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Priscilla Juvelis Rare Books · Eugenio Pacelli, (later Pope Pius XII) and Franz von Papen. It was...

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Priscilla Juvelis Rare Books Catalogue 76 – Contemporary Book Arts Pop-Up Carousel Book 1. Bishop, Bonnie. The Moon-Hare and the Lynx. Cornville, ME: 2018. $3,750 Unique artist’s book, pop-up in carousel format, with circle poem, executed in hand-painted and collaged papers on black Stonehenge papers for background structure and box, various mould-made papers for collages and watercolor papers for pop-ups, lettered in white and purple inks, signed and dated in silver by the artist, Bonnie Bishop, on the bottom of first page. Page size: 8 (W) x 10 (L) inches; 16-inch diameter circle when open; 16pp. Bound by the artist, Bonnie Bishop, folios through which a dowel slides forming the “spine” of the book, top of dowel is black knob, housed in black stiff paper lidded box, The text runs along the bottom of each page. The lynx chases the hare over white / blue tundra under the purple northern lights. The collaged Moon-Hare and Lynx figures leap off each page, wrapping around to the following. A sense of motion is perfectly conveyed. When the white hare jumps and lands on the moon, the lynx is astonished, and the reader is beguiled. On each page the constellation for the Lynx is on verso and the constellation for Hare (Lepus) in on the recto. To assemble the carousel, each page spread is unfurled and the dowel slides through the spine paper loops. The bottom of each page folds up so that the standing carousel has the text as the platform on which the lynx and hare play out their story of survival in the Arctic. This is a movable book with a structure that conveys the meaning of the images and verse reflecting the circle of life (except for jumping into the moon, of course). It is, all at once, quite beautiful and simply wonderful. (11370) 2. Chiarlone, Rosemarie and Susan Weiner. Linger. Miami Beach, FL: 2016. $3,000 Unique artist’s book made from “found” beaded black silk taffeta bolero onto which the artist has embroidered the text of Susan Weiner’s poem, “Linger” in gold metallic embroidery floss. Size: 17-½ x 19-¾ x ¾ inches, 9 “pages” of 9 inside pock- ets added by the artist of black silk taffeta on which the text has been embroidered, plus a small pocket for the hand-written colophon on two pieces of black Fabriano paper lettered in metallic gold ink, housed in custom- made black book cloth lidded box with ties to hold bolero book in place. The artist’s statement tells the reader / viewer that “LINGER addresses the concept that clothing functions as a means of feminine self-expression. While indirect and thus disconnected from the inner self, it acts like a second skin. It covers and protects yet projects the inner life and true self.” Ms. Chiarlone has collaborated with poet Susan Weiner on several artist’s books, almost all of them with a feminist message. The “found” vintage bolero vest is heavily beaded in blue, silver, and gold, depicting half views of the larger moon and smaller sun interspersed with stars, rays in gold and silver shooting out from the respective discs. Bordering these images on a blue ground in gold beads are symbols of the zodiac. The text in gold gilt thread reads: “Slip away / and linger / where the night / is darker & / slide into / glittering heels / and sparkling gown / adorn with stars / moon rays / brilliant jewels / Glowing / promises / Entice / embolden / where the / shadows / are.” This is a striking object, with a text that captures the emboldened attitude implicit in the beaded vest - as if the wearer has assumed another identity. And, as the artist, Rosemarie Chiarlone notes, clothing, for women (and more than a few men), enables them to be who they want to be. (11358)
Transcript

Priscilla Juvelis – Rare BooksCatalogue 76 – Contemporary Book Arts

Pop-Up Carousel Book

1. Bishop, Bonnie. The Moon-Hare and the Lynx.Cornville, ME: 2018. $3,750Unique artist’s book, pop-up in carousel format, with circle poem,executed in hand-painted and collaged papers on black Stonehenge

papers for background structure and box, various mould-madepapers for collages and watercolor papers for pop-ups, lettered inwhite and purple inks, signed and dated in silver by the artist,Bonnie Bishop, on the bottom of first page. Page size: 8 (W) x 10(L) inches; 16-inch diameter circle when open; 16pp. Bound bythe artist, Bonnie Bishop, folios through which a dowel slidesforming the “spine” of the book, top of dowel is black knob,housed in black stiff paper lidded box, The text runs along thebottom of each page. The lynx chases the hare over white / bluetundra under the purple northern lights. The collaged Moon-Hareand Lynx figures leap off each page, wrapping around to thefollowing. A sense of motion is perfectly conveyed. When thewhite hare jumps and lands on the moon, the lynx is astonished, andthe reader is beguiled. On each page the constellation for the Lynxis on verso and the constellation for Hare (Lepus) in on the recto.To assemble the carousel, each page spread is unfurled and thedowel slides through the spine paper loops. The bottom of eachpage folds up so that the standing carousel has the text as theplatform on which the lynx and hare play out their story of survivalin the Arctic. This is a movable book with a structure that conveysthe meaning of the images and verse reflecting the circle of life(except for jumping into the moon, of course). It is, all at once,quite beautiful and simply wonderful. (11370)

2. Chiarlone, Rosemarie and Susan Weiner. Linger.Miami Beach, FL: 2016. $3,000Unique artist’s book made from “found” beaded black silk taffetabolero onto which the artist has embroidered the text of SusanWeiner’s poem, “Linger” in gold metallic embroidery floss. Size:17-½ x 19-¾ x ¾inches, 9 “pages”of 9 inside pock-ets added by theartist of black silktaffeta on whichthe text has beene m b r o i d e r e d ,p l u s a s m a l lpocket for theh a n d - w r i t t e ncolophon on twopieces of blackFabriano paper lettered in metallic gold ink, housed in custom-made black book cloth lidded box with ties to hold bolero book inplace.

