Priscilla Juvelis – Rare BooksCatalogue 74 – Contemporary Book Arts

New Arrivals

Bound by Coleen Curry

1. Curry, Coleen. Plimpton, Sarah. Edges. [New York:1994]. $3,300Artist’s book, unique copy in designer binding by Coleen Curry,signed and dated by the binder on the rear turn in, Coleen Curry /2017. The book is from an edition of 25 copies, all on Archespaper, each signed and numbered by Sarah Plimpton. Page size: 6-¾ x 7-9/16 inches; 24pp. Bound by Coleen Curry: staple binding ofPentland goatskin that has been collaged, sanded to tan, tooledwith silver gilt and black dotted lines with onlays of sanded suedeover the black goat skin, title EDGES in silver gilt on front panel,5 pair of black staples on spine, maroon and silver grey suede

turn-ins and paste-downs,black paper guards; blindstamped on back turn-in anddated by the binder, ColeenCurry; original wrappersbound in; original six foliosset in tabs to allow completeopening of each page spread,

housed in custom-made black cloth over boards clamshell boxlined with black Ultrasuede, spine of box with black goatskincollaged and sanded and stamped with title and artist / author inblind. This is a most elegant and persuasively appropriate bindingfor Sarah Plimpton’s organic text and images. The binding designresembles that of a topographic map, the silver tooled dotted linesconjuring up hitherto unexplored paths.

Sarah Plimpton’s poem is accompanied by her own aquatintswhich were printed by Peter Pettengill in Hinsdale, NH. Ms.Plimpton designed and illustrated and printed the book in 1994 at

the Manhattan Graphics Center and the Grenfell Press in NewYork City. The short text, capturing the ephemeral nature of lightand its effects on inanimate objects, and by inference from thepoet’s observation on ourselves, is perfectly set off by thetextural aquatints. Coleen Curry’s binding carries Ms. Plimpton’sthemes of nature and self-discovery. (11302)

2. Harvey, Cig. You an Orchestra You Bomb.Rockland ME: 2017. $50First edition, signed by the artist, Cig Harvey on the lower right offront free endpaper in red ink. Page size: 9 x 9inches; 142pp. Bound: yellow cloth stamped withtitle and artist on front panel and spine. This is CigHarvey’s third monograph; all are autobiographicaland explore the photographer’srelationship with life itself. It is abook about paying attention toand appreciating the fragilepresent. With essays by VickiGoldberg and Jacoba Urist thataccompany Ms. Harvey’s poi-gnant and hauntingly beautiful photographs this is a wonderfulbook. (11321)

Text from The Hunting of the Snark

3. Jackman, Sandra. Coming Down to Earth. [NewYork]: 2017. $5,000U n i q u eartist’s book,all on photopaper, acidfree papersand adhe-sives. signedand dated bythe artist onfront coverand on loweri n t e r i o rspine. Pagesize: 12 x 10inches; 23 pages featuring original artwork and text by SandraJackman as well as some collaged text on photo paper from LewisCarroll’s poem THE HUNTING OF THE SNARK, plus 25 blankpages following the text “NOTHING MORE WILL HAPPENHERE”. The reader is invited to use these pages for notations asreaders do - on the margins of a page. Bound by Brewer-Contino

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in black paper over boards withblack leather-ette (Snark skin?)spine, original paint-ed and let-tered collage by the artist on frontpanel with title and artist hand-lettered by Ms. Jackman; the in-side cover features a paper col-lage of inked and torn papersmeant to mimic the turbulent sea;the first page includes a hairnet tocapture the fallen; housed in acustom-made black leatheretteclamshell box with title blind-

stamped on front panel, signed by artist on interior spine back.Each page contains hand-lettered text as well as original

collage, in ink and tempera, torn papers, photographs, digitally-printed text, all in a feverish mix of despair - a long, anguished cryrailing against the inequities in today’s world. The artist writes,“COMING DOWN TO EARTH is an expressionist construct ofideas and images that formed as I read Lewis Carroll’s epic“nonsense poem”, THE HUNTING OF THE SNARK (published in1876). A dialogue of sorts ensued… the pages of my book reflectas an intrusion of the time we live in. How a story is told and therefrain (A HUNTING WE WILL GO) march through the pageslike a cautionary tale. In Carroll’s poem a cast of characters froma variety of occupations all starting with the letter B that includesa beaver … sign on to an expedition that hasn’t a remote connec-tion to anything they have experience in or are equipped to dealwith. They are lured by an appetite to taste something unique.When it is too late, they grow aware of dangers. Becoming theprey themselves is a possibility since what they seek has adangerous counterpart, a BOOJUM with an appetite of its own.The HUNTING OF THE SNARK an Agony in Eight FITS appealedto my connect the dots mentality as an allegory for the remarkableworld of the 21st century - an expedition into strange unchartedterritories.”

