Joshua Heller Rare Books, Inc.

Washington DC
CATALOGUE THIRTY-FOUR
Spring 2007
 JOSHUA HELLER Rare Books, Inc.
P O Box 39114 Washington D C 20016-9114 U S A
Telephone: 202/966-9411 Fax: 202/363-5658
E-Mail: HellerBkDC@aol.com
www.joshuahellerrarebooks.com

Catalogue Thirty-Four - Spring 2007

No. 96.
Conditions of sale:
All items listed in this catalogue are offered subject to prior sale.
Each item has been carefully described as to condition. Any purchase may be returned within ten days after its receipt;
if unsatisfactory for any reason - safe return shipment is client's responsibility.
Payment terms for new clients are "remittance with order" or from our pro forma invoice.
A finance charge of 1.5% per month will be added to all bills not paid within thirty days of the date of invoice.
Libraries and institutions will be accommodated by special billing on request.
Prices are net, in U.S. dollars. Postage and handling are extra on all orders.
Overseas orders will be shipped airmail unless otherwise arranged.
D.C. residents will be charged 5.75% Sales Tax.
Possession of title remains with Joshua Heller Rare Books, Inc. until books are paid for in full.
We purchase single volumes, collections, or libraries in our field of interest.
We are pleased to welcome visitors by appointment and are centrally located near convenient bus and Metro stops.

We accept Visa and Mastercard

© Joshua Heller Rare Books, Inc. 2007.
Photography - Neil Greentree.
 No. 9.

Gaylord Schanilec
– poet, author, lecturer, printer & illustrator -
30 years of achievement
After more than 20 years in promoting the Book Arts – especially fine printing and artist’s books, we have by way of
our catalogues paid homage to printers and artists who we feel have made a serious and notable contribution to the
art of the book.
Preceding this homage to Gaylord Schanilec, whom we honor in this catalogue, we have over the years noted the work
of master printer Antonio Frasconi (on his 75th birthday) – [Winter 1994 catalogue]; Claire Van Vliet – after 40 years of
publication of artists’ books under the imprint of the Janus Press - [Spring 1995 catalogue]; Leonard Baskin on his 73rd
birthday - [Fall 1995 catalogue]; and Susan Allix honoring her achievement of 30 years of publishing more than 40
books under her own imprint - [Summer 2004 catalogue].
For many years, we have been aware of Gaylord Schanilec’s unique illustrative style and his special expertise in the
execution of his fine limited edition books. However, it was only after Gaylord’s Artist-in-Residence time at the
Gregynog Press in Wales (1993/94) with his very beautiful images from the moving and monumental Walt Whitman’s
Wrenching Times that we realized he was an important figure in the world of fine press work with his powerful
imagery. Today, his work, which combines his skill as a printer with that of an artist, continues to go from strength to
strength with each new publication. His latest work, Mayflies of the Driftless Region, bears out this observation.
Gaylord has had an illustrious career for over 30 years, as a published poet (The Mainstreeter, December 1973), author,
lecturer, printer and illustrator. He has received numerous awards, including three Awards of Excellence (1983, 1987
and 1989) from the American Institute of Graphic Arts. He was faculty member at the Minnesota Center for Book Arts
(1990-1998) and the Penland School, North Carolina, (1997 & 2003). He has spoken to the U.K. based Designer
Bookbinders and the prestigious Double Crown Club in London, 2005. He was awarded the Carl Hertzog Award in
2006.
Schanilec has participated in numerous exhibitions featuring fine printing and Artists’ books in the U.S.A. and in par-
ticular the exhibiting of his beautiful New York & New York Revisited at the Grolier Club in New York in 2002. His work
is represented in fine collections, including the Victoria and Albert Museum, the British Library, the Bodleian Library
at Oxford, Yale University, Harvard University, the Walker Art Center, the Grolier Club and the Getty Museum.
We hope that with the over 40 entries that follow, our homage to an important contributor to the Book Arts will con-
firm our assessment of Gaylord Schanilec as a major force in the production of the ‘book beautiful’ in the U.S.A. today.

1
 The Books -
Gaylord Schanilec and his Midnight Paper Sales Press

No. 1.

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

2. Buffaloed. Five woodcuts and a few words. By

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

No. 2.

2
 No. 3.

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

No. 4.
3
 4. Farmers. Wood Engravings - Interviews. [By Gaylord Schanilec.] Midnight Paper Sales Press - Stockholm. 1989. 62p. 10.5”
x 7”. Designed and hand printed in Joanna on Mohawk Superfine by Gaylord Schanilec. Four double-panel color
wood engravings plus a smaller title page engraving were done in six colors using six separate end-grain maple blocks.
Text derived from recorded interviews conducted by Gaylord Schanilec and edited by Clayton Schanilec. Bound in tan
cloth with paper title labels on front and spine. No. 57 of 174 copies thus, in a total edition of 200 copies. Pencil device
of Schanilec on colophon page. Small marks on front cloth, not detracting from the overall fine condition. Scarce.
[See illustration bottom of page 14.] $950.00
Includes Prospectus and other proofs with illustrations and text. This project was made possible with funds from the
Jerome Foundation provided through the Minnesota Center for Book Arts.

5. The Bread of this World: Praises III. [Poem by}

Thomas McGrath. Midnight Paper Sales.
Wisconsin. 1992. 18p. 8” x 12”. Set in Goudy
Catalogue and printed on Mohawk Superfine
paper. Color wood engraving by Gaylord
Schanilec. Japanese sewn into Arches covers. Blue
cloth slipcase with silver cloth trim; paper title
label on one side. No. 174 of 210 copies. Fine.
Prospectus included. $150.00
Thomas McGrath was born near Sheldon, North
Dakota in 1916 and died in Minneapolis in 1990.
McGrath’s poem celebrates the depth and color of
No. 5. life. The book itself is a tribute to both the poem
and the poet.- Prospectus.

One of only Four Sets of Progressive Proofs

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

7. A House in the country. Four essays by Mary Logue.

Illustrated with wood engravings by Gaylord
Schanilec. Midnight Paper Sales. Minneapolis. 1994.
72p. 10” x 7”. Four multi-color wood engravings.
No. 6. Designed and handprinted by Schanilec on Zerkall
mould made paper. Gray
cloth spine, paper title
label, floral embossed
green cloth boards. In an
edition of 250 copies, this is
one of 200 numbered
copies thus, signed by
Logue and Schanilec. Fine.
Scarce. $450.00
Includes proofs of title
page, some illustrations
and text.
The essays document the
trials of renovating an old
Swedish farm house as
well as observations on life
in a small town in rural
No. 7. America (Wisconsin.)

4
 No. 8.

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

9. Emerson G. Wulling: Printer for Pleasure. Text mainly from conversations with Mr. Wulling by Gaylord Schanilec.
Introduction by Robert Rulon-Miller. Midnight Paper Sales. 2000. 71(1)p. 14.5” x 9.5”. Examples of his work printed
from his original line-cut blocks, archival
ink-jet reproductions of his printing and
two pieces printed by Mr. Wulling himself.
Seven color wood engravings by Gaylord
Schanilec. Printed on Hahnemühle mould-
made paper. Bound in blue Fabriano paper
with a black pattern; brown cloth spine
with leather title label. Blue Fabriano slip-
case with brown cloth trim. One of 140
numbered copies bound thus in a total edi-
tion of 166 copies. Signed by Gaylord
Schanilec. Fine. Prospectus included.
$445.00
Examples of his work printed from his orig-
inal line-cut blocks, archival ink-jet repro-
ductions of his printing and two pieces
printed by Mr. Wulling himself. Seven color
wood engravings by Gaylord Schanilec.
Includes a complete checklist of Mr.
Wulling’s printing. The printing of
Emerson Wulling , a retired English profes-
sor and a lover of books, consistently dis-
plays a lively sense of humor and a clever
literary wit. He carried on correspondence
with numerous important people in the
book world.
[See illustration on page 1.]
No. 9.