The artist’s statement tells the reader / viewer that “LINGERaddresses the concept that clothing functions as a means offeminine self-expression. While indirect and thus disconnectedfrom the inner self, it acts like a second skin. It covers andprotects yet projects the inner life and true self.” Ms. Chiarlonehas collaborated with poet Susan Weiner on several artist’s books,almost all of them with a feminist message. The “found” vintagebolero vest is heavily beaded in blue, silver, and gold, depictinghalf views of the larger moon and smaller sun interspersed withstars, rays in gold and silver shooting out from the respectivediscs. Bordering these images on a blue ground in gold beads aresymbols of the zodiac.

The text in goldgilt thread reads: “Slipaway / and linger /where the night / isdarker & / slide into /glittering heels / andsparkling gown / adornwith stars / moon rays/ brilliant jewels /Glowing / promises /Entice / embolden / where the / shadows / are.”

This is a striking object, with a text that captures theemboldened attitude implicit in the beaded vest - as if the wearerhas assumed another identity. And, as the artist, RosemarieChiarlone notes, clothing, for women (and more than a few men),enables them to be who they want to be. (11358)

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

3. Culmone, Nancy. Ojitos Flora. Serafina, NM: 2015.$7,500

Artist’s book, unique from a series of five planned books, thisbook on handmade Katie MacGregor blue paper and vintage

Bodleian, signed by the artist / author on the last page in pencil,Nancy Culmone, and dated 2015. Page size: 10-3/8 x 8-5/8 inches;66pp. including titlepage and colophon. Bound by the artist: hand-painted archival card stock front and back covers and inside turn-in, impressionist views of that area of New Mexico where theartist resides with its blue / purple mountains with reddish high-lights, hand-sewn with linen on vellum tabs, title hand-lettered inwhite gouache on front panel; housed in custom-made blue clothover boards clamshell box with title in white on inset blue paintedpastepaper. Ms. Culmone has lettered her text using copperplatepointed pens and Winsor and Newton gouache with added glair.

The drawings are in sumi ink and white and yellow gold leafcolored pencils, gouache and glair. The artist used technicaldrawing tools - ruling pen, dividers, compass - with gouache andwalnut ink.

The artist notes in her “Artist Statement” that she has drawnonly the wildflowers on the property of her home in New Mexicoas the subject of this extraordinary book. “The semi-arid land, at6,000 feet, is surrounded by tall mesas and the foothills of theRockies. The wildflowers growing here bloom every 1 to 7 yearsdepending on rainfall and timing.” Now, with warming tempera-tures and less rain, she notes she sees fewer flowers each year.She ends with the desperate and haunting statement, “Sadly, thisseries of books may become a record of what was.”

The page spreads flow seamlessly into one another. The artistintersperses circular diagrams in white or pencil, which act as aunifying thread throughout the book and reflect the basic

geometry of flowers and their petals. The reader / viewer followsthe beautiful organic lettering in blue (on the maze Bodleian) orwhite (on the MacGregor Blue) with the subtle geometric circlesin white positioned with delicacy throughout the pages, entrancedby the three-dimensionality of the actual floral renderings. Ofvery great beauty is the double-page spread of the artist’s propertysurrounded by those of her Colonial-Spanish-descendant neigh-bors, heirs to the Tecolote Land Grant. Local grasses are named.The wildflowers themselves are botanically-accurate images ofgreat subtly and beauty. The flowers are named with their Latin andcommon names, some with notation of the number of petals,others with theiruses, or how theypropagate. The con-nection betweenflowers and the restof the natural worldis encapsulated inthe page that starts,“Venus, the planetbetween Mercuryand Earth, draws ahuge pentagramaround the Earth every eight years. The inner-most part of thisorbital path, where Venus changes direction, looks like a simpleradially symmetrical flower.”

The tradition of florals is almost as old as humankind. Someare quite grand in size and scope; others are more manageable forsingle viewer. This beautiful book is certainly in that tradition andperhaps takes it further, as the author / artist is quite conscious ofthe fact that she may be documenting a soon-to-be lost world. Adeceptively simple book of extraordinary elegance and beauty, itis to be savored. (11360)

4. Jackman, Sandra. Alas! [New York, NY]: 2018.$2,800

Unique artist’s book / book object, on white card stock, signed anddated by the artist, Sandra Jackman, on the inside rear pastedown.Page size: 4(W) x 6(H) inches; 18pp. Bound by the artist: accor-dion-style book (leporello) with front and back covers black cloth

over boards, front panel collagedwith white paper which has beenheavily painted and furthercollaged with cut-out imageswhich have also been lettered andpainted, title on top left of cover,lettering in white ink on black onlower half of front, “In a fewmoments there might be nothingleft to suggest what happenedhere.” Back panel collaged with“frame” structure around imageof mass destruction superim-posed with open book, red textabove frame: “Who will spin

words into wheels?” and below, “Who will fix all that’s broken?”

