Priscilla Juvelis - Rare Books Catalogue 68 – Contemporary Book Arts, New Arrivals Meander Book 1. Caliban Press and Wake Robin. November, A Map. Poem by Velma Bolyard. Canton, NY: Caliban Press & Wake Robin Press, 2015. $225 Artist’s book, one of 41 copies, all on papers that were contact printed using materials from autumnal gatherings, including fruits, nuts, seeds, flowers, leaves, twigs, fungi, and various metals by artist and poet, Velma Bolyard, signed by the artist / author, Velma Bolyard, and the printer / co-publisher, Mark McMurray, on the colophon. Page size: 6-¼ x 4-7/8 inches; unfolds to 25-¾ x 19-7/8 inches; 16pp. plus reverse blanks of contact-print paper. Bound: folded and housed in a brown or green or blue envelope, with matching handstitching and circular cut-out on front making visible title and artist’s name which are printed on the lovely eco paper. After “cooking” her gatherings of natural materials in a dye pot, the artist separates rinses and presses them dry. They are transferred to paper by means of heat, water and pressure. The result: an herbal map of the artist’s home and a delicately subtle surface with great depth. Ms. Bolyard’s poem was printed letterpress by Mark McMurray and the artist / author on a Washington Hoe Press. In the artist’s statement, included on a separate sheet, November is noted as the author’s favorite month of the year. (10955)

extending to front and rear panels) and housed in a black cloth clamshell box, back cover with small hole on lower foredge about 3/8 x 1/8 inch, and several other pinhole size marks, with the original description card of the late Philip Duschenes laid in and the original publisher’s list price of $275 in pencil on front free endpaper. The text is hand-set and printed by Harold McGrath in Bruce Rogers lovely 24pt. Centaur type in black and red ink. Illustrated with 5 etchings and 2 woodengravings, each of the plates is signed and titled in pencil by the artist, who printed the etchings as well. Laid in is artist proof of the “Crow Quill” on the title page and proof of the “Raven” that appears on the colophon. This bold re-telling of Poe’s classic tale is the first book by Alan James Robinson and his Cheloniidae Press. It is illustrated with five full-page original etchings and two original woodengravings. The book has long been out of print, with copies infrequently turning up on the secondary market. It was an auspicious beginning, and subsequent work by this talented artist confirms his place in contemporary book arts. (10960)

3. Chiarlone, Rosemarie and Susan Weiner. Bright Hope. Miami Beach, FL: 2014. $2,500 Artist’s book, unique, on Fabriano classico paper, signed by the artist, Rosemarie Chiarlone. Page size: 11 x 10; 38pp. 12 of which contain Susan Weiner’s poem, BRIGHT HOPE, lettered by hand in pinprick perforations

First Book of the Press 2. Cheloniidae Press. Poe, Edgar Allan. The Raven. Etchings and Woodengravings by Alan James Robinson. Easthampton, MA: Cheloniidae Press, 1980. $3,000 Signed, limited edition, one of 100 copies from a total of 125 copies all on Arches paper, 100 regular issue, 25 deluxe issue, both long out of print. Page size: 15 x 11 inches; 36pp. Bound by David Bourbeau: in a specially painted dark grey paper over boards (bird wings in black with red highlights on spine by Rosemarie Chiarlone. Bound by Bob Muens: white Bugra paper over boards, hand sewn with exposed spine; housed in custom-made black cloth over boards clamshell box with title, author and artist printed on white paper label on spine. The poem examines the unknown, uncertain future, while the text itself is produced using an ancient paper art form: pin prick. This means of reproducing the text also forms the art. The artist has used various sized holes, made by perforating the paper to form the words of the poem. The letters of each word are irregular in size and not linear. Some letters are worked from the recto and others from the verso with a resulting texture to each page that is random and extremely elegant and compelling. The method of creating the text by pinprick - with the holes representing absence and loss - is ingenious. The resulting book is the beautiful visual embodiment of the words. The pinholes that form each letter of the text let in light - as do the words of the poem. They also form an intricate, aesthetic design - the page containing the word “shatteringly” (for example) is rich in texture as there are at least five or six different sized pinholes, some pushed from front, others from back, with the letters in varying sizes strewn across the page. Priscilla Juvelis, Inc. (207) 967-0909 [email protected]

While seemingly random, they are not. The placement of each letter is carefully thought out, elegant, and easily read once the page is held to light. As original a book as we’ve handled, this is a treasure. The process of pinpricking can be traced back to China at the time of Sung Dynasty, then later through India (both for somewhat different purposes) and into Europe in the 18th century. In Europe it was originally connected with the process of lace making, beginning with an arrangement of pins driven into a pin cushion to form a design. Later pinprick paintings were often used for costume pictures and colored with watercolor. By the early 19th century pinpricking was so popular that special needles, varying in size from very fine to coarse, mounted in wooden handles, could be purchased from crafts shops. As a folk-art medium, it enjoyed great popularity in 19th century America. Pinprick images, one of the last paper-crafts to arrive in Europe and in America; did not last long and was one of the earliest to disappear - until this remarkable re-incarnation as a medium in contemporary book arts. (10947)

Bound by Mark Esser 5. Designer Binding. Perishable Press. Bobby Byrd. Art in America. Poem by Bobby Byrd. Illustration by David McLimans. [Mt. Horeb, WI]: The Perishable Press Ltd., 1998. $4,000 Unique copy in a designer binding by Mark Esser, the book itself is one of 117 copies all on hand-trimmed Hahnemuhle Biblio and Gutenberg paper, each signed by the author, Bobby Byrd. Page size: 10-¼ x 7 inches, 48pp. 35 of which printed. Bound by Mark Esser: full tan morocco with onlays in red, blue, green, ochre and brown morocco, blind and gilt tooling, design