Visually haunting, the artist uses images and text that areassembled and disassembled. The word hunting takes on a verysinister aspect and the images reflect the deeper meanings.Intricate and complicated, this is a book for our time. (11320)

Bound by Coleen Curry

4. Langworthy, Sara and Emily Wilson. MorphoTerrestre. Seven Poems by Emily Wilson. Five Imagesby Sara Langworthy. [NP]: Sara Langworthy, 2006.

$3,200Unique designer binding by Coleen Curry on a copy of MORPHOTERRESTRE, which is an edition of 50, all on Sakamoto paper,designed and printed by Sara Langworthy, signed by her and by theauthor, Emily Wilson on the colophon. Page size: 11 x 5-3/8

inches; 40pp; 10 of which unfold to reveal a double-page spreadcreated from a series of photopolymer plates using plants, stems,and sticks and printed as well as hand painting with sumi inkwashes. They are abstract and organic.

All printing was done using a Vandercook proof press; the

text was set in Janson. The artist has written that she has used aprinting process that, “has more in common with drawing orcollage with strategic letterpress printing.” Her unusual printingtechniques result in a “textured” page.

Bound by Coleen Curry: dark green goatskin limp leatherwhich has beencut and then ap-plied over thebinder’s ownpastepapers, theedges of the“cuts” paintedwith blue acrylic(hinting at thevarious bluesmentioned in sev-eral of Wilson’spoems), all pagesput on tabs to al-low for seamlessopening of each double-page spread. Mica, in the form of mica-ceous iron oxide in acrylic liquid form, has been added to theaniline dyes Ms. Curry uses to dye the leather, which is thensanded and blind tooled, with title stamped in blind on front panelbelow a series of “X’s” which seem to fly across the panels; blueheadbands, tan goatskin free flyleaves, the binders own dark greenpastepaper guards, signed by the binder in blind on the lower rearturn-in with her device; housed in custom-made green cloth overboards clamshell box with green leather label on lower front coverblind stamped with title, author and artist. The binding, whichappears minimal, is a completely thought out and brilliantlyexecuted interpretation of the thoroughly modern and clean verseof Emily Wilson, perfectly complementing the prints of SaraLangworthy and her beautifully set and printed text.

Emily Wilson, poet and recipient of the 2007 fellowshipfrom the National Endowment of the Arts, has written the sixpoems included herein. They touch on the natural world broughtinto one’s own sphere. Sara Langworthy, book artist and printmaker,is currently teaching at the Iowa Center for the Book. Coleen

Curry teaches bind-ing at the AmericanAcademy of Book-binding. Both Ms.Langworthy and Ms.Curry have receivedawards and acco-lades for their work.This book repre-

sents contemporary American book arts at its best. It is a treasure.(11301)

5. Leavitt, Nancy Ruth. Andrew Marvell, Li Po,Brian Capon. A Green Thought. Stillwater, ME: 2017.

$6,000Artist’s book, unique, on Arches text wove and Katie MacGregorhandmade papers, signed by the artist, Nancy Ruth Leavitt, on the

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colophon. Page size: 14-½ by 9-3/8 inches; 43 pages with 37painted or lettered and 6 blank. Bound by Joelle Leavitt Webber:hand-sewn in green paper covers with original collage of cut paperin form of leaves on outer third of front panel extending to innerhalf of front turn-in, the cut paper leaves painted by the artist,water colored in subtle shadings of green (as if viewer experienc-ing leaves through sunlit boughs), housed in green cloth overboards custom-made cloth clamshell box with paper label hand-painted and lettered by the artist on spine.

The text for A GREEN THOUGHT contains poetry/prose byAndrew Marvell, Li Po, and Brian Capon, along with a discussionof the color ‘green’ told by the artist. Topics include: the origin ofthe word ‘green’, the function of the pigment chlorophyll found ingreen plants, and the importance of green in our surroundings. Theartist writes: “Green is the love of nature.” The lettering iscompleted in watercolor and gouache. The illustrations and bookcover are created with watercolor, gouache, pastel, paste, fabricand decorative thread. The use of cut-out pages of various leaf

shapes gives thebook an almostethereal nature;the variousgreens em-ployed by the art-ist add a sense ofvisual excite-ment to eachpage. The textsare accom-plished in vari-ous shades ofgreen and are ac-

companied by various leaf forms collaged from different papers- all painted - adding to the variety. Some of the text appear as“leaves” sprouting from a stem amidst other leaf collages and / orpainted the stem. Painted images inspired by plant material arefeatured in double-page spreads, all seemingly related by thread-like lines. Another page features all the shades of green by name,lettered vertically as well as horizontally, the words forming anelegant, intricate hedge. In other pages, the text is lettered as thestems of flowers rising majestically up the page in various shadesof greens, always with collaged, hand-painted leaves. Photosyn-thesis is explained,as is the role ofchlorophyll and au-totrophic plants. Anexamination of thecolor “green” ex-plains anthocyanin.The artist writes, “Alush leafy greenlandscape is a sanc-tuary where we canrenew our spirts andour sense of well-being.” The same may be said of this oversizedbook of “leaves” with each page reminding the reader / viewer ofthe harmonious magic of nature. (11319)