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Housed in black wood presentation box, with touches of red alongedges, book viewed through plexiglass window that is removableto release book. Sculpture on back of box uses watch parts, metalfindings, thread and paint to suggest space vehicle with a tinyplastic soldier aboard standing in the shadow of a larger figurewho might be a hero or villain; smaller craft hovering nearby madeof collaged found objects. The book and its presentation case area cautionary tale of impending disaster. The book reads, in part,“The clouds are gathering” and “Small people appear anddisappear...Warning...Keep Out...make no mistake small peopleare a danger to our purpose...Chaos...This is how it began eachtime...Under a blanket of noise...” Densely painted pages withlettering in red or black or white on various grounds create a bookfull of dire warnings. While no context is specified, it is not hardto see the anti-immigrant stance of the USA and other westernnations skewered here. The ingenious painted and collaged woodbox houses it all very neatly. If only countries could contain thespinning chaos in a confined space as the box does. (11356)

5. Krause, Dorothy. Concordat. Fort Lauderdale,FL: 2018. $2,200

Artist’s book, unique, on paperthat has been hand painted,monoprinted as well as collaged,with additional mica overlays.Page size: 5-½ (H) x 3-¾ (W)inches; 26pp. with printed artist’sstatement laid in. Bound by theartist: hand-sewn drum leaf bind-

ing in black leather, the leather from a vintage jacket, housed incustom-made black lidded box made by the author / artist with titlelettered in red on black paper label. Images of wood and stone by16th century Wurzburg sculptor Tilman Riemenschneider arecontrasted with photographs from the exhibition, “Fascinationand Terror” at the Nuremberg Documentation Center. The titleuses the Gothic font Maximilian Zierbuchstaben by DieterSteffmann. A close-up view of the face of Durer’s Christ-likeself-portrait of 1500 is the frontispiece. The portrait has beenmodified with a swastika over the right eye with a mica circle (asif a monocle) on top of it. Images of 16th century sculptures ofnuns are collaged on the red mono printed pages with red linesblotting out their eyes. On the opposite page an image of a Nazisculpture is featured with the legend, “Reichsparteitag / 1930 /Nurnberg / 8014 Septembr” referring to the annual Nazi ralliesheld each fall. Other images include an image of a sculpture of a

Pope with a red line across his eyes set against a map of Germanyand central Europe. Images of the Virgin and Baby Jesus arecollaged against what might be wire fences. Hitler and the prayingVirgin appear to be free falling on the penultimate page. Perhapsthe most disturbing page is that featuring the various Nazi concen-tration camp badges worn by inmates. In all, the disturbing juxta-positions re-enforce the dismay with which the west has viewedthis Concordat.

The Reichskonkordat was a treaty between Germany and theHoly See normalizing relations between the Catholic Church andthe Nazi regime which had recently come to power in Germany.Pope Pius XI had approved the treaty, and it was signed on July 20,1933 by the Vatican Sec-retary of State, CardinalEugenio Pacelli, (laterPope Pius XII) and Franzvon Papen. It was a con-troversial treaty whichseemed to promise thatthe Church could carryout its spiritual mission.This was not the case.By March of 1937, PopePius has issued the Mit Brennender Sorge encyclical, accusingthe Nazi Government of violations of the 1933 concordat andsowing “suspicion, discord, hatred, calumny, of secret and openfundamental hostility to Christ and his Church.” Some haveviewed the Concordat as a manifestation of the Pope’s preferencefor dictatorships over democracies and disregard for GermanJews. The Vatican insisted, however, that they approved theagreement simply to protect the church. The Concordat remainsin effect to this day. For additional documentation gathered fromthe Vatican archives, see: Cornwell, John. Hitler’s Pope: TheSecret History of Pius XII, Viking Press, NYC, 1999. (11351)

6. Leavitt, Nancy Ruth. Garden in the Mind. Texts byKabir, Sarah Margaret Fuller, Hypatia of Alexandria,John Stuart Mill, Li Po, Liliane Kell, Lau Tzu,Anonymous, Mary Wollstonecraft. Stillwater, ME:2018. $8,500