Bound by Mark Esser 4. Designer Binding. Cheloniidae Press. Poe, Edgar Allan. The Raven. Illustrated by Alan James Robinson. [Easthampton, MA]: Cheloniidae Press, [1986]. $5,000 Unique binding by Mark Esser on signed, limited, edition of the 1986 Cheloniidae RAVEN, the edition one of 225+ copies all on Duchene paper, each signed and numbered by the artist: 150 regular edition, 50 deluxe copies with an extra suite, 25 state proof copies, a few artist’s proof copies, this no. VI. Page size: 9-15/16 x 6-15/16 inches; 16.5 x 24 cm; 48 pages (originally French-fold but trimmed to gild). Illustrated with nine new woodengravings of Poe’s famous bird and etching of Poe by Robinson. This is a new, all original, edition of the same title as the first book of the press, The text is printed by Daniel Keleher at Wild Carrot Letterpress; the engravings printed by Harold McGrath on Magnani Letterpress. Bound by Mark Esser: deep plum morocco with title in gilt and the words “Tap Tap Tap” in gilt with gilt fillets leading to onlaid design of window with panes in ochre and blue morocco, onlaid black horizontal lines alternating with red on front panel, expanding out to back panel with the four red lines morphing into the erratic lines of a heart monitoring screen eventually flat lining, gilt fillet borders at all edges of book, edge-to-edge doublures of black morocco with deep plum and red morocco onlays (reverse of covers), signed “Esser” on bottom

inspired by but certainly not a copy of David McLimans engravings, forming the face of a dog, perhaps, or a Mayan mask, with the sun shining down, all within blind rules, two corners of which with jagged edges, back panel with gilt tooled star and steaming coffee mug outlined in blind with face on front of mug half of which is red morocco, again as if a mask, title in gilt on smooth spine, green and red headbands, handmade tan paper turn-ins, original tan Shadwell paper “made out in the barn” wrappers bound in, housed in custom-made brown cloth over boards clamshell box lined with suede, title and author in gold gilt on chestnut-colored morocco on spine. Bobby Byrd (1942-) American poet, explores life in the Southwest, particularly El Paso, Texas. His poems tell stories of fictional and / or mythical characters: Elvis, Dante and his buddy Virgil, and the hero, Art, a Spanish American who lives in Texas. While their lives border on the comic, the author’s humanity reins in the humor. The reader / viewer quickly realizes life is no joke, rather it should be sympathetically observed and shared. Mark Esser’s design for the binding, showing the same design in color and not in color, and the steaming mug of coffee on the (relatively) blank back panel, suggest the reader / viewer might want to acknowledge the different points of view exhibited in these images - always better than violent confrontation. Handset and printed in Gill Sans and Syntax type by the master printer, Walter Hamady, this is a very elegant book. White Hahnemuhle biblio alternates with tan Hahnemuhle Gutenberg laid for text and images, the resulting contrast just subtle enough. Selected as one of the Fifty Best Designed Books of the Year by the American Institute of Graphic Artists (AIGA). PP #123. (11069)

center of back panel turn-in, red and green headbands, all edges gilt; housed in custom-made black cloth over boards clamshell box with label on spine, THE RAVEN, tooled in gold gilt on black morocco. An elegant binding, beautifully executed, with a touch of subtle, macabre humor incorporated into the design. Alan Robinson’s woodengravings are all enclosed within a black border as if observed through a window, and the use of the window pane on the front panel is clever as well as aesthetically appropriate. (11068)

6. Hagner, Dirk. Szymborska, Wislawa. Wislawa. [Los Angeles, CA] : [Inkswine Press], 2014. $465 Artist’s book, one of 30 copies on rag paper, each copy signed by the artist / printer, Dirk Hagner. Page size: 11-½ x 30 inches unfolded; 11-½ x 7-½ folded. Bound: accordion fold, black paper over boards for each end of the accordion fold, with the author’s name printed in silver gilt on front panel, grommets with two multi-color ties fastening the book, housed in custom-

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made black lidded box. The text is a quotation by the 1996 Nobel laureate, Polish poet, Wislawa Szymborska. “All is mine but nothing owned, nothing owned for memory and that only while I look.” Hand set with “pied” or “orphan” letterpress wood type in a variety of fonts and printed in grey, red and black in “text” and repeated in “regular” English as a hand-written quote in brown ink. The “texted” version is bold and makes its own aesthetic statement. Certainly this is shaped poetry, a recent entry in a long, distinguished line. Polish-born Wislawa Szymborska (1923-2012) was awarded the Nobel Prize in Literature in 1996. Her verse has been translated in English and many European languages, as well as Arabic, Hebrew, Japanese, and Chinese, and now “texted.” (10943)

7. Hiebert, Helen. 50 Revolutions. Red Cliff, CO: Helen Hiebert Studios, 2015. $875 Artist’s book, one of 35 copies, based on her previous effort called “The Mother Tree Project,” and occasioned by reaching her 50th birthday, on her own hand-made papers, as well as tyvek and includes a Mapping Motherhood print and a miniature Mother Tree, signed, numbered, and dated by the artist / author on the colophon. Box size: 10 x 6 x 2 inches; Mini Mother Tree: 8 x 4 x 4 inches; Mapping Motherhood Print: 18 inches in diameter. The print contains 50 rings, like the rings in a tree, one for each year of the author’s life, on hand-stained tyvek which folds up into a house and features doubledcouched stenciled artist-made paper covers. The Mini-Mother Tree is a dress of artist-made abaca leather paper with two pieces of crocheted string, coming from the chest, representing mother’s milk, culminating in two stones. When the Mother Tree / Dress is placed in the center of the map, the string-attached stones can be placed on whatever word, such as: survival, mystery, unconditional, benevolent, diplomatic, et al. that best describes how the reader / viewer is thinking about their mother or motherhood at that time. The Map contains 50 words, one in each ring, supplied by the artist’s community of 500. The house in which the Map and Mother Tree / Dress are stored, as well as the actual items themselves, are beautiful - handsome and colorful with real presence and transmit at least one very personal life experience, if not two. While not everyone is a mother, we all have mothers (mostly known but in some cases not) and this primal relationship is a huge part of the emotional life of any human being. (11066)