5
 No. 10.
10. Ernest Morgan: Printer of Principle. Compiled by Gaylord Schanilec. Midnight Paper Sales. 2001. 44(4)p. 14.25” x 9.5”.
Introduction and Afterword by Will Powers. Reproductions, color wood engravings and tip-ins throughout, as well as
two pieces of printing produced by Morgan himself. Printed by Gaylord Schanilec on Mohawk Superfine paper. Text
set in Poliphilus with Blado Italic. Bound at Midnight Paper Sales in patterned black cloth with grey leather spine; sil-
ver title on spine. Black cloth dropback box with gray and silver paper title label on spine. One of 26 specially bound
copies with a bound grey board portfolio containing an extra copy of a portrait of Ernest Morgan and archival ink-
jet reproductions of the working materials involved in the portrait’s development, as well as four bookplates pro-
duced by Ernest Morgan. Fine. Last copy. $850.00
Prospectus included.
Gaylord Schanilec writes in his Acknowledgments: “The text for this book was transcribed from the tapes of an inter-
view that I conducted with Ernest Morgan at his North Carolina home in the summer of 1997. ... Ernest Morgan was
ninety-two years old when I visited him. The
stories of his exploits were polished by years
of telling. At times he would launch into a
story he had already told, and it would be
identical, word-for-word, to the first telling.
He was also bubbling over with ambitious
ideas and schemes, but seemed frustrated that
age had robbed him of the ability to carry out
many of them. Still, he carried himself with
elegance and grace. Above all, he was proud
to be a printer. Ernest Morgan died in his
home on the morning of October 1, 2000.”

11. Ernest Morgan: Printer of Principle. ... As

above. Grey Fabriano paper over boards with
black cloth spine; paper title label. Grey
Fabriano slipcase with black cloth trim. No. 93
in an edition of 200 thus, signed by Gaylord
Schanilec in pencil. Fine. $225.00
Prospectus included.
No. 11.

6
 No. 12.
12. Ink on the Elbow. Conversations between David Esslemont & Gaylord Schanilec. Introductions by J. Andrew Armacost
& David Chambers. Midnight Paper Sales & Solmentes Press. 2003. 153p. 13.5” x 9.5”. Printed on Zerkall mould-made
paper in Cronos. Tip-ins and illustrations throughout. Linocuts are by David Esslemont, and the panoramic engrav-
ing Looking North from Dragon Ridge by Gaylord Schanilec. Bound in cream linen spine and edges with paper title
label on spine; blue paste paper overprinted with text on both back and front boards. Blue endpapers. Cream linen
slipcase. No. 176 in an edition of 200 copies. Fine. $480.00
Technical competence, lively correspondence and good illustrations combine to make this a very fine book.
One of only Four sets -From the book Ink on the Elbow
13. Looking North from Dragon Ridge. [Wood engraving by] Gaylord Schanilec. One of Four Sets of Progressive Proofs.
Midnight Paper Sales. 2004. 14” x 18.75”. Ten states of the proof, with the final proof signed by Schanilec and num-
bered. Signed by Schanilec on the title page. Laid in a blue cloth dropback box; paper title label on spine. Fine. A stun-
ning set. $2500.00

No. 13.

7
 14. Excerpts from a Wisconsin Childhood. By
Suzanne McNear. With wood engravings by
Gaylord Schanilec. Midnight Paper Sales.
1997. 17p. 6.75” x 4.5”. Hand-set, printed and
bound by Ruth Raich and Gaylord Schanilec.
Blue marbled paper boards; blue cloth spine
with paper title label. Navy cloth slipcase. An
edition of 120 copies. Signed by Suzanne
McNear and Gaylord Schanilec. Fine. $200.00
Includes Proof title page plus folded proof of
several pages.

15. Bad Beat: With Joe Crow's Rules for Poker and
Life. By Pete Hautman. Wood engravings by
No. 14. Gaylord Schanilec. Minneapolis. 1998. 56p. 7"
x 4". Seven multiple-color wood engravings
printed from maple
blocks. Hand-set in
Garamond with Ratdolt
titling, hand-printed on
Zerkall mould-made, by
Schanilec. Bound in black
and gold patterned
boards, red cloth spine.
Blue paper board slipcase
with color illustration of
playing card. Edition of
200 numbered copies,
signed by Hautman and
Schanilec. Fine. $150.00
First book in the Little
Book Series. Scarce.
Includes Proof title and
other pages.
No. 15. "Novelist Peter Hautman
is a player. Early one
morning the rest of us were moving as quickly as we could
toward home. Pete, however, stood thoughtfully analyzing the
game - who won, who lost, and why. This was my introduction
to Pete Hautman." - Schanilec.

16. I Will eat a Piece of the Roof and You can eat the Window. [By]
John Dufresne. With Wood Engravings by Gaylord Schanilec.
Midnight Paper Sales. 1999. 64p. 6.75” x 4.25”. Handset in
Johanna with Delphian Open Titling and printed on Zerkall
mould-made paper by Gaylord Schanilec. Three full-page,
multicolor wood engravings with initial letters to open the
three section and also a two-panel engraving for the title page.
Bound in red, orange, black and white Curwen Press patterned
paper with black cloth spine; paper title labels on both front
and spine. Orange board slipcase with navy cloth trim. One in
an edition of 220 copies signed by John Dufresne and Gaylord
Schanilec. Fine. $120.00
Includes Prospectus and some proofs of illustrations and text.
No. 16.

8
17. The Coriolis Effect. [By] Edwidge
Danticat. Midnight Paper Sales.
Stockholm, Wisconsin. [2002.]
56p. 7” x 5”. Hand set in
Walbaum and printed on Zerkall
paper. Twelve wood numerals
illuminated in color with
engraved wood blocks by
Gaylord Schanilec. Bound in
boards covered with blue and
grey paper marbled for the edi-
tion by Carol Scott. Paper title
label on spine. One in an edition
of 170 copies, signed by Edwidge
Danticat and Gaylord Schanilec.
Fine. $98.00
Includes Prospectus and some
proofs of illustrations and text. No. 17.
“Twelve short pieces of prose inspired by lessons in an English as a Second Language workbook.” - Prospectus.

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

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

No. 18.

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

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

20. The Intruder. [By] Clayton

Schanilec. Midnight Paper Sales.
2004. 19(1)p. 7.5” x 5”. Printed by
Gaylord Schanilec on Zerkall
paper. Title page triple fold-out
panoramic wood engraving on
blue paper in blue, black, green
and grey by Gaylord Schanilec.
Two-color cover engraving printed
with a split-fountain technique on
black Hahnemühle Ingres; blue
cloth spine with paper title label.
Blue endpapers. Blue cloth slip-
case.One of 120 numbered copies
in a total edition of 146 copies,
signed by Clayton Schanilec and
Gaylord Schanilec. Fine. $125.00
No. 20. Prospectus included.

One of only Five sets

21. The Intruder Progressive Proofs. Proofs of the
triple fold-out panoramic wood engraving by
Gaylord Schanilec. Midnight Paper Sales. 2004.
9” x 14.5”. Five proofs in different states on green
Fabriano, with the final one titled, signed and
marked ‘Proof’ by Schanilec. Title page also
signed by Schanilec. In a blue cloth dropback
box. One of five sets. Fine. $750.00

No. 21.

10
 A Printer’s Proof Set
22. Midnight Ruminator: First &
(Last). [Poems or prose by] Li-
Young Lee, Richard Ford, Sandra
Benitez, Robert Bly, Louise
Erdrich, Bill Holm. Wood engrav-
ings by Gaylord Schanilec.
Midnight Paper Sales. 2004. A set
of Broadsides loose in a folder.
15” x 11”. Board folder covered in
black cloth with paper label ‘MR’
across spine. All broadsides are
signed by the writer; the first
Broadside is also signed by
Schanilec. Some Broadsides are
signed ‘Proof’, some ‘P P” and No. 22.
others with number in the edition
of 110 copies. This is No. 50, a Printer’s Proof set in an edition of 60 sets signed by Gaylord Schanilec. Fine. $250.00
23. Turkish Pears in August: Twenty
Ramages by Robert Bly. Midnight
Paper Sales. 2005. n.p. 5.5” x
7.75”. Illustrated and printed by
Gaylord Schanilec on Zerkall
paper. Wrappers of dark blue
handmade paper with silver
flecks specially made for this edi-
tion. Small gold decoration on
front cover. Slipcase of the same
dark blue flecked paper with a
trim of blue Fabriano; paper title
label on spine. Fine. No. 127 in an
edition of 150 copies signed in
pencil by Robert Bly on the title No. 23.
page and Gaylord Schanilec on the colophon page. Includes two proof pages including a Proof title page signed in
pencil by Robert Bly. Fine. $140.00

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

25. Mayflies of the Driftless Region. Wood Engravings by Gaylord

Schanilec with Identifications by Clarke Garry. Midnight
Paper Sales. 2005. 77p. 10.5” x 7.5”. Printed on Zerkall paper in
Bembo Monotype by Gaylord Schanilec. Bound by Gregor
Campbell in brown goat spine with gilt title and dark green
paper boards with illustration of mayfly on the front. Green
slipcase. In an edition of 400 copies, this is No 181 of 300 thus,
signed by Schanilec. Includes Announcement of publication.
Fine. [See illustrations top of page 12.] $530.00

A Unique Printer’s Proof set

26. Mayflies of the Driftless Region. Wood Engravings by Gaylord
Schanilec with Identifications by Clarke Garry. Midnight
Paper Sales. 2005. 77p. 10.5” x 7.5”. Printed on Zerkall paper in
Bembo Monotype by Gaylord Schanilec. Bound in full brown
calf by Jill Jevne, and contained in a slipcase of her own design No. 24.