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Artist’s book, one in a series of two, each consisting of 9fascicles, each separately bound, all on handmade paper by KatieMacGregor, each with original eco prints by the artist, the printson Arches text wove, text selected and hand-lettered by the artist,signed on the hand-lettered colophon on the rear inside tray caseof clamshell box, Nancy Ruth Leavitt and dated 2018. Page size:each 11-½ (H) x 8-3/8 (W) inches; each fascicle 9pp. includingwrappers, 81pp. total. Bound by Joelle Webber in 9 differentpastel-colored handmade MacGregor paper wrappers, each hand-numbered with an original eco print of a leaf, each leaf different,hand-sewn and tied with silk ribbons in 9 pastel shades; housed incustom-made green fabric over boardsclamshell box with label lettered by artistin green on grey paper on spine, insetdedication “for L.” on inside front traycase and colophon on inside rear tray case,a subtle and elegant presentation. The textsvary from one line to 22 lines. Each is profound, reflecting on lifeand eternity. In perfect harmony with the plant material immortal-ized in the prints, colors and materials and lettering are thought-fully integrated. The philosophers included all relate the humancondition to nature, and the artist reinforces the connection withthe organic lettering in earth-toned gouaches. From MargaretFuller’s (#2) pithy observation, “Very early I knew that the onlyobject in life was to grow” to the lengthy text by Lao Tzu (#7)which concludes, “Don’t accept the modern myths of aging. Youare not declining. You are not fading away into uselessness. Youare a sage. A river at its deepest and most nourishing. Sit by a riverbank sometime and watch attentively as the river tells you of yourlife” the reader / viewer is taken on an exploration of self throughthe natural world. It is a journey worth making.” (11362)

7. Leavitt, Nancy Ruth. Plant Corridors. Stillwater,ME: 2014: 2014. $1,250Artist’s book, one of 3 copies, each hand painted and lettered bythe author / artist, Nancy Ruth Leavitt, all on Arches text wovepapers, signed and dated by the artist / author, Nancy Ruth Leavitt.Page size: 7 (W) x 12 (L) inches; 20pp; 1 of which is a double-pagefold-out, 9 of which are lettered and / or painted in gouache andgreen ink. Bound by Joelle Leavitt Webber at the Mermaid

Bindery: sewn binding of collaged (mostly green in color) hand-made papers KatieMacGregor andartist’s own pastepapers, housed ingrey-green clothover boards portfo-lio with title hand-lettered in green onwhite paper labelinset into frontpanel, black and white striped cotton ties.

Accomplished in gouache and watercolor by the author /artist. Ms. Leavitt, noted calligrapher and book artist, has a degreein biology and here combines two of her fields of expertise. Hertext explains how human beings have altered natural habitats withvehicles and interstate highways, creating an artificial vortexwhich shakes the plants and transports seeds more rapidly and overgreater distances than previously - with all the unintended conse-quences. Her double-page spread of a highway lined with weedsagainst various shades of greens is a treat. The common and Latinnames of the weeds are in dark green letters with the commonname reading horizontally and the Latin name reading vertically -their names standing in for the actual plant growing by the side ofthe road. She ends her essay with a quote from John Burroughs,entwined with a flowering weed, “One is tempted to say that themost human of Plants after all, are the weeds.” A charming anddisarming look at man’s alteration of the natural world, an editionversion of a larger, more elaborate, artist’s book from last year.(11359)

8. Leavitt, Nancy Ruth. The Sargasso Sea. Amherst,MA: Tomato Press, 1986. $2,500Artist’s book, oneof 25 on Arches,each signed andnumbered by theartist / author,Nancy R. Leavitt.This is the artist’s /author’s first bookfeaturing her ownscience-based text.Page size: 15 (W) x11-1/8 (H) inches; 9leaves including TP andColophon. Bound: loose asissued in black portfoliocase. This is an early work bythe artist and the first in whichshe has illustrated her ownscience-based text with eightoriginal woodcuts, each hand-numbered and signed in pen-cil, The original eight cutsillustrate life in the Sargasso Sea “as it exists for several species

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

of sea turtles who inhabit the weedlines” of this circle of currentsin the north Atlantic Ocean ... bordered by the Azores in the eastand the Bahamas in the west. The woodcuts all convey the myster-ies inherent in the natural phenomena and the motion implicit inthe story of these turtles and the world they inhabit. Each print hasa hand-lettered title above and hand-lettered text below consistingof words associated with the naturally-occurring events of theSargasso Sea: migrate, swim frenzy, instinct, weedline, algalmats, air seeds, plankton, tunicates, etc. An elegant harbinger ofthings to come. (11363)

9. Leavitt, Nancy Ruth. Slime Molds Have ElevenSexes. Poem by Margaret Price. Stillwater, ME: 2018.

$4,500Artist’s book, one in a series of three all on Katie MacGregorhand-made pa-pers, the suite ofplates on papermade by Ms.MacGregor and“Pulp Painted”while in the moldby Ms. Leavitt,

signed and numbered by her on the colophon. Page size: 15 (W)x 10-¼ (L) inches for volume with text of poem and plates; plateportfolio: 18 (W) x 12 (L) inches; 10pp; and 11 original prints inseparate portfolio. Bound by Joelle Webber: full lime green bookcloth over boards for text and plate volume with original pulppaintings in oranges and greens inset into front panel, matching

print portfolio inlarger size; bothlaid into an or-ange cloth overboards custom-made clamshellbox, hand-let-tered paper labelin lime green onwhite inset intospine, the whole

a playful and arresting presentation. The artist’s choice of text, thepoem “Slime Molds Have Eleven Sexes” by Professor MargaretPrice (Ohio State University) is a playful list of nature’s moreobscure creatures. Her verse was originally published in “Gay andLesbian Review” in November / December 2003. The slime moldvocabulary (each print is labeled) is: Eukarya, Protista, Zygote,