8. Leavitt, Nancy Ruth. Moore, Clement C. Night before Christmas (A Visit from St. Nicholas). [Stillwater, ME: 2015]. $3,750 Artist’s Book, one in a series of 10 “named” copies, on handmade “North Pole white” paper by Katie MacGregor, hand painted and lettered by Nancy Ruth Leavitt and signed by her on the colophon. Page size: 6 x 9 inches;

27pp; 22 of which are painted or painted and lettered, with hand-painted endpapers as well. Bound by Joelle Leavitt Webber of Mermaid Bindery: sewn red cloth over boards with hand-painting and paper collage of Santa’s mid-section with his black belt with gold buckle over white “fur” trim and large expanse of red; housed in custommade dark green cloth clamshell box lined with red and white polka dot fabric, paper label on spine of box hand lettered by the artist, Nancy Leavitt. The original art includes 5 double-page and 7 single-page illustrations accomplished in watercolor, gouache, and sumi ink. The copies are named after Santa’s reindeer: Dasher, Dancer, Prancer, Vixen, Comet, Cupid, Donder, Blixen, Rudolph which is the artist’s own copy, and an AP. Ms. Leavitt has created a magical book, taking the beauty and stillness of winter as a window to enter the wonder of Christmas and Moore’s classic poem. Lettered in green and red, painted in primary colors with iridescent highlights in silver and gold, the reader / viewer enters into this magical myth with its attendant warmth and beauties of the season. (10949)

9. McCallion, Barry. The Oarsman at Nighttime. East Hampton, NY: 2015. $3,100 Unique artist’s book, one in a series of books centered on a contemporary mythical character (the artist / author) known as the “Oarsman” who has a myriad of journeys in his small rowboat, this on Richard de Bas paper, signed and dated by the author, Barry McCallion. Page size: 6-½ x 5 inches, 51 pages + titlepage and author’s page and frontis, colophon, all of which are hand-painted or lettered. Bound: loose as issued in tan paper folio with black paper over boards portfolio with white paper printed with black flowers made by the artist, Barry McCallion; housed in tan cloth over boards clamshell box, made by Joelle Webber, title in red and black on spine label, artist’s name in black, with Oarsman image on front panel. The artist, Barry McCallion, invented the character of the “Oarsman” in 1970 while residing in California with a series of poems / collages representing the Oarsman’s speculative musings before beginning his journey. The resulting series of 35

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books evolved over the ensuing 40 years reflect the artist’s own growth as well as that of the “Oarsman.” Earlier books depicted the voyager getting provisions (food and books) for his journey. Others featured islands visited; the style conforming to the content. In this book, the author / artist has worked text and drawings in white ink on black ink rectangles, allowing the reader / viewer to eavesdrop and observe the “Oarsman” in his journeys on land, on the sea, and across space. He - and we - are everyman, sharing the human condition. Through small delicate drawings, we nonetheless grasp the enormity of the subject matter through the artist’s subtle use of negative space and the setting of night. A splendid artist’s book, small in size, large in impact. (10957)

Satan, as drawn by Barry McCallion, is a red figure with white outlines for eyes, nose and mouth and is particularly unpleasant. He does, however, at least on the King of Diamonds have several grey halos! An intriguing interpretation of this classic epic poem, made into a contemporary nightmarish game of chance or skill or luck or....? (10958)

11. McCallion, Barry. Lewis Carroll. Jabberwocky, from Through the Looking-Glass and What Alice Found There. East Hampton, NY: 2015. $4,250 Unique artist’s book, on Richard de Bas cream wove paper, signed and dated by the artist, Barry McCallion, on the colophon. Page size: 12-¾ x 107 /8 inches; 28pp. + half-title and titlepage and colophon. Bound by Joelle Webber: hand-sewn, yellow colored silk over boards with title on front panel,

Playing Cards 10. McCallion, Barry. John Milton. Paradise Lost. A Deck of Cards. East Hampton, NY: 2014. $1,200 Artist’s book, one of a series of three, all on PH neutral paper backed with 4 different colored PH neutral card stock, one for each suit, signed and dated on the back of the box housing the playing cards. Page size: 6-7/8 x 4-1/8 inches; 52pp. Bound: loose as issued in box made by the artist, red acrylic painted paper over boards for base, graphite acrylic painted paper over boards to lid, with John Milton / PARADISE LOST Playing Cards / and the artist’s signature on top of lid in black on red paper label. Each card image is digitally printed, card numbers and symbols outlined with aid of stencil and hand colored by the artist in India inks. The artist has handwritten the text on each card, chosen at random from Book One of PARADISE LOST. Text and image for each card are, however, appropriately matched. For example, the 7 of diamonds has as text one of the most noted lines of Milton’s epic poem, “Here we may reign secure, and in my choice / to Reign is worth ambition though in Hell: Better to reign

in Hell than serve in Heav’n.” The image is that of a portion of a red, round sphere at bottom edge of card and a smaller portion of circular object at top edge outlined in silver gilt, the two connected by white parallel lines and a blue drone-like object between the two spheres.

a reduced reproduction of titlepage, blue and silver endpapers by St. Armand, terracotta colored guards, housed in tan linen over boards clamshell box, title in red reproduced from title page with yellow and red reproduction of first page inset on front panel. The artist has created colorful India ink washes, various collage and drawing elements incorporating metallic gold paper and aluminum foil with text from newspaper type, copied on various papers, each letter cut out and collaged in a myriad of shapes and sizes as well as colors - completely befitting this classic nonsense poem. A glittering “frabjous” book capturing the joy of Lewis Carroll’s classic text. (10964)

