the third in a series of monologues inspired by Hollywood heroinesof the 1930s, 1940s and 1950s, and was written for a solo performer. In it, the 'glamour girl’made famous by her ‘road movies’ in which she co-starred with Bing Crosby and BobHope, finds herself in a poem instead of a movie and marooned in a dingy Sydney hotel.However, as Janaczewska’s characters do not conform to the romantic air-head typeassigned to them in their films, Dorothy’s miscasting leads to much reflection and soul-searching.“In order to maintain the spirit of a performance, we have given the book a theatrical set-ting; the hotel room, which appears on every one of the 11 gate-fold pages, is its ‘stage’.Onto this stage various scenarios (suggested by the text, but not a literal depiction thereof)are introduced. We aimed for the contradictions, confusions and contrasts, for the elusiveand enigmatic, the tangential and bizarre. The ‘props’ range between curious and surreal,and include a chessboard, a maze, a giant pineapple, a clapperboard, and an overweightRonald McDonald. (Oh yes, there is also Dorothy’s trademark hibiscus.) The introductionand colophon pages feature the same room/stage, but on these the set is empty and shownas if unlit, alluding to the characteristic hiatus of a theatrical presentation both before cur-tain-up and after the final curtain.” - Prospectus. A tour de force.

Illustrated above right is the pattern cloth-covered boxFive of the numerous multi-layers and multi-colored linocuts

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170.

No. 170 - all images on this page.

(Whittington Press) Index to Matrix 1 - 21. Compiled by David Butcher. [Risbury. 2003.] xiv, 72p. 11.5” x 7.5”. Printedon Conqueror laid papers. Half bound in black Oasis leather and toning paper marbled by Christopher Rowlatt. Dustjacket of regular edition inserted in flap in back inside cover. Green board slipcase with cloth trim. No. XVIII of 110copies thus in a total edition of 610 copies. Fine. One of the Special copies. $395.00Index to Matrix 1-21 is an invaluable key to any search of the series. It also contains a list of contents of each issue, and an introduc-tion by the indexer describing the development of the series, which has on the face of it remained remarkably consistent during itstwenty-six year history.The Index is uniform with the series. The format and binding style is the same as Matrix 1 - 21, and the extent is about the same asMatrix 1. Its format is consistent with the rest of the series, and indeed is an indispensable part of it. Typographically, it will followthe layout of the Index to Matrix 11-15 which appeared in Matrix 15.

(Whittington Press) Pages from Presses: Kelmscott, Ashendene, Doves, Eragny, Vale & Essex House. With a Commentary byDavid Butcher. Leominster. 2006. 80p. 15" x 11.5". Printed in Walbaum on Czech Losin handmade paper. Edition B.With a specimen leaf on paper from each of the six Presses, and additional specimen leaves showing other typefacesused by the Presses. 11 original paper leaves. Bound in red half Nigerian Goatskin with marbled boards. Slipcase. Inan total edition of 180 copies, this is No. xxviii of 40 copies of Edition B. Signed by David Butcher. Mint. $1320.00Edition sold out.

(Irene Woodbury) My City. Artist’s book by Irene Woodbury. Made in Padua, Italy. 2006. 8.125” x 5.75”. 6 card leavesincluding cover boards. Handprinted text in blue marker with color laser prints of original watercolors and photo-

graphs. Blue spine and blue title on front cover board. One in an English edi-tion of 5 copies, signed by Irene Woodbury. New. $180.00“A child writes about his lovely city in a book that includes visions of palm trees, foun-tains, ice cream and guards. The book’s construction, using cardboard pages, recreatesthe format of a children’s book for toddlers. The writing style mimics a child’s awkwardhand and occasional mistakes.“However, at the end of the book, the reader sees that the city the child is describing isreally a shopping center. It could be any shopping center so the photographs actuallycome from more than one source in more than one country. All the descriptors that thechild uses can both be applied to true cities and modern malls, a new type of indoor citythat is becoming an increasingly global reality.” - Woodbury.

174. (Ellen Tongzhou Zhao) I Am You. By Ellen Tongzhou Zhao. Paris. New York.2006. 92 pages of varying sizes. 8” x 5”. Text in black against white or white againstblack. White card wrappers with black title with fluorescent orange inside. Editionof 500 copies. Fine. $25.00Zhou states: “This project ‘I am you’ is a book which talks about itself, its concep-tion, its construction and its reading.”

175. (Ziggurat Press) Ghost Names ... Ghost Numbers. By James Scheville.Illustrations by Walter Feldman. Providence, Rhode Island. 1985. 10" x 10". Twosheets of Japanese paper joined to make one screen of text and illustration. Boundin brown buckram boards, titling in blue. An edition of 100 copies, signed byScheville and Feldman. Fine. $150.00

(Ziggurat Press) The Architectural Orders. An essay with 7 copper engravings from the 1797 edition of the EncyclopaediaBritannica. With an introduction by William H. Jordy. Providence, Rhode Island. 1990. 12.75” x 10”. Illustrations print-ed on handmade Moriki paper. Printed paper over heavy boards; exposed leather bands. Set into the cream cover is acopper embossed plate of the ‘Corinthian Order’. The green patina is protected by clear lacquer. An edition of 45copies. Fine. $350.00

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No. 173.

No. 174.

No. 175. No. 176.