11
No. 25.

that incorporates mayflies tied for the edition by David Lucca under glass at the top of the
slipcase. Slipcase with brown leather trim and dark grey handmade paper sides, brown
leather title label lettered in gold. Of 50 Special copies this is AP-1 of the Special Edition
with the engravings printed in Gampi Torinoko and signed by Gaylord Schanilec.
Special Printer’s Proof copy. The Special Edition includes a board folder of brown leather
sides and dark green paper with illustration of mayfly on front which holds two items,
each in the heavy dark green paper: ‘1’ has a set of Progressive proofs plus 3 press sheets
- one with overprinting and some with graphite corrections (7 in total); ‘2’ holds 13 extra
proofs signed and identified by Schanilec.
In ‘1’ the back of the first sheet include pencil sketch and sig-
nature of ‘Herr Gutenberg’ by Henry Morris of the Bird &
Bull Press.
This unique Printer’s Proof copy also includes: A separate
green paper folder includes approximately 50 progressive
proofs, including a set of Progressive Proofs for all 13
images; one on Gampi Torinoko signed by Schanilec; plus
a large Publication announcement. Fine. $3200.00
From the Introduction by Gaylord Schanilec - “Dr. Garry is
... a gifted entomologist. The color and precision of the sci-
entific language he uses in this book cannot begin to parlay
the enthusiasm and love the professor has for his subject. ...
In the context of a finely printed book, the poetic nature of
the scientist’s language can be appreciated. I hope the love
of the subject, shared by us both, shines through.”
This magnificently produced and illustrated book was a
Winner of the Carl Hertzog Award for Excellence in Book
Design.

No. 26.

12
27. Old Swayback. By Jim Heynen. Midnight
Paper Sales. 2006. 15p. 7.5” x 5”. Triple
page wood engraving fold-out by
Gaylord Schanilec in three colors.
Printed by Gaylord Schanilec and Ben
Verhoeven in Italian Old Style which
was cast by Scott King and hand-set by
Julia Hinderlie. Black and white illus-
trated wrappers which echo the wood
strips of a barn. Black cloth slipcase.
Although the printed colophon state ‘A
possible 150 copies’, this book is num- No. 27.
bered 100/128 and signed by Gaylord Schanilec in pencil. Title page signed in pencil by Heynen. Fine. $150.00
Includes Proof title page signed in ink by Jim Heynen.

LIMITED EDITION & TRADE BOOKS IN WHICH GAYLORD SCHANILEC PARTICIPATED

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

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

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

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

Composite -
Nos. 28-41.

13
32. A Box of Night Mirrors. An anthology of student writing from the Minnesota Writers In The Schools Program, 1979-80.
Compas. Edited by John Cady. With drawings by Gaylord Schanilec. 120p. 9” x 6”. Grey wrappers with title and illus-
tration in black on the front cover. Light fading to spine and edges. $15.00

33. Deposition. [Poems by] Pete Green. With drawings by Gaylord Schanilec. New Rivers Press. [St. Paul. Minnesota.] 1982.
83p. 9” x 6”. Red wrappers with title and black and white illustration on front. First edition of 1200 copies. Spine faded
and slight white marks on back cover. $10.00
34. Chanticleer of Wilderness Road: A Story of Davy Crockett. [By] Meridel Le Sueur. Engravings by Gaylord Schanilec. Holy
Cow! Press. Deluth, Minnesota.1990. 53(3)p. 9” x 5.5”. Black and white illustrations. Board covers with title and three-
color illustration on the front, title on spine. Very good. $15.00
Supported in part by a grant from the National Endowment for the Arts, a Federal Agency.

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

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

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

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

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

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

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

No. 4.

14
42. (Susan Allix) Bengal Story: Tales from Orissa, Bengal & Sikkim. Artist's book by Susan Allix. [London. 2006.] 58p. 10" x
8.25". Printed letterpress in hand set Plantin on handmade Magnani Velata Avorio. Included are textured and colored
papers brought from Gangtok in Sikkim, where they are made by hand. Three embossed geometric shapes related to
the text serve to unite the stories which are interwoven with 5 etchings and 5 linocuts, in color, plus a small inset mir-
ror. Bound with black leather spine, boards covered in black Kyoseishi paper onlaid with brown patterned handmade
Tibetan paper. Inlays of a printed fragment from a red prayer flag and an orange rectangle of handmade paper. Onlaid
is a piece of distressed parchment with pen drawing, a line of sprinkled goatskin and a red leather circle. Finished with
black leather stripes. Cream cloth slipcase with strip for paper title label on spine, red paper side trim and brown pat-
terned paper trim on sides. 5 copies are in a de Luxe binding; 10 Special copies in black quarter leather, and 10 regu-
lar copies comprise the edition of 25 copies. One of 10 Special copies, signed and numbered by Allix. Fine. $1450.00
Allix writes: "The three stories in this book come from Bengal, from Orissa to the south and the Himalayan province of Sikkim to the
north. In their mixture of reality, myth and devotion they are concerned with ritual and its use and expression by diverse peoples. In
the telling, the stories are influenced by local images. The etchings that accompany the tale of Miss Sanderson were drawn 'in situ' in
Calcutta, once the capital of British India. The inset mirror is from Pipli in Orissa, a village where mirrors are extensively used in tex-
tiles depicting Lord Jagganath, who is celebrated in an extraordinary yearly Hindu ceremony. The bird and plant linocuts derive from
examples of Sikkimese painted wood-carving. Here the influences are Tibetan and the folklore has been handed down through gen-
erations living in the remote valleys."

No. 42.
15
Nos. 42 & 43.
43. (Susan Allix) Bengal Story: Tales from Orissa, Bengal &
Sikkim.Artist's book by Susan Allix. [London. 2006.] 58p.
10" x 8.25". Printed letterpress in hand set Plantin on
mouldmade Magnani Aqueforti. Included are textured
and colored papers brought from Gangtok in Sikkim,
where they are made by hand. Three embossed geometric
shapes related to the text serve to unite the stories which
are interwoven with 5 etchings and 5 linocuts, in color,
plus a small inset mirror. Bound with black Japanese
Kyoseishi paper over boards and pale red textured canvas
paper spine and fore edge. Rectangles of red and black
printed Tibetan paper hold shapes of cream handmade
paper and embossed natural leather. Title on a black
leather band which extends over the spine; the endpapers
are of matching Tibetan paper. Enclosed in a beige and red
slipcase. One of the 10 regular copies in the total edition of
25 copies, signed and numbered by Susan Allix. Fine.
$925.00

No. 43.
16
 No. 44.

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

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

No. 45 - Three images.

17
 Allix writes: "This book combines Roman
poetry with photographs of doorways from
south Italy.
"Writing mostly during the 1st century BC-
AD the poets used a genre of Greek and
Roman literature known as the
Paraclausithyron; a poem spoken "through
closed doors", that takes the form of verses
spoken by an excluded lover outside a door
that forbids entry. Their themes include
pleas for admission, attempts to persuade a
girl to come out to them and complaints at
the door's cruelty. The doors speak too.
Becoming personified they tell stories of
their owners and describe their own mis-
fortunes and abuse.
"The series of photographs taken between
1969 and 2004 in south Italy and Sicily
show aspects of the doorways that relate
No. 45. closely to the themes of the poems. They
range from architectural oddities or extrav-
agant Baroque fallen into disrepair to
painted, graffiti-strewn metal. Some come from Taranto, a place that especially pleased Horace ("Quell'angelo di mondo a me piu di
ogni altro sorride").
"The first poem is by the Greek poet Theocritus and is set in Sicily. The more strident voices of the Roman poets follow, with an extract
from Plautus' comedy Curculio. Among the cast of lovers and their girls are found generals, a wine-biber, a dead husband and the
doors themselves, voicing their own opinions; as Catullus's talking door says, "It's always the door's fault". Thus the words that speak
of exclusion, desire for the unattainable, disrespect of age and also the comic foolishness of addressing a door find reflection in the
shapes, characters and patinas of use acquired by the doorways. The selected poems have been retranslated or modernized with ref-
erence to older, existing English translations."

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

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

No. 46.