12. McCallion, Barry. Walt Whitman. Whitman Crosshatch - As I Ebb’d with the Ocean of Life. East Hampton, NY: 2015. $2,900 Unique artist’s book, on Richard de Bas cream paper and Saint Armand blue paper, signed by the artist on the colophon, Barry McCallion. Page size: 10 x 6-3/8 inches; 56pp. + 20 blue unnumbered pages which include titlepage and half-title and colophon and the text printed on tan paper mounted on the blue Saint Armand, interspersed with the broken up text on cream Richard de Bas, painted in various brightly colored inks, printed on blue paper and

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“other” world with its own life forms and resulting manners and mores. We are brought full circle by the poet’s close, “The change onward from ours to that of beings who walk other spheres” and by the artist’s images of other celestial objects viewed from a corner of earth. Whitman’s romantic freeverse musings on diversity in nature and what peace and beauty is found therein is wonderfully served by the art of Barry McCallion. (10956)

14. McCallion, Barry. Whitman, Walt. On the Beach at Night Alone. East Hampton: 2015. $3,300 Unique artist’s book, on Richard de Bas wove paper, signed by the artist and dated on the colophon, Barry McCallion / March 2015. Page size: 10-1/8 x 7-¾ inches; 48pp. Bound: loose as issued housed in tan wrappers with brown spine, black paper collaged to inside of covers, in folder of black and with

collaged on the “ribs” of the various grids which form the crosshatching. Bound by Joelle Webber: hand-sewn in gold suede with onlays of yellow, red, green, blue and white forming cross hatch on front panel, housed in red cloth with blue edges over boards clamshell box with title on spine on paper with repeat of crosshatch motif, crosshatch motif repeated on front panel. In his artist’s statement, Barry McCallion notes that this book is “both a hunt for, and a despair of, meaning. The ‘Likeness’ that the poet recognizes in the sea-tossed wind rows of: ‘Chaff, straw...” describe a purpose-less world.” He further notes that Whitman’s life persistence “after the abyss has looked us in the eye, is heroism.” By setting the text on diagonals and verticals at odds page to page, the artist captures the poet’s bleak mood. Whitman’s own resolution takes the visual form of bright colors, and a text that meanders - in and out as the tide - but does not dissipate. (10965)

13. McCallion, Barry. Walt Whitman. The World Below the Brine. East Hampton, NY: 2015. $2,500 Unique artist’s book, all on Richard de Bas cream wove paper, signed by the artist on the last page of the book, Barry McCallion / February 2015.” Page size: 6-7/8 x 4-5/8 inches; [i-v] 24pp. + colophon. Bound: loose as issue, laid into salmon pink wrappers with handmade blue and pink paper over boards portfolio, laid into custom-made blue cloth over boards clamshell box with title printed in white on blue label, color reproduction of one of the full-page paintings in India and metallic inks and acrylics of the “Forests at the bottom of the sea ...” The text of Whitman’s splendid poem is hand-lettered by the artist in multi-colored inks in irregular letters, filling each verso, the rectos happily accommodating the polychrome images of Whitman’s imagined

polka dot paper over boards, lined with white paper printed with black outlines of chrysanthemums, housed in tan cloth over boards clamshell box with black labels recessed on spine and front panel, the title in white on spine with author and artist in yellow, title in black on yellow ground on black paper on front panel. Accomplished in black India ink blocks edged in red with Whitman’s text handwritten by the artist in black ink - sometimes outside the black ink blocks, sometimes incorporated as part of the design within the blocks, sometimes repeated in both places. In addition, graphite acrylic paint is employed to create a misty secondary black on black. Acrylic paints, metallic and other inks add color and form. The artist states in the colophon that, “The white line drawings and handwritten text are employed to unite line with form and form with content, echoing the poet’s vision of all things large and small joined in an elemental oneness.” A subtle and elegant visual exploration of a classic American poem. (10963)

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Carrousel Book

Miniature

15. Morrison, Lois. Deep in the Yellow Woods. [Leonia NJ]: 2015. $550

17. Poehlmann, JoAnna. Drawings in a Nutshell. Milwaukee, WI: 1998. $450

Artist’s book, one of 20 copies, plus 5 artist’s proofs] all on French’s Lemon Drop, Banana Split, and Shocking Yellow paper, plus a light yellow paper from Staples: white paper, Arches text wove, is sponge painted, all signed and numbered by the artist, Lois Morrison. Page size: 6 x 4-1/5 inches; 10pp. Bound by the artist: hand-sewn carrousel format, with brown polka-dot paper from Kate’s Paperie over boards as endpapers, boards embedded with rare earth magnets and thin stainless squares which were cut by Julie Chen, title in black on yellow paper recessed on front panel, collage of pan pipes below title, multi-color cotton ribbon ties. A wonderful cut-out book, each doublepage spread with Ms. Morrison’s fantasy animals dancing in the woods. The text reads, “Deep in the yellow woods the dance goes on / witch elephants lumbering in last. / Eve’s snake still limbed / from before the fall joined them. / Even the great rabbit in the sky / came down to dance. / It made the yellow striped dog/ ecstatically happy. / Of course, the yellow goat / heard the pipes first.” The text was printed with a Gocco printer in Vikingnormal. The animals were Gocco-printed on left-over scraps and then gone into with acrylics, colored pencils and a pigma micro pen. The goat wears a tunic which bears the legend, “I yam a yellow goat.” The cat and snake both have red tongues. The rabbit and the elephant are comely. Lois Morrison’s fantasy poem and creatures are endearing and will surely bring a smile, if not an outright chuckle, to the reader / viewer. (10936)