6. McCallion, Barry. The Epic of Gilgamesh.Translated by N(ancy) K(atharine) Sandars.Interpreted by Barry McCallion. [East Hampton, NY]:2017. $6,500Artist’s book, unique, on Richard de Bas cream wove paper, signedand dated by the artist, Barry McCallion. Page size: 13 x 10inches: 92 hand-numbered pages opening epigraph (quotationfrom “Four Quartets” by T. S. Eliot) titlepage and author’s signa-ture, colophon and 3 blanks. Bound: hand-sewn into black paperover boards, grey linen, collage by the artist inset onto front panel- a variation of the artist’s rendering of Gilgamesh with his longhair - a gold gilt figure painted on a cut-out collaged outline, oneside the untamed Enkidu and the other the King Gilgamesh;housed in custom-made grey linen cloth over boards clamshellbox with an image of Gilgamesh in gold gilt outline on black andwhite paper ground, title stenciled in gold outlined in black onspine.

The artist has used the translation of N. K. Sandars for his text.He also credits A. R. George’s THE BABYLONIAN GILGAMESHEPIC for insights. The text is hand-written in black ink, nearlyevery page embellished withat least one illuminationvarying in size and spacingfrom full page to half page toone-third or less. All are ac-complished acrylic paints,inks, and iridescent acrylicinks and paints, which, theartist notes in his colophon,“were especially useful tocreate a sense of heightenedreality.”

Accepted as the firstgreat surviving work of lit-erature, it is an epic poempre-dating Homer by 1,500years and known to the world from Tablet V dating from 2003-1595 BCE. Gilgamesh was a semi-mythic King of Uruk (there arereferences to his existence found in ancient inscriptions), but it isas a hero questing for the meaning of life that captivates and keepshis name alive in the 21st century. His transformation frombelligerent tyrant to thoughtful, purposeful human being is fantas-

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tic and fanciful but always meaningful. The repetition works itsmagic. There is something about reading this beautiful, ancientverse in cursive script, punctuated with prototype silhouettes iniridescent colors, that brings the strength and universality ofGilgamesh home with a punch. Barry McCallion has created ahaunting book, full of images that reflect today’s sensibilities, yetremaining faithful to the epic - as in the duality of Enkidu /Gilgamesh brilliantly brought out in the overlapping silver andgold gilt silhouette images. The format and means of communica-tion employed - both text and images - make this a wonderfulartist’s book. (11307)

7. McCallion, Barry. One Dollar Concerto. [EastHampton, NY]: July 2012. $2,750Artist’s book, unique, on black St. Armand paper, signed by theartist, Barry McCallion, on the penul-timate page and dated July2012. Page size: 11 x 7-¼ inches; 64pp. Bound in limp metallicsilver leather, white front flyleaves, grey back flyleaves, folioshand-sewn with black linen, housed in black cloth over boardsclamshell box with titlehand written on collagedbits of a $1 bill on spineand another collage of$1 bills on front panel.Titlepage with “One /Dollar / Concerto”collaged from a $1 billwith the added word“concerto” in grey ongrey paper. The pagesare collaged bits of dol-lar bills with some addi-tions of pink, blue andgreen papers. While notin musical notation, theoverall effect is that ofnotes skimming acrossthe pages. Some pageswith the line rising, somewith complex interac-tion of lines and somewith lines descending to a simple “stop.” Fol-lowing the dollar concerto is the “Raga / TwentyRupees” - again collages made using the Indiancurrency in a delicious play of pink lines andcurves on the black paper. The last “song” is the“Mongolian Long Song / 110 Tugrug” (Tugriks)- with the greens and tans of the currencycollaged to make intriguing designs inspiringthoughts of musical notation. An inspired hom-age to the almighty _______ (fill in the cur-rency of your choice), its flights up and down, crashes andexplosions.

An artist’s book without text - just money - and we all knowa song that can be sung to these pages! (11308)