18
 A powerful book
- a homage to the veterans of the Vietnam War
47. (Arcadian Press) For Boys Who Dream of War. [Text] by Alan
Govenar. With quotes by Wilfred Owen and W.H. Auden. Artist's
book in box by Caren Heft. Stevens Point, Wisconsin. 2005. 16
pages. Triangular book - 17" spine x 12" x 12": 8.5" at its widest
point: triangular box - 25" x 17.75" x 17.75": 12.5" at its widest
point. Each page on Root River Mill Paper made by Jeff Morin,
Brian Borchardt and Caren Heft, on sized and tinted Hahnemühle
paper. Type is Gill Sans. Each differently colored page opens up as
a square. Open sewn spine with silver colored endboards which
are lightly marked to form a pattern with a cutout of an airplane
in black with gray on the front board. Pages are edged with stars,
the USA flag, or statistics relating to the Vietnam War. The book is
laid in a scorched and black paint splattered triangular wooden
box which is padded on the inside with a soft reddish cloth. The
box has a magnet closure. On the top of the box is a silver metal No. 47.
star, while on the inside of the top is a white plastic airplane. Set
in the padded base of the box are two items: a 2.75" glass polished cast of a wounded soldier inscribed either with the
number of American military dead in Vietnam or the number of Vietnamese civilians killed or wounded during that
war; and a small metal WWII first aid kit containing only a wound dressing, sulfa powder and instructions. These two
items are covered with a triangular folded American flag, with the book laid on top of it. One in an edition of 49 copies.
Fine. $1750.00
Caren Heft writes to us: "I have three brothers, all were in Vietnam and Smokey was the best friend of one of them. Smokey was a
Blue Angel ... When Smokey's body was returned to his family, my brother went to the funeral (he graduated from Annapolis, the
Naval Academy, where he met Smokey) as did many of their other classmates. Apparently it was a moving reunion."
On the left hand page of the book are the names of women who died in Vietnam - whether it be of war, illness or accident, as well as
those missing in action. The book also gives statistics relating to the losses suffered by combatants. This moving work is about a pilot,
LCDR Clarence "Smokey" Tolbert, whose remains were returned to his family in 1989. The differing versions of his death were the
reason for this book, writes Caren Heft in the Colophon. There are also, at the end of the text, words by an African American Army
Chaplain interviewed by Govenar.
Alan Govenar writes about his own gradual understanding of war, but the text is mainly about "'Smokey' Tolbert, born in
Tishomingo, Oklahoma - the pride of family and community - a boy destined to be whom he became. Graduate of the U.S. Naval
Academy, Class of 1962 - Blue Angel ...
"Extroverted, gregarious, the kind of person who made friends everywhere ... always willing to lead ... would not admit defeat,
even in seemingly trivial pursuits such as a television appearance on The Dating Game."
"... he made two combat cruises to Vietnam ... He also made one Mediterranean cruise ... He had 145 combat missions and 425 carri-
er landings. He was awarded the Silver Star, Distinguished Flying Cross, 14 Air Medals, the Navy Commendation Medal, the Navy
Unit Citation, and the Vietnamese Service and Campaign Medals; all this before he joined the Blue Angels in 1968."
In 1973 he was reported missing in action, and his remains returned home in March 1989. A true American hero.

No. 47.

19
 No. 48.

A Nobel Prize winner collaborates with unschooled artists

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

No. 48.

20
 Thorsten Dennerline & The Bird Press
Thorsten Dennerline, a Member of Faculty at Bennington College in Vermont, is a teacher, artist and publisher of seven
artists’ books - six under his own imprint of The Bird Press. He is the recipient of numerous awards, including a
Fulbright Grant. His work, including his paintings and books, has been exhibited at numerous galleries, here and
abroad, especially Denmark. The range and depth of his haunting images, and his consummate skill as a fine print-
maker and draughtsman, are what make his books unique and so special.
We recommend this outstanding young artist to you at the onset of his career as a bookmaker, and predict a distin-
guished career for Dennerline and his art.

No. 49.
49. (Bird Press) Lille Fedtøre/Little Airhead. Written by Naja Marie Aidt. Translated into English by Anne Mette Lundtofte.
With Lithographs by Thorsten Dennerline. [Syracuse. 1997.] 8 full-page black and white lithographs, and 1 wood-cut
on the colophon page. 20.5" x 15". 5 pages of text. Danish text printed in black and white, English text in blue. Text set
in Dante and cast for the project by Michael and Winifred Bixler in Skaneateles, New York. Printed at Wild Carrot
Letterpress. Portfolio of black cloth lined in gray by Thorsten Dennerline. Inlay on the front board contains a three-
dimensional resin ear, with a rectangular cut-out on the outer board allowing it to be viewed. An edition of 20, each
numbered and signed by the artist and writer. Each lithograph is also signed. Fine. $1400.00
A beautifully produced portfolio with lithographs of the highest artistic standards. A fable of obsession and dominance, which brings
about its own "rewards". The protagonist in the story calls for Little Airhead by whispering in her ear, thus the resin ear on the front
board. Superb images.

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

No. 50. No. 50.

21
 Four artists combine their talents to produce a small treasure
51. (Bird Press) Libro Cuadrado. [Square Book.] [Text in Spanish.]Artists’ book
with images by Jorge Martinez Garcia, Luis Martinez Salas, Francisco
Carroza and Thorsten Dennerline. [Valparaiso, Chile. 2000-2001.] 24 leaves,
including title page and colophon. 8.125" x 8.25". 24 plates etched in bronze
by the 4 collaborators are printed on handmade Saint Armand deckle edged
paper. The first and last leaves are of a simple bronze colored geometric
design, while some of the 20 black and white etchings contain both text and
image. Black cloth binding with tan inlaid label of geometric design. Tan
endpapers. One in an edition of 40 copies for sale, plus 4 H.C. Signed by all
four collaborators. Fine. $650.00
Thorsten Dennerline spent a year in Chile on a Fulbright Grant, working on an art
and research project.The book was made at the intaglio studios at ‘Taller del
Alquimista’ in Valparaiso, on the coast of Chile. The idea of the square book stems
No. 51.
from Jorge Martinez's interest in alchemy. He actually named his etching shop ‘Studio
of the Alchemist’ in reference to the processes of intaglio print making. Ideas within alchemy about how geometry is linked to the
universe were the important starting points in organizing the project. He writes about this in the prologue page. The four participat-
ing artists each created 4 square images. Each artist was also asked to work with text in at least two of his images. Four artists, four
plates each with four equal sides. All this contained within a square binding. The number repeats itself and even the edition is 44
copies.

52. (Bird Press) Teach Me, Star of Night! Lær Mig,

Nattens Stjerne! [In English and Danish.] [Text
by] Peter Laugesen. With eight etchings by
Thorsten Dennerline. Translated by Susanne
Jorn. Bird Press. 2000. n.p. 10” x 11”. Text cast
and set in specially cast Perpetua at the
Letterfoundry of Michael and Winifred Bixler.
All etchings printed by hand by the artist with
the help of Magaly Ponce and overprinted onto
color woodblocks. Letterpress printed on St.
Armand handmade paper by Daniel Keleher.
Original Danish version printed on translucent
Seikishu Japanese paper so it can be viewed
mirroring the English translation. Bindings
designed by Thorsten Dennerline and made by
Peter Verheyen. Vellum spine with five laced
bands; orange sewn cords visible at top and bot-
tom. Boards of cream vellum with dark blue
Japanese cloth with title in black on front board.
No. 52. In a total edition of 55 copies, one of 1-40 num-
bered regular signed edition. Fine. $825.00
Etchings in the special edition are hand col-
ored. Special edition bindings designed by
Thorsten Dennerline and made by Peter
Verheyen. Blue leather spine and six white
leather sewn cords; yellow leather tips to top
and bottom of spine. Vellum over boards sides
with small relief star on front board. Grey end-
papers. Blue cloth drop-back box. No. VII of 10
numbered copies in the Special edition. Signed
by the artist. Fine. $1600.00
The eight poems in this book were written in
Denmark by Peter Laugesen in 1999. He is considered
to be one of Denmark’s most important contemporary
poets and has been a member of the Danish Academy
since 1997. He has published over 40 poetry collec-
tions in Denmark and abroad.and has received
numerous awards, including the Danish Academy’s
“Store Pris” in 1992.
Dennerline writes: “The images are meant to accom-

22
 pany the poems similarly to the way a jazz drummer might complement a soloist. Each strengthens the other, but neither is depend-
ent. This approach is a reflection of Peter Laugesen’s previous collaborative projects.” The beautifully hand-colored images add
immensely to the appeal of the book..

No 53.

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

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

No. 54.