Artist’s book, one of 50 copies, each signed and numbered by the artist, all on Strathmore paper. Bound by the artist: in a walnut, halved and rehinged with pale brown satin ribbon. Book is 18 oval-shaped leaves, each about 1 x 7/8 inches. Each leaf has an original hand-colored lithograph of a variety of nut, i.e. pine nut, almond, filbert, etc. Each page is labeled in pencil by the artist; housed in a burlap bag labeled “NUTS” with other real nuts, i.e. peanut, almond, acorn, chestnut, etc. Certainly a miniature, with as much charm as any “book” we’ve seen. the nuts are beautifully rendered in delicate neutral shades, except, of course, for the green pistachio! (10921)

16. Plimpton, Sarah. Black Air. New York, NY: 2105. $850 Artist’s book, one of 10 copies, all on Fabriano Tiepolo paper, each copy hand-numbered and signed by the artist on the colophon. Page size: 11-¾ x 8-¾ inches; 20pp. Bound: loose as issued in ink-blue paper wrappers with title blind stamped on black label on front of wrapper, housed in custommade blue cloth over boards clamshell box by Claudia Cohen with title and author / artist stamped in black on grey paper, box lined with blue paper. Sarah Plimpton’s verse is set in Caslon 540 and printed by the author / artist at Manhattan Graphics Center and The Grenfell Press. The book contains aquatints by Sarah Plimpton on every page - these accomplished by Peter Pettengill. Sarah Plimpton’s moving lines and powerful, sculptural images enfolding the verse are in remembrance of her friend, the poet and novelist, publisher of The Paris Review from 1982-1992, Deborah Pease (19432014). The poems, while not specifically about death, certainly evoke a sense of loss as well as the bleakness of winter weather. Describing the inevitability of the human condition in terms of nature is a reminder to the reader of the natural course of events: “...remember if you can / a hand on the door / is ready to go.” The verse conveys such a simple image and, yet, it is so very powerful. (10966)

18. Poehlmann, JoAnna. Elephant Folio. [Milwaukee, WI: 1997]. $1,500 One of 10 copies, all on Strathmore, each signed and numbered by the artist / author, JoAnna Poehlmann. Page size: 8-¼ x 6-¼ inches; 34pp; double fold sheets, hand lettered in ink and rubber stamps, with collaged color copies of post cards, stamps, playing cards, and other ephemera. Bound: “Leathac” Japanese paper over boards, concertina style, with gray grosgrain ribbons ties. An homage to the elephant, with wonderful quotes, such as, “Nature’s great masterpiece, an elephant. The only harmless great thing.” (9387)

19. Poehlmann, JoAnna. Lee, Barbara Brown and Barbara Manger and John Shannon. Now and Then. The Work of JoAnna Poehlmann. Milwaukee, WI: Plumb Press, 2015. $25 First edition, exhibition and retrospective catalogue of the work of artist, JoAnna Poehlmann, published in conjunction with the major retrospective of her work at RedLine Milwaukee. Page size: 8 x 8-15/16 inches; (i-v) vi-xxxvi; 172. Profusely illustrated with detailed colored images of the books of JoAnna Poehlmann as well as her graphite drawings and sculpture. Essays by Barbara Lee Brown, Barbara Manger and John Shannon contribute much to an appreciation of the art of JoAnna Poehlmann. Ms. Poehlmann’s books - small, clever, witty, with puckish humor - are in private and public collections throughout the country. (10914)

20. Poehlmann, JoAnna. Mouse Museum. [Milwaukee, WI]: 2003. $950 One of 25 copies, all on one-ply Strathmore, each signed and numbered by the artist / author, JoAnna Poehlmann. Hand collaged by the artist with color copies of paintings, etchings, stamps, and postal cards, each with an image of a mouse. The text is a gathering of quotes from various texts - “Better beans and bacon in peace than cakes and ale in fear - Aesop” “In baiting a mouse-trap with cheese, always leave room for the mouse. Saki” -

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hand-written by Poehlmann. 52pp; page size: 4-½ x 4½ inches. Bound: accordion-style with Japanese woodgrained paper over boards, 5/8: circular cut-out (mouse hole) through which one sees the head of the mouse image from the title page. Spine sewn with blue grosgrain ribbon; housed in publisher’s slipcase covered in same woodgrained paper with blue grosgrain ribbon pull. Another charming book from this talented artist. (9311)

21. Poehlmann, JoAnna. Shall We? [Dance]. [Milwaukee, WI]: 2007. $1,200 Artist’s book, one of 20 copies, all on one-ply Strathmore, each signed dated by the artist, JoAnna Poehlmann, on the front turn-in. Page size: 5-5/8 x 67 /8 inches; 58pp. + colophon on back endpaper. Bound by the artist: accordion fold with red-on-red screened paper over boards, housed in halfsleeve case with black tassel cord tie, title printed in red on white card stock fastened onto cord. The artist has hand-lettered in ink various texts / quotations relating to the dance: i.e. “The chief benefit of dancing is to learn on how to sit still.” Johnson. “Sometimes I think that dancing, like youth, is wasted on the young.” Max Lerner. “All music proceeds from the dance.” Mahler. The texts are accompanied by collages with color copies of paintings, posters, postage stamps, etc. along with other ephemera (feathers, rose petal from Spectre de la Rose, orchid from prom corsage). An

irrepressible look at dancing with all the various guises from art form to rustic frolic, perhaps nowhere better summed up than in Renoir’s two companion paintings: “Bal a Bougival” and Danse a la Ville” (Country Dance and City Danse). The titlepage and title card on case is printed using steel press type which was inked in red and hand-printed with spoon. (10938)