8. McCallion, Barry. The Seafarer. Book andAdaptation by Barry McCallion. [East Hampton, NY]:2017. $4,100Artist’s book, unique, new version synthesized from severalex is t ingt r a n s l a -tions onR i c h a r dde Basc r e a mwove pa-per and tanwove St.A r m a n dHarricanalinen pa-per, hand-lettered as well as collaged printed text, signed by the artist, BarryMcCallion. Page size: 10 x 6-3/8 inches; 48pp. Bound: loose inoriginal green St. Armand paper wrappers, housed in brown, greenand pink abstract pattern paper over boards, matching brown clothover boards with original pen and ink drawing on front panel of animage of a seafarer (tiny boat and man amidst stormy seas andimposing cliffs), grey paper label on spine with title printed inblack and signed by the artist. The artist, Barry McCallion, notesin the colophon / artist’s statement that this anonymous Anglo-Saxon poem of loneliness and hardship is powerful with a singlenarrator. Mr. McCallion writes, “As powerful as the poem is, andas universal its themes, the work confronts us with unfamiliarrhythms, internal contradictions and abrupt narrative shifts. Whennone of the existing translations sufficiently resolved theseproblems, I borrowed from the best and created a version of myown.” The Richard de Bas paper has a coffee wash in organicshapes. The title is printed in black on tan paper collaged to thecream; the versos feature an original pen and ink (small square)image of the seafarer in storm-tossed seas. The rectos are full-page hand-painted abstract images, in acrylics with original paintedcollages, with India ink original Anglo-Saxon text printed in whiteon black cut and collaged line by line as frame to image. Thecontemporary English text is handwritten in white ink on St.Armand Harricana linen. The text is modern and enhanced by thecolorful and bold abstract images which convey storm and turbu-lence. At the same time, the text pays homage to the humancondition. It is a constant for man, no matter when he lived or isliving: time movesforward and sweepsus all along: we growold and die. We readthe last lines of thisancient verse andidentify: “Nothingwill restore old time,His age is passed.”Barry McCallion hascreated a marvel-ously modern interpretation of this ancient text. (11305)

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An Illuminated Manuscript for the Digital Age

9. Owen, Jan. If It Be Night. Texts of Eudora Welty,Walt Whitman, Robinson Jeffers, Vladimir Nabokov,Marcel Proust, Rabbi Abulafia et al. Belfast, ME:2017. $6,500Unique artist’s book, on Cave black paper and Hollytex polyester,signed and dated by the artist, Jan Owen. Page size: 14.5 x 11-1/8

inches; 28pp; each folio attached to another with 2 small sewn X’sat right margin. Bound by the artist: hand-sewn in Coptic style withblack thread, black paper painted in gold over boards with titlelettered in gold and in binary code, visible linings of Hollytexpolyester painted gold acrylic and lettered in black ink and

Hollytex painted black and lettered in gold in binary code echoingthe duality so masterfully delineated in this artist’s book, pageshand-lettered in gold and silver and embellished with bas-reliefsof gold and silver acrylic painted woven Tyvek, housed in custom-made ivory cloth over boards clamshell box with title lettered onblack paper in gold on spine and front panel. Also included inclamshell box is an “archive” folder of black Cave paper withsamples of the linings used, the Tyvek, the assembled printedtexts, artist’s statement and pamphlet titled “Computing InternetHistory.”

The texts selected by the artist have a common theme oflearning, starting with Eudora Welty’s, “Learning stamps you withits moments. It isn’t steady, it’s a pulse” and ends with WaltWhitman’s paean to the interconnected universe, “On the beach atnight alone.” In between are texts by Lu Chi, “Consider the use ofletters. All principles demand them” and Marcel Proust’s “Thelife we live in half-darkness can be illumined” as well as the textreferred to in the title by Rabbi Abulafia: “If it be night, kindlemany lights until all be bright. Then take ink, pen and a tablet...”

The artist’s statement tells us her original title was “DarkAges” as it seems to her we were “in a new age of fear, falsehood”where “scientific proof is ignored; learning, curiosity and longstudy are not valued.” At the onset, the artist states, she blamed thedigital world but gained perspective when considering its won-ders: “Saturn’s rings, listening to Beethoven anytime and instantcommunication.”

In creating this book, Ms. Owen has created a new universefor the book, based on the centuries old western illuminatedmanuscript. Using brush marks as a start, shecreates a waning moon for the titlepage. TheWelty text exalting learning opens the book;the text placed as a block with text byWittgenstein running parallel to the Weltyblock above a woven Tyvek circle. Across thebottom third of each page running horizontallyacross the page spread throughout the book isthe Rabbi Abulafia’s advice to “take ink, penand tablet.” This text is lettered in larger letters than any other, butthe letters are also iridescent, lettered with a Yasutomo sumi inkwith some gold mixed in, becoming more visible in certain lightand less visible in other light. All of this adds to the mysteriousbeauty of the book; some effort by the reader is needed to unlockit but it is a most pleasant experience. The internet timeline pages(in silver) are in binary code as well as lettered. The five Tyvekwoven sculptures at the top of the pages are (symbolically accu-rate) smaller in size with each iteration. The artist declares, “I usedto think we were living in boring times with the usual wars ... butthis change is greater than Gutenberg’s invention...The book endswith a new moon and hope that we use technology well.” By the lastfour pages, traditional letters are run together forming unusualtext blocks, surrounded by spheres and on an uneven black ground,silver with gold all intertwined resulting in a restrained, elegantuniverse, just waiting to burst the bounds of the book and shoot offinto a new world, The final binary code pages appear to be chainsof binary code hovering over spheres of the same, Whitman’s “On

the beach at night alone” leads the reader / viewer to the last pagewith William Blake’s “How do you know but every bird that cutsthe airy way is an immense world of delight closed by your sensesfive?” Arranging the texts, lettering them with different layouts,all perfectly spaced on the page, the artist has created a new wayfor us to understand the words and the concepts therein. It seemsunlikely that Vladimir Nabokov was imagining the internet whenhe wrote “We are absurdly accustomed to the miracle of a fewwritten signs being able to contain immortal imagery, involutionsof thought new worlds with life people people...”, but the wordsapply. This is a positive book, a beautiful and elegant cheer for thehuman spirit! (11323)