23
No. 55.

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

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

57. (Caddis Case Press) East of Avalon. [Poetry by] James Harms. Illustrated, designed and printed by Margaret Sunday.
[Greeley, Colorado. 1998.] n.p. 11.5” x 7.5”. Letterpress printed in Neon Optima type and hand engraved maple and
acrylic blocks. Layered multi-color illustrations printed
on a variety of translucent Japanese papers; text in
black. Bound by Caroline Gilderson-Luwe with folio
pages sewn onto goat parchment tapes, which are
laced through a spine jacket of English calf vellum and
into light boards covered with pale goldenrod-orange
Japanese paper. Spine structure non-adhesive, with
exposed interlaced stitches. Japanese paper label print-
ed in 5 colors. One in an edition of 54 numbered copies,
plus 4 artist’s proofs. Signed by James Harms on the
title page. Fine. $510.00
James Harms is Head of Creative Writing at West Virginia
University. He is the recipient of a PEN/Revson Fellowship
and an award from the American Academy of Poets. He has
had several books of poetry published by the Carnegie-
Mellon University Press.

Nos. 56 & 57.

24
 Margaret Sunday is an Associate Professor teaching printmaking and book arts at the
University of Northern Colorado. She has illustrated books for the University of Iowa
Center for the Book and the Perishable Press, as well as founding the Caddis Case Press
in 1992. Caroline Gilderson-Duwe, who bound the book, is former Head of
Preservation at Golda Meier Library, University of Wisconsin-Milwaukee.

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

59. (Laura Davidson) Fish Book. Unique artist's book in a painted wood contain-
er by Laura Davidson. [Boston.] 1993. Container - 13" x 9" x 4". Book - 8" x 6".
Book contains ten images of fish borrowed from manuscripts and paintings
in art history; these references are identified on the final page. Each painted
image is matted with museum board and bound together to create solid
pages. The green and brown painted box is in two parts - the lower one hold-
ing a large fish hook mounted on a sea chart; the upper section with a metal
'roof' and a glass door, behind which the book is visible and removable for
viewing. Fine. $2000.00 No. 59.

60. (Laura Davidson) Homage to Masaccio and

Masolino. Unique Artist’s book by Laura
Davidson. [Boston. 1999.] 10.25" x 5". Accordion
book of four wooden boards hinged together. All
boards, except the back board, hand painted.
Title on front board. Three of the boards with
lantern slides used in teaching art history, the
paintings are enlarged details from the lantern
slides. Slides are black and white and can be
viewed from both sides. Signed and dated by
Laura Davidson. Fine. $1800.00

61. (Laura Davidson) Mapping the Ancient World.

Unique artist’s book by Laura Davidson.
[Boston. 2001.] 10.5" x 4.5". Accordion book of
four wooden panels hinged together. Title laid
on front board. Boards, except for the back
board, are hand painted, the internal panels
No. 60.
painted to resemble a map. Three of the boards
with lantern slides of ancient sites, including a sphinx. Slides are
black and white and can be viewed from both sides. Unique book
signed by Laura Davidson. Fine. $1800.00

62. (Laura Davidson) Tunnel Vision. A handmade 3-D book by Laura

Davidson. [Boston.] 2001. Tunnel book. 4.375"x 7". Xeroxed
images. A view of
the Big Dig in
Boston from the
artist’s studio win-
dow on the corner
of "A" and Worm-
wood Streets in
Boston. Unlimited
edition. Fine. A
charming little
tunnel book at a
very good price.
No. 62. $38.00 No. 61.

25
 No. 63.

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

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

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

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

No. 65. No. 64.

26
No. 66.
No. 67. No. 68.
67. (Laura Davidson) Random Thoughts on Hope. Artist's book by Laura Davidson. [Boston.] 2005. 4.625" x 4.625".
Accordion fold card book with color images. Moving wheel with words which allows the words to form different
phrases. Painted in shades of brown on the back of the images. One in an edition of 500 copies, signed by Laura
Davidson. Fine. $30.00

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

An elegant new Designer Binding

69. (Paul Delrue - Bookbinder) The Flute of Sardonyx. [Poems by] Edmund John. Images & introduction by Nicholas
Wilde. The Old Stile Press. [Near Monmouth, Gwent. GB.] 1991. 76(1)p. 9.75" x 7". Printed in 12 pt Spectrum on Rivoli
paper. The sixteen pencil images printed at The Senecio Press by Adrian Lack. Unique binding by Paul Delrue in
Harmatan goatskin in various shades of light biscuit colors, with darker tooling lines at irregular distances across the
boards adding to the design of a double outline of a boy's face in dark red onlay on both back and front boards.
Handsewn head and tail endbands in gray. All edges painted in three shades of gray to a wave-like design. In a gray
cloth dropback box lined with beige suede; gilt title on front and spine. No. 239 in an edition of 260 numbered copies;
plus a Special edition of 26 lettered copies. Signed by Nicholas Wilde and inscribed 'Bound by Paul C. Delrue ;
Llandudno. Springtime. 2005.' in ink, but his pencil signature below. Bottom corner of box with slight bump, else fine.
$3750.00
Edmund John was a young poet who died in 1917 at 34. Although his poetry is largely unknown, there is a sensuous beauty with the
authentic voice of love and loss - not only of love, but of his own youth. Nicholas Wild's exquisite pencil drawings of a young boy
are beautifully reproduced by litho printing.
Paul Delrue states that this binding was done in his 'tudor style'.

No. 69.

27
 No. 70. 70. (Evelyn Eller) More Words. Unique artist's book
by Evelyn Eller. [New York. 2005.] 8" x 9.75".
Accordion fold vertical. Book glued to inside back
cover. Multi-colored mixed media collage. Collage
title on front. Black bookcloth binding. Signed and
dated by Eller on inside back cover. Fine. $800.00

The Elements awarded the Ninth Biennial Carl

Hertzog Award for Book Design
71. (ELM Press) The Elements. A Poem by Susan
Stewart with lithographs by Enid Mark.
Wallingford. Pennsylvania. 2002. n.p. 11.125" x
15.25". The type, 14 point Monotype Dante, was cast
by Michael and Winifred Bixler, and printed by
Daniel Keleher at Wild Carrot Letterpress on
mouldmade English Somerset. Within three of the
sections, parts of the poetry are printed on fold out
sheets of various Japanese papers. The lithographed
images were conceived with a camera but manipu-
lated digitally with Photoshop software in order to generate the films used to create the duotone and tritone images.
These films were transferred to plates and printed as hand lithographs by Timothy P. Sheesley. Bound in silver-gray
Italian book cloth over boards; the binding is enriched with blind embossing and spine label. Textured gray paper from
Twinrocker Handmade Paper is used to line the covers and for the end pages. Hand bound by Sarah Creighton. An
edition of 45 numbered copies, signed by the poet and the artist. Fine. $2,250.00

No. 71.
Susan Stewart wrote The Elements, this long poem in four parts, in collaboration with artist Enid Mark, who created the book’s visu-
al form. The poet, author of three previous books of poetry and a MacArthur Fellow, called on the long Western history of myths and
literature on air, fire, earth, and water; in the end she created a sequence unified by the themes of love and strife traditionally associ-
ated with the elements. ... The poem unfolds in time as a meditation on time and mortality.
“Each of the sections of The Elements - Air, Fire, Earth, and Water - is defined by a visual image. This image is introduced as a hori-
zontal band that has its own rhythm, fading and increasing in dimension and intensity as the pages turn. On the final page opening
within each section, three-color lithographs bleed over the four edges of the ... spread of the book. Throughout the work, the concrete
forms of the sections of the poem, unique to the volume with its wide format, become an integral part of the visual imagery.” -
Prospectus.
Susan Stewart received the 2004 National Book Critics Circle Award for poetry, for Columbarium, a trade edition published by the
University of Chicago Press. Columbarium features Air, Fire, Earth, and Water from The Elements.