22. Poehlmann, JoAnna. Strike Up the Band. In Three Volumes. Milwaukee, WI: 1997. $1,500 One of 10 copies only, each signed and numbered by the artist. Vol. I, 54pp; Vol. II, 54pp; Vol. III, 56pp. Page size: 3-1/8 x 1 inch. Bound: woodgrained paper over boards in shape of cigar with cigar label at pointed end with volume number hand-lettered and onlaid to the original wrapper by the artist; all housed in “cigar box” of woodgrained paper with cigar band and stamp onlaid and title hand-written by Poehlmann. Each page is hand-written by the artist on the verso and the recto has an original cigar band mounted to

the page. The text is a mix of aphorisms, history, and lore of tobacco and smoking, with quotes by famous authors, etc. The Introduction tells us that the cigar band was invented by Catherine the Great of Russia, when she tied a bit of silk ribbon around her stogie to avoid staining her fingers! A witty production with the actual cigar labels quite attractive. (9033)

23. Poehlmann, JoAnna. Under Cover (The Naked Truth). [Milwaukee, WI]: 1992. $1,600 One of 10 copies, all on oneply Strathmore, signed and numbered by the artist on the colophon page. Page size: 73 /8 x 5-3/8 inches, 30pp; with a small book on botany bound in: 5-½ x 4 inches,10pp. Bound by the artist: covers are handmade French paper in pale green; front cover has a fig leaf, copied, cutout and collaged onto French handmade paper and attached at stem only. The fig leaf lifts up to reveal the title handwritten underneath. Wrappers attached with dark green grosgrain ribbon. Bookmark of dark green grosgrain ribbon with carved wooden apple (already eaten so that only core remains) at end. Hand-lettered with quotes from various texts - “Adam whilst he spake not, had paradise at will.” William Langland, The Vision of Piers Plowman; “And Adam was a gardener...” Shakespeare, Henry IV; “The serpent deceived me and I ate.” Genesis 3:13. Hand collaged with color copies of various paintings, cuts, postage stamps, and botany. The smaller inserted book contains eight (8) varieties of fig leaves - from the over 700 known. The originals were gathered from the Mitchell Park Conservancy in Milwaukee and reproduced herein. Fig leaves and apples and Adam and Eve - and just some of the things said about them. (9312)

24. Satin, Claire Jeanine. Henry James. Il Giardino Palazzo Cappello Soranzo I. (The Garden Book) Text from The Aspern Papers by Henry James. Dania Beach, FL: 2015. $5,500 Unique artist’s book, one of a series (yet to be created) using phrases or sentences from Henry James’ THE ASPERN PAPERS, on acetate sheets, signed and dated by the artist, Claire Jeanine Satin, on a small piece of acetate, in black with the title of the book on the tiny folio, 1-¼ x 2 inches. Page size: 8-½ x 5-½ inches; 24pp. Bound: by the artist, hand-sewn with clear nylon thread from which phrases from James’ text are suspended, highlighted with colored beads in crystal, silver, and glass beads. The beads are also hand-studded on pages to highlight the garden’s light and shadows.

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Housed in Plexi slipcase with paper label printed with book title. The artist has taken as inspiration the garden at the Palazzo Soranzo Cappello in Venice for her images, as did Henry James. James used the Palazzo Soranzo Cappello as the setting for the dilapidated home of Juliana Bordereau and her niece, Miss Tita, in his novella, THE ASPERN PAPERS (1888). The Palazzo Soranzo Cappello dates from the 16th century, now restored after years of neglect. The gardens are justifiably famed. The artist has photographed the villa and its gardens, color printing (on a jet printer) her manipulated and altered images, sometimes doubling or shifting multiple images for emphasis of view while still maintaining visual honesty, on acetate and using a metallic fixative. The translucent images are thus viewed one through another, bringing a multi-dimensional feel to the book. The text is printed in green and includes James’ descriptions of light and color in mysterious Venice. The images and words are perfect complements, and the reader / viewer has the sense of walking through these legendary gardens. A piece of book sculpture that is also a book, this is an exciting inspiration from a classic piece of American literature. (10952)

“Just pray to God. She will help you.” Alva Belmont 25. Segaloff, Jean. One Woman, One Vote. 22 Suffragists Work for Emancipation. Cambridge, MA: 2015. $5,000 Artist’s book, one of three copies, all on BFK etching paper for drypoints and computer Graphix Plastic Matte Film for text, signed by the artist / author on the Introduction page, “Jean Segaloff.” Page size: 7-7/8 x 12 inches; 44pp. + Introduction and Table of Contents. The 22 hand-colored drypoint etchings of the 22 women’s rights advocates are each preceded with a page of text and a quotation by the woman portrayed. Bound by Erin Fletcher of HerringBone Bindery: blue chromo book cloth over boards with brass posts as if a vintage photo album, label printed in black on white with black and white decorative border, yellow border for all, hand-marbled blue and yellow Hahnemuhle Ingres paper, guards of elephant hide paper, from Zanders Mill, housed in custom-made black cloth over boards clamshell box, white label printed in black on spine, red cloth edges.

is the feminist’s name. The colored etching of the women is visible through this sheet of Matte Film, as if the reader is looking through a veil. The women are all imbued with a frank countenance gazing out, unflinchingly, at the reader / viewer. There is an element of charm and appeal in all. The brief biographies sum up a lifetime of achievement, against great odds, for each and every woman. The quotations are often witty, with more than a touch of humor, and certainly serve as an excellent precis for the women to whom they are attributed. Susan B. Anthony’s well-known quotation, “It was we, the people; not we, the white male citizens: nor yet we, the male citizens; but we, the whole people, who formed the Union...Men, their rights and nothing more; women, their rights and nothing less.” is the perfect example. Alva Vanderbilt Belmont’s statement is, “Just pray to God. She will help you”. Harriot Stanton Blatch is quoted, “Unpaid work never commands respect; it the paid worker who has brought to the public mind the conviction of women’s worth.” The women included herein are: Lucretia Mott, Margaret Fuller, Elizabeth Cady Stanton, Amelia Jenks Bloomer, Lucy Stone, Julia Ward Howe, Susan B. Anthony, Frances Ellen Watkins Harper, Matilda Joslyn Gage, Victoria Claflin Woodhull, Frances Willard, Tennessee Celeste (Tennie) Claflin, Anna Howard Shaw, Ida Husted Harper, Alva Erskine Smith Vanderbilt Belmont, Harriot Eaton Stanton Blatch, Alice Stone Blackwell, Carrie Chapman Catt, Charlotte Perkins Stetson Gilman, Ida Bell Wells Barnett, Alice Stokes Paul, Inez Milholland Boissevain. This is a beautiful book, thoughtfully and carefully written and produced, worthy of the revolutionary women included herein and as good a picture of the women who have shaped our world as I’ve encountered. (10967)