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10. Plimpton, Sarah. Change. [New York, NY]: 2017.$650

Artist’s book, one of 10 copies, all on Somerset paper, allnumbered and signed by the author / artist, Sarah Plimpton. Pagesize: 8-¾ x 5-7/8 inches; 20pp. Bound: loose in original tanwrappers blind debossed withtitle and author / artist’s name,housed in terracotta cloth overboards clamshell box by ClaudiaCohen, tan paper on spineprinted in gold with title andauthor / artist’s name, SarahPlimpton. The poem is set inOfficina Sans and printed in grey by The Grenfell Press. Ms.Plimpton’s edgy etchings are in terracotta, editioned by PeterPettengill and proofed by the artist at Manhattan Graphics Center.The thin arabesques highlight - as well as enfold - the 2 or threewords per page. The verse opens, “the sky / has changed / the light”and ends, “watch while you can / the light is right”. The reader /viewer has the impression of sea and irregular coast and howvaried and magical the sea and reflected light can be. Capturing thepleasure and profound harmony of this experience in simplewords and lines is what Ms. Plimpton does best. The admonitionin her words is worthy of contemplation. (11303)

11. Plimpton, Sarah. Fall. [New York, NY]: 2016.$850

Artist’s book, one of 12 copies, all on black Somerset paper, eachsigned and numbered by the author / artist, Sarah Plimpton. Pagesize: 12 x 8-½ inches; 20pp. Bound: loose in black Somersetpaper wrappers with title and author / artist debossed on frontpanel, housed in blue cloth over boards clamshell box by ClaudiaCohen with black paper label on spine, author / artist and title inprinted in red on label. The silkscreens and text were printed byBrad Ewing at The Grenfell Press; the text was set in Din. The

author uses theverbal and vi-sual imageryof flocks ofswallows mi-grating south inthe fall. Thesem i g r a t o r ysongbirds aresmall - withlong, pointedwings, dark

glossy-blue backs, red throats, pale underparts and long tailstreamers. The author / artist suggests their form with strong linesand the occasional grouping of many tiny circles moving forward.Each page conveys a sense of swift motion. The author ends herverse with, “I said nothing / a sharp day of cold / on an empty sky”and the reader is left to consider the bleak season coming on. Onceagain, Sarah Plimpton employs nature, here fall migration, toconjure up the human condition. The use of silkscreens is particu-larly well done. The bright colors and stark forms on the black

paper have an immediacy that almost makes the reader shiver. Awonderfully strong and moving book - perfectly executed - and apleasure to view. (11304)

Homage to John Cage

12. Satin, Claire Jeanine. Pentimento / Marking Time.Dania Beach, FL: 2009. $2,800Artist’s book, unique, part of an on-going series of unique bookscalled PENTIMENTO, referencing interpenetration, transpar-ency and indeterminacy. This book printed on acetate with silver,gold, and neon cerise ink and metallic overprinting. Page size: 11x 8-½ inches; 40pp; (10 sheets). Bound by the artist: 32 pieces ofclear monofilament with attached glass and metal beads (2 strandsthrough each of 16 holes) and letters in acetate or metal spellingMARKING TIME, monofilament at spine; monofilament un-trimmed and about 6 inches long; small (1-3/8 x 1-1/8-inch acetatecard lettered byartist with titleand signed anddated; attachedwith monofila-ment; housedin black archi-val lidded boxwith three vin-tage watchfaces collagedto lid of box.

Due to theuse of transpar-ent pages, allpages are pre-sented simul-taneously, resulting in the reader / viewer seeing the entire bookat once. The book is meant to be displayed standing up with pagesfanned out rounding the book’s shape. The text and images aregenerated and manipulated images from an 1880’s experiment ina physics book. Numbers morph into letters which, in turn, formsayings about time (Time Is Money, Time Warp, In Record Time,etc.) as a result of “passing through” scientific equipment. Eachpage is ringed with sayings which also appear coming out of glassbeakers etc. Small clocks with various times surround the pagesas well. The fleeting and eph-emeral nature of time is madepalpable with the artist’s images and words. A work of imaginationthat entices the reader / viewer to reconsider the meaning of time,the passing of time, the direction of time, etc.