Enid Mark’s very beautiful book of flower poems

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

28
 hand drawings, realized as hand-lithographs, embody both
state of the art digital technology and traditional printmaking
strategies. Papers are mouldmade English Somerset and Denril
drafting vellum. Type cast by Michael and Winifred Bixler and
printed by Arthur Larson, Horton Tank Graphics. Lithographs
hand-pulled by Timothy P. Sheesley. Calligraphy by Susanne
Moore. Hand bound by Barbara B. Blumenthal in green Italian
cloth lined with green Japanese Echizen Saiko - giving the feel
of grass. Recessed square of the Japanese Echizen Saiko with
gilt decoration on front cover. One in an edition of 40 numbered
copies, and 10 artist's proofs. Fine. $2750.00
Poems by Diane Ackerman, Betty Adcock, Nathalie Anderson, Annie
Boutelle, Rachel Blau DuPlessis, Daisy Fried, Celia Gilbert, Maxine
Kumin, Heather McHugh, Constance Merritt, Alicia Ostriker, Susan
Snively, Susan Stewart, Eleanor Wilner. Inspired by a long tradition of
herbariums and botanical books, especially those published in Europe
from the 7th century onward. In this contemporary edition the scientif-
ic description of flora presented in such early volumes is replaced by
poetry. Enid Mark invited the various poets to participate in the book.
Each was asked to write a poem in which a flower or plant served as the
central image or metaphor. The collected poems, with one exception, No. 72.
were written specifically for Ars Botanica. ... The poems reflect the
broader concerns of each individual writer.
" ... the images ... describe more than one aspect of the featured plant specimen. Facing each poem is a photo-based duotone litho-
graph of the plant, printed in warm gray and black tones. A second lithograph, derived from a hand-drawing of the same plant, print-
ed in glowing floral colors that vary from page to page, appears on a translucent sheet tipped into the gutter between the duotone
and the poetry.”
The latest and most equisite book from the ELM Press
73. (ELM Press) The Inconstant Moon. Poems to the Moon by Mark Jarman, Phillis Levin, James Longenbach, Jacqueline
Osherow, Susan Stewart, Mark Strand, Elaine Terranova and Eleanor Wilner. With the Homeric hymn “To Selene” in
Greek and an English translation by Apostolos N. Athanassakis. Lithographs by Enid Mark. Philadelphia. 2006. 14” x
10.5”. Blind embossings of the crescent moon and duotone lithographs of star field printed in indigo blue and black.
Letterpress printed in Monotype Dante and Monotype Gill Greek Caps and Gill Sans Caps by Arthur Larson on
Somerset papers. Lithographs hand-pulled by Timothy P. Sheesley. Calligraphy by Jerry Kelly. Hand bound in black
cloth with marbled paper panels overlaying the front and back covers. One in an edition of 45 signed and numbered
copies. New. Matching box available on request at cost. $2600.00
“In The Inconstant Moon, the motif of the moon binds the lithographs and poems together; the diverse verbal responses create a rich
and intriguing text.
“The visual and poetic exploration of the moon commences with a presentation of the Homeric hymn ‘To Selene.’ ... the hymn intro-
duces the poetic suits; its translation, .. concludes the collection.
“Of the eight contemporary poems, six were written specifically for this edition. Two poems appeared in journals at the time this book
was conceived, but are previously uncollected.
“The duotones bleed from edge to edge of the pages, creating a deep space for varying profiles of the luminous moon. This moon
waxes and wanes, shifting shape and color from page to page, its majestic progression interrupted only at the centerfold by a detailed
hand drawn image of the lunar landscape, this printed in two colors on black mould-made English Somerset paper.” - Prospectus.

No. 73.

29
 No. 74. No. 75.
74. (Andy Farkas) M.M. & I. : a love song. Poem by Andy Farkas. 9.75" x 5.25". Two french-fold sheets with text in blue and
red; hand colored illustrations. Sewn with red cord into light tan wrappers. No. 3 in an edition of 12 copies, signed by
Andy Farkas. Fine. Delightful! $175.00

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

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

77. (John Gerard) Colors of the Spirit. William

Shakespeare 16 Selected Sonnets. Paper Images
No. 76. by Mary Beth Schmidt Fogarty. John Gerard.
Rheinbach. [2000.] 20 leaves. 8.5” x 11.5”. Handmade papers by John Gerard, all especially made for this edition in his
studio, with Schmidt Fogarty creating 6 original double page pulp paper images. Handset in 20 pt. Baskerville by
Offizin Haag-Drugulin/Leipzig. Printed by Klaus Raasch/ Hamburg. Bound with an original paper painting over
boards; deep red linen spine. Deep red cloth dropback box with relief title on spine and front. A unique variant in an
edition of 40 copies, plus 3 artist’s proofs, each signed by Fogarty and Gerard. Fine. $1600.00
Universal landscapes of vast horizons offer a varying prospect for subtle and poetical dreams of color as well as for
dramatic scenarios. Love and beauty have been brilliantly interpreted in Shakespeare’s spirit with these sonnets span-
ning the vital range between youth and age. Gerard states: “This is Fogarty’s fourth book made in my workshop; she
has been coming to Germany since 1988, when she made her first book with Dickinson poems. Fogarty lives with the
texts for months and prepares extensively before beginning her illustrations, which she paints with wet pulp on a
freshly made sheet of handmade paper. In this technique, there is no chance for correction - the lines and washes of
pulp must work immediately or a new sheet is made.”

30
 No. 77. No. 78.

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

79. (John Gerard) Worte sind Vögel (Words are

Birds). [Text in German.] Poems by Hilde
Domin. Double sided paper paintings by
Heide Bauerle to 12 poems by Hilde Domin.
John Gerard. 28p. 14.5" x 22". 12 double
sided paper paints and calligraphy by
Heide Bauerle. All handmade papers by
John Gerard. Bound in golden brown linen
with a handmade paper title and illustra-
tion covering front board. Slightly darker
toning dropback box with embossed title in
brown. One in an edition of 15 unique
variants. Signed by Bauerle and Gerard.
Fine. An exquisite book. Last copy. $1600.00

80. (John Gerard) Die Häuser meiner Straße/les No. 79.

cases del meu carrer. [A poem in German and

No. 80.
31
 Catalan] by Enric Casasses. With images by Victoria Rabal. John Gerard. Rheinbach. 2006. First edition. n.p. 14" x 7.75".
6 French-fold full page pulp paper paintings. Typeset in 24pt Galliard Roman, handprinted in black and blue. Bound
in Japanese style with open stitching in blue. Blue linen spine, original pulp paper painting over boards. Title on front.
Bblue linen dropback box. An edition of 30 unique variant copies signed by the poet, artist and Gerard. New. $600.00
Enric Casasses is a Catalonian poet. Victoria Rabal is a Catalonian artist and also director of the Paper Museum in
Capellades, Spain. English translation of the poem laid in at the bottom of the box.

No. 81.
81. (Louise Genest) Anemone. A sculptural book-object by Louise Genest. Approximately 2003. Box - 12.75" x 10.75" x 6.75".
Book-object - 8" x 8" x 4". Blue cloth lidded box containing a flower-shaped paper book object made of narrow strips
of cream paper bound in smaller sections and then combined to form the object. This is held in place to the base with
gold wire, which is also used as a decorative element to the piece. This is on the box base, with the 'book' itself placed
in the middle of a floor of blue mottled paper handmade by a master Japanese craftsman.. Lid of box decorated with
two found objects, which have had color and a small piece of gold wire added to enhance the design. Fine. $1650.00
A wonderful visual piece - as only Louise Genest can make it!

82. (Jean Giraudoux) Amica America. Par Jean Giraudoux. Gravures de Jacques Mauny. Aux Editions Emile-Paul Freres.
Paris. 1928. [4],164, [2]p. 7 leaves of plates. 11.25” x 7.5”. Cream paper wrappers with title in blue and black on upper
cover; glassine covered. One in an edition of 225 copies, printed on Holland paper. Half-title signed by the author and
the artist. Very good. $1250.00
The fine etchings in this work depict an Atlantic crossing and street scenes in America, and illustrate the author’s visit to this coun-
try. Jean Giraudoux, who lived from 1882 to 1944, was a diplomat by career, and one of the most distinguished and original modern
French authors. He
first made his
name with novels,
then turned to play
writing with even
greater success.
Jacques Mauny
was a painter and
wood engraver
who considered
himself a post-
expressionist, and
lived for a time in
America. His etch-
ings for this work
evoke the spirit of
the 1920s, when
the only way to
cross the Atlantic
No. 82. was by ship.

32
 No. 83.

More than two years in the making

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

33
 84. (Grey Spider Press) States of Grace. Poetry and prose by Jody Alieson. Seattle. [1992.]
n.p. 9.75” x 6.5”. Designed and printed letterpress by Chris Stern on watermarked
Nideggen. Covers from sheets of Indian Bagasse, a paper made from cotton, jute and
sugar cane fibers. Handpainted title label and inside cover with acrylic medium brown,
tan and orange. Bound with natural color woven ribbon both inside and outside wrap-
pers. One in an edition of 175 copies, signed by C. Stern on the colophon and Jody Alieson
on the title page. Fine. A beautifully printed little book. $75.00

85. (Jenni Grey - Bookbinder) Il Cantico delle Creature. di Francesco di Assisi. Italy. 2001.
9.5" x 6". Box - 11.5" x 8" x 2.75". No. 417 in an edition of 1200 copies. Unique binding by
Jenni Grey signed and dated 2004 on the Colophon page. Bound in black suede embroi-
dered with various threads and glass beads. All edges flecked with tan paint. Ribbon page
marker with tassel. Veneered wooden box with inlaid embroidered panel echoing the
design of the binding, lined with black suede and ribbon for ease of book removal. Brass
hinges. Fine. $3750.00
The design has lines of sewing that flow out from, and back to, a central point on the spine. The inten-
No. 84. tion is not to interpret the canticle but to symbolize how little we really know about our world and
our existence.
This poem was written out in a calligraphic
hand in 165 different dialects and lan-
guages for this facsimile edition specially
published for a Bookbinding Competition
held in Italy. Translations in over 100 differ-
ent languages (three in English).
Illustrated in Vol. II, p.35, of the catalogue
Maestri Rilegatoni Per Il “Cantico delle
Creature” (2002), which is included with
the purchase of this item..