Dictyolsteliomycota, Sporangium, Spores, Amoeboid, Flagella,Mitosis, and Plasmodium. The original prints are paper pulppaintings made by Ms. Leavitt with Katie MacGregor papers.Working with Ms. MacGregor, the artist assembled her pulpcolors in plastic squeeze bottles and “squirted” them onto aformed sheet of wet paper. The effect is at once organic (as befitsslime molds) and colorful with a depth and texture also befittingthe organisms. The artist has hand lettered each print with thename of the mold in a colored gouache complementary to eachpulp paper painting. The text is lettered in multi-colored gouacheharmonizing with the paintings - mostly orange, shades of green,yellow, pink and blue. The entire presentation is witty and charm-ing - words not usually associated with molds. Such is the talentof the artist, Nancy Leavitt, that she was able to accomplish suchbeautiful work. (11364)

10. Lee, Beth. Letters Words Books. Texts by Horace,William Massey, Edward P. Morgan, Thomas Carlyle,William Goudy, Andre Maurois, Rudolf Koch,Tallahassee, FL: 2004. $850Artist’s book, unique, hand-painted and hand-lettered, on ArchesText Wove paper, signed anddated by the artist, Beth Lee,on the last page. Page size:6-½ (W) x 10 (L) inches;12pp. Bound by the artist:hand-sewn into grey hand-made St. Armand paper,printed marbled endpapers.The pages of this delightfulhomage to the beauty andpower of the written word is accomplished in a variety of coloredinks and gouaches. Using various styles of calligraphy for eachquotation, usually one to a page running vertically and anotherrunning horizontally across the bottom, the artist balances herpage designs with colored “blocks.” Some with recognizableletters and some with those that are not. Some are with high-lighted grounds, but always the page design is pleasing and high-lights the concept of the importance of the written word. BethLee, who lives and works in Bozeman, MT, is a calligrapher andbook artist. In her artist’s statement, she notes, “The act of writingalso connects the unseen world with the physical world. Itcrystallizes thoughts and allows them to be turned over andexamined, tasted and built upon. For me, calligraphy is thephysical revelation of the structure of ideas. It is a reflection ofthe shape, texture and color of the phrases. And it is theintegration of words’ texture and color with their meanings.”With this work she accomplishes her thoughts onto paper andgives them solidity. This is a paean to the written word and a lovelybook. (11367)

11. McCallion, Barry. The Cask of Amontillado byEdgar Allan Poe. East Hampton, NY: 2018. $4,250Artist’s book, one is a series of three, all on beige Arches BFKpaper for the text and grey Arches BFK for the prints, signed anddated by the artist, Barry McCallion, on the colophon. Page size:

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

9.5 (W) x 12 (L)inches; 34pp; in-cluding titlepageand colophonand 9 original li-noleum-cut en-gravings, each ofthese with cap-tion from text,numbered andsigned all in pen-cil. Bound byJoelle LeavittWebber: red pa-per wrapperswith exposedsewing (brownkitchen twine)and housed incustom-madered cloth over

boards clamshell box withtitle on painted paper labelon front panel and spine ofbox, the inside front and backtrays of box housing two ofthe original red linoleumblocks. The text of Poe’sGothic horror tale is hand-written in black India ink.The original linoleum cutsare printed in black and thenenhanced by the artist inacrylic inks and paints. Therough texture of the prints,as well as their sharp per-spective, increases the three-dimensional aspect of each

image. The reader / viewer enters thedepraved world of the narrator as al-most entering an ever-narrowingroom. The frontispiece of a spiralcut-out on black paper showing againstthe white of the succeeding page (orthe red of the front flyleaf) gives ahint of the horror to come: there is noescape for the victim nor for the nar-rator. The linoleum blocks in this copyare of the 2nd and 3rd prints: “I passeddown a long and winding staircase”and “I knocked off the neck of a bottle.”“In pace requiescat!” (11361)

12. McCallion, Barry. Gilgamesh and Enkidu. [EastHampton, NY]: 2017. $6,500Artist’s book, unique but the second in a series centering on theMesopotamian hero, Gilgamesh, on white BFK Rives paper, with

original painting, lettering, and bas-reliefs of Gilgamesh andEnkidu as well as other elements in this epic, signed by the artist,Barry McCallion and dated April 2017 on the colophon. Pagesize: 10-½ (W) x 15-¼ (L) inches; 27pp. plus colophon and

titlepage. Bound: hand-sewn by Joelle Webber at Mermaid Bind-ery, black boards with tan book cloth spine, inset painted collageof Gilgamesh and Enkidu on black and gold printed paper withgingko leaf pattern, gingko paper used as flyleaves; housed incustom-made tan book cloth clamshell box with same gingko leafpaper as inset on front panel, label on spine with title and authorhand-painted and lettered in black on white and yellow ground.