26. Vandorou, Maro. Thereafter. San Francisco, CA: 2015. $2,500

The artist / author tells the reader that this book had a long gestation. As a young feminist in the 1960, she describes being a part of the Second Wave of American feminism, marching and demonstrating with her fellow advocates. Her respect and admiration for the first wave of American feminists resulted in this book with visual and verbal portraits of 22 American women. Each visual portrait is an original drypoint etchings, hand water colored, each on a gesso and gouache ground. The short biography, which appears printed at the top of a sheet of Matte Film, has a quotation from the feminist pictured at the bottom of this sheet. It is printed in bold, as

Artist’s book, one of 19 copies, all on hand-made Frobisher white Old Master drawing and calligraphy paper custom made for the edition (with deckles on 3 sides) by Papeterie Saint-Armand, hand numbered and signed by the artist / author, Maro Vandorou on the colophon. Page size: 9-½ x 10 inches; 38pp. Bound: hand-sewn Sandy Tilcock in white hand-made cotton rag fiber paper with rough surface, 140lb. weight by Papeterie SaintArmand, letterpress printed title in light grey Streetbrush type, housed in custom-made grey cloth over boards clamshell box with title in darker grey on front panel. Designed, written, original photography and transfer printing by the artist / author, Maro Vandorou. The text is printed letterpress in Garamond Italic, Myriad Pro, and Minion Pro by Sandy Tilcock at lone goose press. Artist Maro Vandorou has chosen the transformation of the genus Paeonia (peony) as the subject of her book. It is a flowering plant native to Asia, North America, and southern Europe, especially closely tied to

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Greece, thought myth - the physician Paeon was changed into the flower by Zeus (or Hades whose wound he healed) to protect him from the jealousy of the Greek god of medicine, Asclepius. From ancient times, the peony has been revered for its healing properties and used in Far Eastern medicine as well as Mediterranean cultures. With her own text and images, Ms. Vandorou documents the transformation in the coral “paeonia” from the brightly colored orange of the opening bloom to - in just seven days - white, nearly translucent petals. Her poem reflects the physical nature as well as the near mystical process of transfiguration. Her “Lexicon” defines the terms of her philosophical investigation of the meaning “paeonia” based on etymological analyses and resulting in “flower with the healing power of beauty” as well as “access to eternity through the portal of the soul.” All is in accordance with the annagramatization rules of Plato as given in the dialogue “Cratylus.” The photographic images of the vibrant coral peony morphing from bright orange to limp white are printed by the artist in a transfer process from her own photographs. This transfer process is based on that of monotype

photo printing, documenting ferns and other plant life in the middle of the 19th century. The resulting cyan-blue print from this monochrome process is here used to capture the images of feathers. Anna Atkins was fond of feathers and these images by Sande Wascher James are an elegant homage. Set into black archival cotton paper, the bright blue and white images are striking, giving real substance to something so ephemeral. (10944)

Two Elegant Bi-lingual Editions 28. Wequetequock Cove Editions. Baltazar, Julius. and James Sacre. Quatre Fois Son Portrait dans les Etats-Unis d’Amerique. Bi-lingual edition with English translation by Joshua Watsky. Stonington, CT: Wequetequock Cove Editions, 2012. $2,500 Artist’s book, one of 30 copies with text printed on Velin d’Arche, the original watercolor that is the frontispiece is on Sekishu Japan paper, as are the four copperplate engravings, all copies signed by the artist, the author, and his translator, Joshua Watsky, who is also the publisher. Page size: 12.8 x 9.8 x ½ inches; 32pp. Bound: loose as issued by the publisher in hand water-colored Arches wrappers by Baltazar, sky blue ground with white negative space, lighter and darker blue and mauve lines extending horizontally across the wrappers, title printed in black letterpress on front panel and on spine, housed in custom-made black cloth clamshell box with white label printed in black with title, author, artist, and translator. There are 8 gatherings of 4 pages each of this bi-lingual edition. The text is set in 12pt. Helvetica by Francois Huin and printed letterpress. The 4 copperplate etchings were editioned at Atelier Alain Piroir in Montreal. The etchings are hand water-colored and highlighted with colored pencil. Julius Baltazar (1949-) is a noted French painter and printmaker, who has worked with major poets and writers to create livres d’artistes of the highest quality. In the early part of his career, he was championed by Dali and the resulting influence of surrealism can be seen in his work where words and image create images of haunting beauty. This is a series of 4 poems by James Sacre, the French text appearing on the recto opposite the

printing and involves printing the image on a specially coated transparency film using archival pigment inks with an Epson 3880. Once dried, the image surface of the transparency-film material is brushed with gelatin-like substance, and the image placed on dampened paper. When the transparency is lifted, the ink of the image has been transferred to paper. Obviously, no two images are identical, but the strength of the original is easily recognizable. The stunningly beautiful images are enhanced by the thoughtful text which is set in a small point size, and in grey. The words, rather than usurp or impinge on the images inspired by the natural world, lead the reader / viewer careful consideration of both. (11064)