86. (Jenni Grey - Bookbinder) The

Canterbury Tales. (2 vols.) By Geoffrey
Chaucer. Woodcuts by Edna Whyte.
The Folio Society. London. 1956.
276(1)p. 8.5" x 5". Box - 11" 7.5" x 3.75".
Unique set of bindings done by Jenni
Grey in 2005. Books bound in zebrano
No. 85. veneer, with light tan leather spines,
toad skin bands, and brass studs. All
edges with shaded brown stripes. Box covered in ash and zebrano veneer, with oak trays and brown felt linings. Brown
ribbons to remove books from trays. Signed and dated in pencil on the rear doublure. Fine. $5800.00

No. 86.

34
 Grey writes: These books were found when searching for something to fit
in with the 'British Classics' theme of the exhibition. The illustrations are
rather stylised, so the covering veneer was chosen to echo the boldness of
those lines. The 'Tales' are told by pilgrims to while away the time when
travelling to Canterbury, and the simple arrow forms on the covers sym-
bolise their journey there and back again. Although the often bawdy tales
don't always have a moral behind them, the pilgrimage is a religious one,
and this is hinted at in the design as the arrow shapes and spine form a
cross when the book is opened." This set of two volumes was on exhibi-
tion in Japan in 2006.

87. (Jenni Grey - Bookbinder) Shakespeare's Sonnets and A Lover's

Complaint. By William Shakespeare. The Folio Society. London.
No. 86.
1989. Illustrated by Simon Brett, Peter Reddick, Jane Lydbury,
Harry Brockway, Peter Forster, George Tate And Michael Renton.
n.p. 8.5" x 6". Box - 9.75" x 7.5" x 2.25". Unique binding by Jenni Grey in olive green suede, with hand embroidered
beads in gold and bronze and threads in shades of green across front, spine and back. Gray-green doublures. All edges
with olive green dots. Box with separate lid covered in oak veneer with olive green suede linings. Pattern on lid han-
dle. Green ribbon for ease of removal of book. Book signed and dated '2005' in pencil on a rear free endpaper. Fine.
Recently exhibited in Japan for the Designer Bookbinders Exhibition. $4500.00

No. 87.
Grey writes: "This book was selected specifically to fit in with the ' British Classics' theme of the exhibition, chosen because I liked
the way it is designed and illustrated, and for the challenge of dealing with a variety of illustrators. I think it is important for the bind-
ing to work integrally with the book, so the design had to complement the different styles without copying any one of them. I've
bound other versions of the Sonnets, and have picked up on the themes of the fair young man and the dark lady before, so this time
I focussed more on the fact that Shakespeare contemplates his own ageing, and therefore mortality, in contrast to the youth of those
receiving his affections, hence the subdued autumnal colour of the suede and the brighter energetic marks of the embroidery. We
don't actually know who Shakespeare was in love with, or in fact whether he was in love with a person or more with being 'in' love.
The embroidered lines reflect these themes in their meandering form, and are simply reflected on the lid of the box."

88. (Jenni Grey - Bookbinder) "Fall" & "Rise and Fall". Text and book design by John Crombie. Kickshaws. [Paris.] 1984.
6" x 7". Text in gray and plum. Handset and printed by the author. A unique set of two bindings by Jenni Grey in one
box, which then forms a larger pattern. Covered in dark grey goatskin and brown reptile skin, with exposed sewing
on the spine. The turn-ins form the design on the insides of the boards which are lined with suede. The clasps are made
of brass which has been chemically aged. The box is made of mahogany, with customized brass hinges, and a brass
title plate. There is a wooden division in the middle to separate the two books. Both books signed in pencil on a back
endpaper by Grey. Fall - No. 61 of 135 numbered copies. Rise and Fall - No. 14 of 185 numbered copies. Fine. $6000.00
"The designs of the bindings are inspired by the design of the text block, traditional with a contemporary twist." - Jenni
Grey. She also writes: [These books] were initially part [of a larger piece] ... I dismantled the piece, re-using the covers,
but re-binding the books, making new clasps and wooden box." [Illustration top of next page.]

35
 No. 88.

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

90. (Mary Heebner) Deep Thermal. Images by Mary Heebner.

No. 89. Poems by Clayton Eshleman. simplemente maria press. [Santa
Barbara, CA.]
2007. 13” x 17”. A
Port-folio featur-
ing six archival
signed and num-
bered pig-ment
prints of painting
on Somerset Velvet
rag paper by Mary
Heebner and six
poems by Clayton
Eshleman inspired
by the prints print-
ed from pho-
topolymer plates
on gray Rives BFK
in Spectrum In a
gray card folder
with paper title
label on front.. An
edition of 26
copies, signed by
both the artist and
No. 90. poet.Fine. $1200.00

36
 Eshleman writes in the Colophon: “As a poet, I have been working off paintings, from the Upper Paleolithic to the contemporary, for
many years. ... I am interested in what I see in paintings as well as what the paintings see in me. ... I found in certain Mary Heebner
watercolors a resonating psychic stimulation, and attempted to improvise on the words, narrative nodes and associational “chains”
they flushed forth.”

No. 91.

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

No. 92.

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

37
 93. (High Tide Press) Venice Saved from the Sea. Prints
by John Ross. Text by various authors. High Tide
Press. [New York. 1995.] Accordion fold. 11.5" x 8.25".
Conceived, designed, illustrated and printed by John
Ross in the High Tide Press workshop on Rives BFK;
set in Janson and printed on a Vandercook proofing
press. Collagraph images with two three-page fold
outs. When open the pages can be unfolded to show a
pull-out soft ground etching 22" x 30" with hand col-
oring. Prints done on a Brand etching press. Turquoise
cloth boards with a wave pattern, lined in blue
slubbed silk. Matching silk slipcase with recessed
paper title label. One in an edition of 15 copies, signed
by Ross. Fine. $1750.00
Texts by Emerson, 1833; Fynes Moryson, 1617; Dickens, 1846;
George Eliot, 1860; Percy Bysshe Shelley, 1818; Canon Pietro
No. 93. Casola, 1494; Philippe De Commynes, 1495; George Sand,
1854; Lord Bryon, 1818; and William Beckford, 1780..
Ross comments: "My wartime experiences in Italy lasted over a year without giving me the pleasures of a trip to Venice. It wasn’t
until 1949, during a nine month stay in Europe, that we first visited Venice. However, in the past 14 years, my wife (Clare Romano)
and I have spent two months every summer living and working in Venice, absorbing the sights and feeling of this venerable city. Its
architectural flamboyancies have impressed thousands of artists and writers through the years and I have joined this group. I have
produced 4 books on Venice and may do more." A wonderful book, with a dramatic surprise of the fold-out etching.

94. (High Tide Press) Visible Cities. With excerpts

from 'Invisible Cities’ by Italo Calvino. Translated from
the Italian by William Weaver. Prints by John Ross.
High Tide Press. New York. [1993.] 18" x 13". 12 archi-
tectural collagraph images, each on an 18" x 26"
spread. Plates printed by John Ross with the help of
Tim Ross on a Brand etching press at the High Tide
Press on Rives BFK; text in Palatino printed on a
Vandercook 219 press. Headlines and display type
are from the High Tide collection of antique wood
type. Bound in 30-year-old cream handmade paper
from India. Black cloth drop-back box by James
DiMarcantonio with original cream collagraph plate
and thick card title label laid into a recess of box front.
Box lined with black and white marbled paper. In an
edition of 25 signed copies this is one of 20 copies in
No. 94.
black and white. Fine. $3,000.00
Ross writes: “A student in my New School [N.Y.] printmaking workshop saw some of my architectural fantasy prints and asked if I
were affected by Italo Calvino’s writings. When I said "No" she brought me a copy of Calvino’s Invisible Cities and I found a distinct
relationship between his fables and my prints. It was possible to complete my Visible Cities using Calvino’s text and my images with-
out having to design a single new work. All the prints were
just waiting for his text. This was one of the rare times when
I paid Calvino’s publisher the required royalties to use 10
paragraphs of his writings. We had both been inspired by the
magic of Venice."