The word pentimento refers to the concept of reappearances,hence the use of transparency and the resulting visual multiplicity.Influenced by the late avant-garde composer, philosopher andpoet, John Cage, Claire Satin’s work embodies and furthers hisideas of chance operations as a means of locating a singleresponse among a multiplicity of answers. Satin’s beautiful bookmay be viewed as a piece of sculpture: it is certainly three-dimensional in ways that most books are not. Additionally, thepages are not sequential but can be read at random. The beauty of

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each page is dependent on versos and rectos viewed as part of awhole - or viewed more than one at a time - a chance viewing.Monofilaments with beads loosely refer to book marks, but thenagain, they mark no specific passage but refer to the whole. Usingindustrial materials and processes, she has created this beautifulbook encouraging contemplation of the theory of time. The artisthas stated, “My work becomes a book the instant one recognizesits potential ‘to read.’” Featured in the Guild of Book Workers2009 exhibition “Marking Time.” (11329)

Earth Laughs in Flowers - R.W. Emerson

13. van Zanten, Merike. Angel of Nature’s Time.Acton, ME: 2017. $1,500Unique artist’s book, eco prints on Arches Text Wove and abaca

papers, signed bythe artist on thehand-printed andlettered spine la-bel and printedsignature oncolophon. Pagesize: 6-¼ x 4-¾inches; 76pp;many fold-outsplus colophon.Bound by the art-ist: Coptic boundbook withwooden covers,

front panel has fastened clock face and brass “halo” and lock withanother wood cast-off loosely resembling angel’s wings at topright corner, housed in custom-made green cloth over boardsclamshell box lined with paper printed with gray ginkgo leaveswhich is repeated on all edges, handprinted and handwritten labelon spine withtitle and artist.The texts, quo-tations aboutgardening, areprinted onsome pages andon others areprinted on teabag labels af-fixed to pageswith strings loose above and below top and bottom edges. Thetexts are by various authors - including Oliver Wendell Holmes,William Shakespeare, Ralph Waldo Emerson, Vincent Van Gogh,et al. The overlay pages of light blue handmade overbeaten abacapaper are harmonica folded and printed with quoted gardeningeuphemisms by famous people. As well, tissue-thin handmadeoverbeaten abaca papers are embedded with dried flowers andplants, and further enhanced with hand stitching. Also, encausticteabag papers are collaged with pressed dried flowers and plants.

The whole is a magical combination of delicacy and beautyfocusing on the gifts of nature.

The front cover is embellished with ephemera, depicting theAngel of Nature’s Time. The eco prints included herein areaccomplished by a process of botanical alchemy making leafprints on paper and fabric, using pressure and heat; in other words:printing with plant material without the use of paints and inks. Abook to celebrate the subtle joys of nature and the garden. (11318)

14. Wascher-James, Sande. Percy and His Sisters.Whidbey Island: 2017. $1,350Unique artist’s book, a book object as well as book using actualvintage photograph of three anonymous children in the artist’sown collection, the book signed and dated by the author / artist,Sande Wascher-James, on the bottom edge of volume titled“Gladys” The piece consists of three individual volumes, each onenamed after the imaginary children whose stories the artist /author has written. The three children’s names printed in black onspine. The texts of each are typed on the top and fore edges of eachvolume. Pagesize: 7-¼ x 8-3/8; 8-1/8 x 5-¾; 8-½ x 5-½ inchesall but the firstvolume on backpanel, the first isplaced uprighton bottom edge.Books consistsof blank bookblocks, whichthe artist hascased intoDavey boardcovered withartist canvas covered with multiple layers of mediums to achievedepth and antiqued feeling, including gesso and acrylic gel me-dium and lace fabric, vintage photograph of three young childrenon front panel of volume titled “Percy”. Blue is included in coversas a reference to cyanotype which was invented and popularizedduring the time of the photographs. The three books are firmlyheld together as a large book block by several layers of PVA. Thetext of the three volumes (written by the artist, Sande Wascher-James. This “sculpture with books” is based on the photograph ofa little boy who is standing between a crying girl and anotherseated girl that he is trying to keep from falling. The texts of eachvolume are on the fore edge of each sealed book, allowing thereader only a part of the story. As with women, what childrenthought, previous to the last 50 years, was not considered signifi-cant enough to record. The texts read: PERCY I never did have abrother, just sisters and they were as different as night and day.Gladys stayed close by Mama’s side and people remarked on howsweet a disposition she had, but Mildred was another matter. Shewas like a force of nature, and when she got something in her headit was like bucking a head wind to try and change her mind…(11300)