Each of the book’s twenty-seven paintings began as a sheet ofwhite Rives collaged with text pages of the epic from the N.K.Sandars’ translation. Gesso was applied and rough borders withmarking pen added. The images were worked with a variety ofmaterials including pen, pencil, stains, acrylic, pearlescent inksand paints, print and print collage. The “action” depicted on eachpage is noted by a section of Sandars’ text from this epic poem.Bright colors alternate with greys and beiges and gold. The paintedand collaged “bas relief” figures reflect the ancient texts whileretaining their curious modernity.

Accepted as the first great surviving work of literature, it is anepic poem pre-dating Homer by 1,500 years and known to theworld from Tablet V dating from 2003-1595 BCE. Gilgamesh was

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a semi-mythic King of Uruk (there are references to his existencefound in ancient inscriptions), but it is as a hero questing for themeaning of life that captivates and keeps his name alive in the 21stcentury. His transformation from belligerent tyrant to thoughtful,purposeful human being is brought into sharp focus by the juxta-position with his enemy turned friend, Enkidu. Man’s duality andthe human condition (death) are themes in Gilgamesh that arebrought to dazzling life in this artist’s book. The reader / viewerenters an ancient world, still relevant today, with Gilgamesh, hisloves, losses, and search for eternal life. (11313)

13. McCallion, Barry. Henri Barbusse. Under Fire.The Story of a Squad. (Le Feu: journal d’une escouade).Translated by Robin Buss. East Hampton, NY: 2017.

$4,500Unique artist’s book, on three different St. Armand papers in tan/ brown, signed and dated by the artist, Barry McCallion, on thecolophon page. Page size: 9-½ x 12 inches; 63pp. plus colophonand titlepage. Bound: hand sewn by Joelle Webber at MermaidBindery into tan St. Armand paper wrappers, laid into grey feltportfolio by Barry McCallion with title stenciled in red outlinedin silver gilt with two pieces of barbed wire separating under andfire and underlining “fire” with black mesh screening in threepieces on spine, housed in tan cloth over boards clamshell boxwith title lettered in black on tan paper insets on spine and frontpanel. The book is a selection oftexts from the novel by HenriBarbusse. The artist has selectedsentences and paragraphs fromthe text, copied them, enlargedsome, printed on various papersand collaged to the pages of thisbook. They are surrounded byphotographs from various con-flicts, with painting, handwrittenwords in India ink, printing ink,metal foil and acrylic paint. Thewhole reflects on the brutalitythat is war - each and every war. Barry McCallion notes in hiscolophon, “The hundred years between then (publication of UN-DER FIRE) and now have seen a recurring and uncanny sameness

of bloodied fields and trenches, mountains andbeaches, mud and wire, snow and sand...A bookin protest, his and this.” He has used imagesfrom the First and Second World Wars, Korea,Viet Nam, Iraq and Afghanistan. He adds in thecolophon, “I have attempted to heave up acentury’s weight of agony and loss in one book,grouping images from different times to cre-ate a single, immediate and simultaneous present.”

Henri Barbusse wrote UNDER FIRE in 1916 after serving inthe French army for fifteen months in the trenches in World WarI when wounds lifted him from the French front line. Consideredthe first of the modern anti-war novels and was awarded the PrixGoncourt. The author’s harrowing details of trench warfare havelost none of their power to appall. Mr. McCallion’s book suc-ceeds in calling to mind the terrible tragedies and loss whenpeople go to war. (11365)

14. Owen, Jan. Mysterious Affinity. Texts by IrisMurdoch, Plato, Senaca, Wen Fu, Virginia Woolf,Arthur Koestler, Marcel Proust, William Shakespeare,Paul Valery, Rainer Maria Rilke, FriedrichNeugebauer, Barthel, and Goethe. Belfast, ME: 2013.

$1,300Artist’s book, unique, on painted Hollytex, in acrylics and sumi,signed and dated by the artist, Jan Owen, on the inside back cover.Page size: sixsignatures of 5layers each ofvarying size: 6-¼ (W), 5-¼(W), 5 (W), 2-½ x 12-½ (L),8(L) inches.The paintedHollytex is inyellow, tanger-ine, peach, etc.calling up thewell-knownphrase, “rosy-fingered dawn”and providing a perfect ground for the black, bold words. Bound byAlison Kuller: hand-sewn yellow painted paper over card stock,exposed spine, with titlein black ink on frontpanel, hand lettered byMs. Owen with title inwords and binary code,each part of the title on adifferent piece of trans-lucent paper collaged tothe front panel, artist’sname and date, housedin matching paper overcard stock slipcase with

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

hand-lettered label on spine and front panel. The title comes froman excerpt by Virginia Woolf: “Science they say has made poetryimpossible...but the instinct of rhythm is profound andprimitive...Find the relation between things that seem incompat-ible yet have a mysterious affinity...” Iris Murdoch’s words “Thequality of a civilization depends on its ability to discern and revealtruth” have a particular relevance in today’s political climate. Anintriguing page design, the texts viewed through other texts referto the title, MYSTERIOUS AFFINITY, the phrase in VirginiaWoolf’s remarkable text. The binary code suggests chains bindinghumanity to words and knowledge. This work is inspirational aswell as aesthetically pleasing. Selected for inclusion in the Centerfor Maine Contemporary Art Biennial Exhibition, it was alsofeatured as the lead image in the November / December 2014issue of ART NEW ENGLAND. Colorful and intriguing, it issubtly provocative. (11371)