27. Wascher-James, Sande. Anna’s Feathers. Whidbey Island, WA: 2015. $2,200 Unique artist’s book, on watercolor paper set into black cotton rag mats, signed and dated by the artist on the colophon. Page size: 12 x 9 inches, opening to 136 inches,16pp. Bound: hand-stitched accordion fold with blue cloth over boards as end pieces, housed in blue cloth over boards lidded box. ANNA’S FEATHERS is a book of 18 original cyanotypes, inspired by and named after Anna Atkins, who was among the first to use this technique of

colored etching and Joshua Watsky’s sympathetic English translation on the verso, James Sacre (1939-), noted French poet, was born in the Vendee and, after traveling extensively (US, Italy, Tunisia and Morocco) now lives in Montpellier. He taught at Smith College from 1972 to 2001 and remains the Doris Silbert Professor Emeritus in the Humanities. His verse has a keen sense of place, as evidenced here in these four pieces inspired by a trip through New Mexico and Arizona and Death Valley, CA in 2009. The rural landscapes are compared to the Vendee of his childhood as he conjures up a conversation with his father, reminiscing and subsequent musings on man’s relationship to the land. Baltazar’s colorful and capacious etchings are suited to the “big sky” of the western US yet intimate enough to perfectly embody these personal reflections of the poet. Joshua Watsky, American teacher, translator and poet, is the publisher as well as translator of this livre d’artiste. This is a lovely book, an important bi-lingual text, confirming the universality of sympathies regarding land and family. (10950)

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29. Wequetequock Cove Editions. Baltazar, Julius and Michel Butor. Etant l’Etna. Being Aetna. Bi-lingual edition with English translation by Joshua Watsky. Stonington, CT: Wequetequock Cove Editions, 2010. $3,000 Artist’s book, one of 26 copies, hand-painted throughout on velin d’arches, each copy signed by the author, Michel Butor, the artist, Julius Baltazar and the translator, who is also the publisher, Joshua Watsky. Page size: 10-¾ x 7-½ inches; 38pp. (including 4 hand-painted endsheets). Bound: loose as issued by the press, in tan wrappers with title printed in black in French and English on both the spine and front cover, housed in custom-made black cloth over boards clamshell box with title in both French and English in black on white paper label on spine. Hand-painted throughout by Julius Baltazar, the art is in a palette of lavender and earth tones of brown, blue, red and yellow, with black and white highlights. Michel Butor’s poem, the French with Joshua Watsky’s forceful English translation following it on each page, is a narration by the volcano itself. “...I am seized with a fury rising from my agitated gut...bursting from my crater my vengeance upon human corruption and the shame of armies...” Capturing the force of nature, never subject to human control, Etna’s words recount how it unpredictably spews ash, flame, and destruction on mankind. Butor’s text is complemented by Baltazar’s paintings - each page a whirlwind of nature’s wrath in grey ash and red lava, turning the skies (page backgrounds) a lavender-grey only infrequently letting in glimpses of light (white). Accomplished in watercolor and black India ink, Baltazar’s art, with Butor’s (and Watsky’s) words complete a dizzying natural cycle. The text is hand set in 18pt. Garamond and printed letterpress at Francois Huin, Typographie, in L’Hay-les-Roses, France. Michel Butor (1926-), born in France, has taught in Egypt, Manchester, Salonika and the USA, and has been awarded the Prix Renaudot, Prix Feneon and Prix Apollo, among other accolades. Considered an experimen-

tal writer, his novels, essays, and verse explore various structures and unconventional voices - as here with the volcano speaking to us. He is noted for the livre d’artiste, as exemplified in this provocative piece of art / literature. (10946)

30. Yolla Bolly Press. Dinesen, Isak. Babette’s Feast by Isak Dinesen. Afterword by Richard Olney. Woodcuts by Karin Wikstrom. [Covelo, CA: Yolla Bolly Press, 1997]. $950

One of 250 copies, all on mould made English Somerset paper, signed by contributing author Richard Olney and Swedish artist Karin Wikstrom. Page size: 9 x 12-¾ inches; 64pp. Bound by Cardoza-James Binding Company on a designed at Yolla Bolly Press, grey-blue printed German paper over boards with imported blue cloth spine, cutout of original woodengraving of turtle collaged to front panel, blue slipcase by John DeMerritt, with 2 copies of original Prospectus and order form laid in. The story by Isak Dinesen was written in 1949 and published in 1958. This is the first appearance as a fine press edition - and it is charming. Dinesen’s text is set in Pegasus and Albertus and printed letterpress in two colors. Karen Wikstrom’s 19 original woodcuts adorn the pages and surround the type, with the exception of two full page woodcuts that are printed in color. One of these is of the Norwegian fishing village that is the setting for this tale and the other is Babette and her feast table with the guests obviously in shock and awe at the feast. Dinesen’s disarmingly simple tale of a French woman who has sought refuge with two aging aesthetic sisters actually treats larger, complex subjects, including bodily vs. spiritual appetites, lost love and career, duty to family and community. Karen Wikstrom’s woodcuts suit the story perfectly, as does the overall design of the book. This is a beguiling book. (10961)

Terms of Sale: All items are subject to prior sale. Payment should accompany order unless credit has been established. Mastercard and Visa accepted. ME residents please add 5% sales tax. Institutions may receive deferred billing. Posting is additional: $10.00 for the first item and $5.00 for each additional item. All items are guaranteed as described and may be returned for any reason, with notice, within seven days of receipt, providing they are in the same condition as when shipped. Please call in advance of a return.

Priscilla Juvelis, Inc. 11 Goose Fair Kennebunkport, Maine 04046 (207) 967-0909 PH e-mail: [email protected] web: www.juvelisbooks.com

Priscilla Juvelis, Inc. (207) 967-0909 [email protected]