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15. Wascher-James, Sande. The Typing Class. WhidbeyIsland, WA: 2017. $1,650Unique artist’s book, a book object as well as book using actualvintage photographs of anonymous women in the artist’s owncollection, the book signed and dated by the author / artist, SandeWascher-James, on the bottom edge of volume titled “Agnes.”The piece consists of five individual volumes, each one namedafter the imaginary author, Cathrine, Opal, Mattie, Agnes and onevolume which the reader / viewer learns is by Elizabeth; othernames printed in black on spine. The texts of each are typed on thetop and fore edges of each volume. Page size: 9-¼ x 6-1/8; 8-5/8 x6-15/16; 8-5/8 x 5-¾; 8-7/8 x 5-7/8; 8-7/8 x 5-¾ inches all but the last(not titled) volume are standing on bottom edge; the last is placed

on its spine. Books consistsof blank book blocks, whichthe artist has cased intoDavey board covered withartist canvas covered withmultiple layers of mediumsto achieve depth and antiquedfeeling, including gesso andacrylic gel medium and lacefabric, vintage photograph offive young women of “TheTyping Class” on back panelof untitled volume. The fivebooks are held together as a

large book block firmly closed by several layers of PVA. The textilluminates the struggles for encountered by women in daily lifetrying to make a living independent of a husband or family fortune.The idea of females working in offices - or anywhere outside thehome except in service - was radical right up to the beginning ofthe 20th century. The typewriter, a U.S. invention in 1867, trans-formed the nature of office work and by the 1890’s large numbersof women had entered the work force. It was a game-changer forthem - leading them to demand the vote, equal wages for equalwork, and all the benefits enjoyed by their males in the workforce.This is a handsome piece - either as a book, book object, sculpture.The texts read: ELIZABETH’s story, “Today is graduation day andI am so excited to be on my way. I graduated first in my class,imagine, me, Elizabeth first! I’ve never been first at anythingbefore this, but I really wanted to succeed. Having typing skillshas opened up possibilities for me, made me part of the future. Ican become a secretary or who knows what all. I feel like the skyis the limit, and it does not involve cleaning, cooking, or mending,mending being my least favorite. That typewriter is a mechanicalwonder, that is until that ribbon gives you trouble or you make amistake, then it’s a whole different story. Changing that ribboncan make you feel…” AGNES’ story: “People told me I was a biggirl and a little plain, as if I couldn’t see that for myself, and mightnot find a husband. Maybe so, but I am a good typist and off to workin an office which makes my prospects for the future…” MATTIE’sstory: “Wish Mama and Papa could see me this day, they would beso proud, but it was not meant to be. They told me to work hard andmake something of myself, to remember that our people hadalways been able to hold our heads up high and not apologize for

who we are. I feel themguiding me forward withevery “click-clack” ofthose keys, but I do missthem so as I make myway to…” OPAL’sstory: “I thoughtClarence and I would bemarried by now, but itdoesn’t look like thatwill happen, and here Iam on my way to beingan old maid. At least Ihave learned to type andcan earn a respectableliving, even if it is notwhat…” CATHRINE’sstory: “I did it! No oneexpected me to be ableto pass the typing coursebecause I was not a very good student in most of my classes, butI was determined and all that practice paid off. My speed was notthe best in the class, but my spelling was good, and now I have a jobin an office instead of the laundry. I saw how working there woredown my mother and sisters, and felt there had to be somethingelse for me that would not make me old before my time…”(11317)

16. Wequetequock Cove Editions. Baltazar, Juliusand Michel Butor. Etant l’Etna. Being Aetna. Bi-lingual edition with English translation by JoshuaWatsky. Stonington, CT: Wequetequock CoveEditions, 2010. $3,000Artist’s book, one of 26 copies, hand-painted throughout on velind’arches, each copy signed by the deceased author, Michel Butor,the artist, Julius Baltazar and the translator, who is also thepublisher, Joshua Watsky. Page size: 10-¾ x 7-½ inches; 38pp.(including 4 hand-painted endsheets). Bound: loose as issued bythe press, in tan wrappers with title printed in black in French andEnglish on both the spine and front cover, housed in custom-madeblack cloth over boards clamshell box with title in both French andEnglish in black on white paper label on spine. Hand-paintedthroughout by Julius Baltazar, the art is in a palette of lavender andearth tones of brown, blue, red and yellow, with black and whitehighlights. Michel Butor’s poem, the French with Joshua Watsky’sforceful English translation following it on each page, is a narra-tion by the volcano itself. “...I am seized with a fury rising from myagitated gut...bursting from my crater my vengeance upon humancorruption and the shame of armies...” Capturing the force ofnature, never subject to human control, Etna’s words recount howit unpredictably spews ash, flame, and destruction on mankind.Butor’s text is complemented by Baltazar’s paintings - each pagea whirlwind of nature’s wrath in grey ash and red lava, turning theskies (page backgrounds) a lavender-grey only infrequently let-ting in glimpses of light (white). Accomplished in watercolor and

Priscilla Juvelis, Inc. (207) 967-0909 pj@juvelisbooks.com

black India ink, Baltazar’s art, with Butor’s (and Watsky’s) wordscomplete 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.