15. Owen, Jan. Prayer Palimpsest. Texts by RobertLouis Stevenson, Meister Eckhart, e.e. cummings,Stuart Kestenbaum, Gerard Manley Hopkins, RainerMaria Rilke, Pablo Neruda, Iris Murdoch, GeorgeHerbert, Walt Whitman, William Blake, PierrePradervand, Emily Dickinson. Psalms. Belfast, ME:2013. $900Artist’s book, unique, on plain and painted Hollytex, in acrylicsand black sumi, signed and dated by the artist, Jan Owen, on the

front wrapper.Page size: 6-3/8

(W) x 11-5/8 (L)inches; 44pp.each page com-pleted covered inhand-letteredtext with the ex-ception of thecenter pagespread whichreads “If thankyou was the onlyprayer you eversaid, it would suf-fice” hand-let-

tered on a smaller sheet 4-3/8 (W) x 9-½ (L) inches. Bound: hand-sewn by the artist, Jan Owen, housed in white card stock folderwith the title and artist and date lettered in black on front cover,housed in painted slipcase in yellow, title and artist hand lettered

on label collaged tofront of slipcaseand again on spine;also collaged tofront cover, runningperpendicular totitle is a portion ofHopkins’ greatpoem, Pied Beauty.

While palimpsest usually refers to a piece of vellum that hashad the original writing on it scraped off to be re-used, a secondarydefinition of palimpsest is “something having usually diverselayers or aspects apparent beneath the surface.” Ms. Owen’s denselettering in a variety of calligraphic styles and sizes, with severalrepetitions of text certainly fits. The reader / viewer is teased bya different text with each turn of the page as the translucent paperallows the pervious page to show through. The reader / viewer isleft with the impression that prayers - no matter who wrote them- have a commonality, and that is giving thanks. This work isinspirational as well as aesthetically pleasing. (11372)

16. Poehlmann, Joanna. Pencil Museum for Bottiicelli.Milwaukee, WI. $1,500Artist’s book / book object, consisting of box 6-3/8 (H) x 10-5/8

(W) x 2 inches deep (cigar box) covered in blue-green marbledpaper with hand-lettered label in small gold metal frame on frontcover, compartments fashioned from thin shims making pencilbox, filled with 7 metal containers, each 1inch diameter with clearplastic tops, each filled with tiny shells, box also contains a VenusComb Murex, Venus Drawing Pencil, pencil sharpener, 9 smallvials with cork stoppers, each filled with coral or small starfishetc. and a hand-lettered accordion book, 1 (H) x 4-¾ (L) inches;8pp; signed and dated by the artist on the last page, JoAnnaPoehlmann 2017. The inside lid of the Botticelli Pencil Museumhas a reproduction of “The Birth of Venus” affixed to it. The smallbook contains a fragment of a poem by Dylan Thomas and reads,“It was my 30th year to heaven / Woke to my hearing fromharbour and neighbour wood / and the mussel pooled and theheron / Priested shore...there I could [sic] marvel my birthday/ Away but the weather turned around...” One of JoAnnaPoehlmann’s lovely and intriguing book objects, a small treasure.(11348)

17. Poehlmann, Joanna. Pencil Museum for Thoreau.Milwaukee, WI. $1,500Artist’s book, book object, one in a series of 5, containing book

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

that is one of an edition of 20 (also sold separately), repurposedcigar box with hand-lettered paper label affixed to front lid,interior divided into sections with shims, with trays for 8 smallglass vials with cork stoppers containing seed pods, dried insects,larger trays containing pine cones and dried plant material, centertray contains hand-lettered and water colored accordion formatbook, 3 (L) x 3-½ (W) inches, bound in tan bark, tied with twine,titled “A JOURNAL FOR HENRY D” and signed JoAnnaPoehlmann and dated 2017, numbered 2/5. The box is edged infire-painted decoration in a roll on top and bottom edges, sides ofbox incised to mimic tree interior, ca. 1940, but the wholesuggesting 19th century American folk art. The book containsquotes from Thoreau and watercolors to accompany each senti-ment, some with collaged titles. For example, “What is the use ofa house if you haven’t a tolerable planet to put it on?” is accompa-nied by an image of a tiny bird’s nest on a branch and “Natureexcels in the least of things.” accompanied by a portrait of acurled, sleeping mouse. The artist notes in her colophon that asThoreau’s family “operated a pencil factory it seems appropriateto honor him with a pencil museum.” The delicacy and beauty ofMs. Poehlmann’s watercolors do honor the great American natu-ralist. (11349)