Julius Baltazar (1949-) is a noted French painter andprintmaker, who has worked with major poets and writers to createlivres d’artistes of the highest quality. In the early part of hiscareer, he was championed by Dali and the resulting influence ofsurrealism can be seen in his work where words and image createimages of haunting beauty. Joshua Watsky, American teacher,translator and poet, is the publisher as well as translator of thislivre d’artiste. Michel Butor (1926-2016), born in France, hastaught in Egypt, Manchester, Salonika and the USA, and has beenawarded the Prix Renaudot, Prix Feneon and Prix Apollo, amongother accolades. Considered an experimental writer, his novels,essays, and verse explore various structures and unconventionalvoices - as here with the volcano speaking to us. He is noted forthe livre d’artiste - as exemplified in this provocative piece of art/ literature. (10946)

LAST MINUTE ADDITIONS:

17. Maurer, Paul. Greek Tragedies. Extrapolationsfrom works by Aeschylus, Euripides and Sophocles.Serafina, NM: 2017. $2,000Artist’s book, 1 of 3 copies, Rives BFK, various Japanese papersincluding Kozo Mulberry, Strathmore Printmaking inserts, eachsigned, numbered and dated by the artist on the hand-writtencolophon, also signed and numbered on the inside front cover.Page size (in-cluding coversand flyleaves):15 x 10 inches;24pp. + colo-phon affixed toinside of backw r a p p e r .Bound: hand-sewn in blackRives BFKwrappers withoriginal print

made from hand-but rubber stamp on front cover, title printed ingold and silver in stylized “Greek” script; housed in purpleportfolio with printed label on front panel, here printed in blackand pale red. TheKozo papers atfront and back in-troduce the imagesand text perfectlywith block prints ofthe same image usedon front cover butthis time printed ina pale gold borderedin red with imagesassociated with theart of ancient Greece. The calligraphy is accomplished with metalpens, black sumi ink, red acrylic ink and pan-gold highlights. Thehand-cut rubber blocks were printed with water-bade inks. Thetitlepage repeats the print on the cover, this time printed in black,gold, red, blue, and turquoise. Each page of text is bordered at rightedge hand-painted red line at deckle. There are four full-page

prints in black, red, gold and turquoise. There are 4 text pages:Aeschylus PROMETHEUS BOUND and Sophocles O[E]DIPUSREX and ANTIGONE and Euripides MEDEA. Each page - letteredin black and red - contains quotations from these classic dramas.The pages of text are separated by inserts with portions of the full-page prints but here on Strathmore and in black (not multi-color)only (a portion of print with portions of the play!). Bold hand-lettering and bold block prints - a reflection of the ancient worldbut not copied - make this a beautiful book. The reader / viewer isencouraged to return to these archetypal stories - provoked bytheir greatness. (11333)

18. Smith, Richard Reitz. Longfellow, HenryWadsworth. Underneath the Big Sea. From Seaweedby Henry Wadsworth Longfellow. Camden, ME: 2018.

$1,350Unique artist’s book, on layered black Hiromi Kozo and MeadBond papers by Richard Reitz Smith, signed by him on thecolophon in pencil and dated. Page size: 10-¼ x 14-½ inches

Priscilla Juvelis, Inc. (207) 967-0909 pj@juvelisbooks.com

folded; 39-½ x 29-½ inches; 2pp; opening to fold-out of 8 panelsof monoprints of underwater scenes on Mead Bond collaged toblack Hiromi Kozo paper. Bound by the artist, Richard ReitzSmith, in blue Canapetta and linen cloth over boards, housed inblack cloth over boards portfolio case with title printed in grey onfront panel, grey ribbon tie, lined with black Kozo paper withmonoprints of swimming fish in lighter black. The monoprintswere made using stencils that included natural seaweed on aglycerin and gelatin plate with Speedball Water-Based PrintingInk. The images and text are letterpress printed on a VandercookUniversal III with custom ink at Maine Media Workshops. Collagedto the monoprint seascapes are various images of sea creatures -sea horses, oyster, lobster, various fish - printed from photopoly-mer plates, then chine colle and collaged, with hand-color applied,adding depth and motion to the overall seascape. Longfellow’sverse, taken from his collection, SEAWEED, is handset in Optimawith Americana supporting text (the colophon printed in blue inkon black Hiromi), printed with polymer plates, the black text ofthe poem on the photopolymer sheet boldly appears from the bluemonoprint of the swirling sea, onto which it has been collaged.

Terms of Sale: All items are subject to prior sale. Payment should accompany order unlesscredit 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 thefirst item and $5.00 for each additional item. All items are guaranteed as described and maybe returned for any reason, with notice, within seven days of receipt, providing they are inthe same condition as when shipped. Please call in advance of a return.

Priscilla Juvelis, Inc.11 Goose Fair

Kennebunkport, Maine 04046(207) 967-0909

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The publication of SEAWEED (1850) marked one of the mostsustained images of the sea in American lyric poetry. Longfellow’sthemes of poetry and creativity lend themselves to an artist’sbook, as does the backdrop of the sea. This fold-out format bookreveals itself to the reader / viewer in subtle steps. When onefinally has the entire book unfolded, one is “swimming with thefishes” - entering into the poet’s and artist’s world. A book full ofwonder and beauty. (11332)