18. Poehlmann, JoAnna. Year Book 1853. Milwaukee,WI. $800Artist’s book, unique object in form of paint box with originalpastels in compartmentalized box, with brush in tray case, the lidwith 14 original glass negatives each brightly hand-colored by theartist, JoAnna Poehlmann, affixed to black board inset to insidelid, signed by herwith her initialson paper labeland dated 2017on the outsidelid with the title,YEARBOOK1853. Box size:3-½ (H) x 7-3/8

(W) x 2-¼ (D)inches, brassclosure on front,n i ce ly -made

dovetailed vintage box, felt-covered bottom. An unusual andcharming use of vintage materials, the images brought to life withMs. Poehlmann’s addition of red or yellow or turquoise or white.(11350)

19. Verdigris Press. Sacre, James. Quelque chose aroule. Poeme originale de James Sacre. Octon, France:Verdigris Press, 2018. $750Artist’s book, one of 35 regular copies all on Hahnemuhle paper,each signed and numbered by the artist, Judith Rothchild, and theauthor, James Sacre. Page size: 5-7/8 (L) x 14-¼ (W) inches,opening to 47-3/8 (L) x 14-¼ (W) inches. Bound by Mark Lintott:leporello fold, 8pp, first page is verso of front blank with author,title, artist, and press printed in black on fold-over from frontblank, loose as issued, housed in custom-made page beige clothover boards, grey cloth spine, with title in large grey seriographletters with im-ages of the “thingto roll” - i.e. egg- on the inside ofclamshell box.Ms. Rothchildhas succeeded increating 4 suc-cessive imagesof a rolling eggwith her velvety,organic engrav-ings. The readersees and feels themotion as theoval form moves across the top of the pages while the boldly-settext, in Olive, handset and printed on Adana and Vandercookpresses by Mark Lintott, decorates the bottom quarter of eachpage. James Sacre’s poem wonders about the egg as a rollingobject like our own planet, and what we see in words and light andshadows. The images are simple, yet mysterious as befitting theverse of M. Sacre, French born-poet who taught at Smith Collegefor many years before retiring to Montpellier. A beautiful book,full of wonder. (11337)

20. Verdigris Press. Sacre, James. Quelque chose aroule. Poeme originale de James Sacre. Octon, France:Verdigris Press, 2018. $1,400Artist’s book, one of 4 deluxe copies all on Hahnemuhle paper, thedeluxe copies with an original copperplate, 3-7/8 (L) x 5-3/8 (W)inches, each copy of the book signed and numbered by the artist,Judith Rothchild and the author, James Sacre. Page size: 5-7/8 (L)x 14-¼ (W) inches, opening to 47-3/8 (W) x 14-¼ (L) inches.Bound: loose as issued, leparello fold, housed in custom-madepage beige cloth over boards, grey cloth spine, with title in largegrey seriograph letters with images of the “thing to roll” - i.e. egg- on the inside of clamshell box. Ms. Rothchild has succeeded increating 4 successive images of a rolling egg with her velvety,organic engravings. The reader sees and feels the motion as the

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

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 andmay be returned for any reason, with notice, within seven days of receipt, providing theyare 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

[email protected] ~ www.juvelisbooks.com

oval form moves across the top of the pages while the boldly-settext, in Olive, handset and printed on Adana and Vandercookpresses by Mark Lintott, decorates the bottom quarter of eachpage. James Sacre’s poem wonders about the egg as a rollingobject like our own planet and what we see in words and light andshadows. The images are simple, yet mysterious as befitting theverse of M. Sacre, French born-poet who taught at Smith Collegefor many years before retiring to Montpellier. A beautiful book,full of wonder. (11338)

21. Wascher-James, Sande. Henrietta Reminisces.Langley, WA: 2017. $3,000Artist’s book, book object, consisting of five individual booksfixed together as a sculpture, signed by the artist / author on the

bottom cover of the base book, Sande Wascher-James, and dated2017. The front cover of the top volume uses a vintage photographof an anonymous woman named “Henrietta” by the artist. Theedges of each volume have hand-written texts that is a story theartist has her character, Henrietta, tell. Each volume is the title ofanother person in Henrietta’s life, with their story written on thebook’s three edges. Overall size of piece: 11-½ (W) x 14 (L)inches; page sizeper volume ininches: Henrietta6-¼ (W) x 9-¼(L), Etta 5-¾ (W)x 8-½ (L), Jennie5-½ (W) x 8-½(L), Walter 5-½(W) x 8-½ (L),Mother 6-¼ (W)x 9-¼ (L). Booksconsist of blankbook blocks,which the artisthas cased intoDavey board andcovered with mul-tiple layers ofm e d i u m s t oachieve depth andantiqued feeling,including gessoand acrylic gelmedium and lace fabric. The five books are held together as a largesculpture of stacked books firmly closed by several layers ofPVA. The text starts, “I was reminiscing today, something I seemto do more often lately and sometimes not a good thing to do asit can make you melancholy...” Each of the texts are recollectionsof her mother, husband, daughter, and best friend, with her ownexposition at the top. The artist / author has given a plausible lifeto the photograph of this woman, taking her out of the realm of“Anonymous Was a Woman” and into the realm of a reality.(11316)


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