95. (High Tide Press) A Home for Hominstructs. Prints

by John Ross. Text by Selected Authors. High Tide
Press. New York. [1997.] 14" x 10". Multi-color colla-
graph images in a cut paper accordion that folds into a
3-D house. 20" x 15" x 14". Plates made in Venice in
1994 and printed on an etching press in the High Tide
print shop in 1995 and 1996. Text printed from
Linotype Helvetica on a Vandercook proofing press,
with display letters from wood type; printed on
Coventry. In a tan cloth portfolio box with magnetized
covers that open in the middle. The two front boards
No. 95. each have two recesses with a matching wood veneer

38
 and two flat knobs - giving the effect of a cupboard with opening front doors. Boxing made by James DeMarcantonio
in Providence, Rhode Island. One in an edition of 15 copies, signed by John Ross. Fine. $2000.00
Colophon: “ The collagraph plates for this project show the metamorphosis of structures into people, or hominstructs, with a text
from early Russian Constructivist architects.” The whole opens to form a marvelous, vibrant structure of a house. Text by Russian
Constructivist authors - Lazar Lissitsky, Ilya Golosov, Alexander Nikolsky, Nikolai Ladovsky, Alexander Vesnin, Moisei Ginzburg.
Ross writes: "A Home for Hominstructs is based on the same principles of transformation and regeneration, [as in An Architectural
Bestiary] with a title page and text influenced by Russian Constructivist architects of the 1920s and 1930s. It is my hope to be able to
develop some sculpture from these images."

No. 96.

The latest book from the great John Ross

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

97. (Sandra Jackman) The Juggler. Artist's book-object by Sandra Jackman. [New
York.] 2005. 12" x 12" x 4". Mixed media book-object and collaged cylinder set in
a black wood box with a clear plexiglass front through which the book-object
may be viewed. The box can be opened and the cover of the book-object laid
back to reveal seven individually illustrated scrolls, which are not
removable.The book’s mylar cover is covered with bits of collaged imagery that
form the background to the artist's interpretation of Chagall's 'Juggler'. Unique
item signed by Jackman. Fine. $3500.00
Jackman writes: "This is a symbolic work filled with images to tease the imagination. ...
"The juggler on the cover of my book- object concentrates on keeping the three figures in
the air without being distracted by the many images floating around him. So, too did the
Jews concentrate on what is significant to the religion and to themselves as a people, even
as they had been forcefully dispersed to wander. They have had to juggle all the identi-
ties that life required of them in order to survive."
[See illustration top of page 40.] No. 97.

39
 No. 97.
98. (Janus Press) What the Owl Said. By James Cortese. [Vermont.] 1979. First edition.
32p. 12" x 9". 19 linoleum cut illustrations and one linecut decoration from a pen draw-
ing by Claire Van Vliet. Designed, set and printed by Van Vliet. Titles printed in black
and ochre; text in black, ochre and brown. Linoleum cuts printed in sap green and two
shades of blue, white, and two shades of yellow. Linecut decoration printed in blue.
Printed on Promatco Heavy Library Endleaf, with ochre Fabriano for the end sheets.
Bound in printed natural Belgian linen over boards. Masonite cut decoration printed in
tan on front and back covers. Paper title label on spine. No. 92 in an edition of 150 num-
bered copies, plus 15 H.C. copies. Fine. $350.00
Published with grant assistance from the Literature Program of the National Endowment for the
Arts in Washington DC, a Federal agency, and a seed grant from the Wisconsin Arts Board, the
state arts agency.

99. (Janus Press) The Gospel of Mary. English Translation from the Greek by Karen King
with Commentaries by Rosemary Radford Ruethen. Newark. Vermont. 2006. n.p. 11.5"
x 10". Printed in Monotype Plantin, cast at Golgonooza Letter Foundry, and printed on
No. 98. calendered Barcham Green Boxley. The cover and pop-up center piece were pulp paint-
ed by Claire Van Vliet with Katie MacGregor in Maine. Blue and light green thick card covers. Woven open-spine bind-
ing in gray Barcham Green Cairo paper. Dropback box with birch trim, red paste paper decoration on side, and title
on spine. Paste paper decoration inside box. One in an edition of 150 copies, signed by Claire Van Vliet, Audrey Holden
and Andrew Miller-Brown. Fine. A wonderful new book from Claire van Vliet's Janus Press. $1500.00

No. 99.

40
 No. 100. No. 101.

100. (Paul Johnson) Watch and Wait for the Surprise. Unique cut-out and painted book by Paul Johnson. 8 leaves. 8.25" x
5". A painted, decorated, shaped book with cut-outs, onlays, and hanging multi-colored braided threads with small
paper cylinder and paper attached. In a red card envelope-type container. Signed by Paul Johnson. Fine. $275.00
101. Paul Johnson) The Light Shines in the Darkness. John I,v.1. Artist’s book by Paul Johnson. [Manchester. 2002.] 13.5” x
9.75”. Double-page pop-up three-dimensional multi-colored and gold paper book, with many cut-outs and wheel-like
and spiral onlays. Glued to black inside boards with mottled red cloth outer boards; gilt title on front. Unique book
signed by Paul Johnson. Fine. $925.00
An exuberant and exciting pop-up book by the master of paper engineering, Paul Johnson..

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

103. (Paul Johnson) Heaven is Available to All who do not allow themselves to be distracted. Unique cut-out and painted book
by Paul Johnson. Pull-out accordion fold. 5.5" x 4.25" x 1.75". A painted, decorated, shaped book with cut-outs, onlays,
hanging multi-colored braided threads with small paper cylinder and paper attached. Spine decorated. Paper 'mock'
closure. In a black card envelope-type container. Signed by Paul Johnson. Fine. $175.00
104. (Paul Johnson) Ask your Dreams to Wait until you are ready for them. Unique cut-out and painted book by Paul Johnson.
5 double-page pop-up spreads. 2.75" x 3.5". A painted, decorated, shaped book with cut-outs, onlays, hanging multi-
colored braided threads with small paper cylinder and paper attached. Spine decorated. Paper 'mock' closure. In a
black card envelope-type container. Signed by Paul Johnson. Fine. $95.00

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

41
 No. 105. No. 106. No. 107.

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

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

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

108. (Peter R. Jones - Bookbinder) The

Garden & Other Poems. By Andrew Marvell.
Engravings by Harry Brockway. The Folio
Society. 1993. 4.5" x 3.375". Unique binding
by Peter Jones. Bound with wood boards;
open sewn spine with three black metal rods
and two white leather strips across the spine
with two small black studs at each side. Black
endpapers. Black card protective envelope
folder. Book signed in pencil on the back of
the final free endpaper by Peter R. Jones and
dated 2005. Fine. $1150.00
No. 108.
109. (Peter R. Jones - Bookbinder) Aesop's
Fables for Modern Readers. With
Illustrations by Aldren Watson.
The Peter Pauper Press. Mount
Vernon. New York. 1941, 1955.
60(1)p. 7.5" x 4.5". Illustrations
in black and red throughout. Set
in Baskerville types and printed
on specially-made paper.
Designed, printed and pub-
lished at the press. Unique
binding by Peter Jones. Black
leather spine with two raised
bands and boards of oak strips
showing the natural grain.
Black free endpapers. All edges
gray. Black binder's cloth over
No. 109. board slipcase.Fine. $2500.00

42
110. (Kairos Press) The Stone Beloved: Six poems from Dante Alighieri. Translated
by Harry Duncan. With Lithographs by Peter Nickel. Austin, Texas. 1986.
14.375” x 10.25”. With 7 lithographs, including the double-page fron-
tispiece, soft tinted and printed on one side by Peter Nickel. Set in
Romanee and printed by Bradley Hutchinson, Nancy Ruppert, Elaine
Smyth, and Thomas Taylor on gray Rives BFK paper. Quarter bound by
Craig Jensen in vellum and gray abaca paper over boards. Title in silver
on spine. In a slipcase of abaca paper over board. No. 7 of 25 special soft
tinted copies in an edition of 150 signed by Peter Nickel. Fine. $625.00

111. (Kairos Press) Just Such a Time: Recollections of Childhood on the Texas
Frontier, 1856-1867. By J.M. Carroll. Austin, Texas. 1987. 65p. 9.5” x 6.5”.
With woodcuts by Barbara Whitehead. Frontispiece in yellow, title-page
woodcut in second color. Set in Bulmer type, printed on Nideggen paper.
Quarter bound in calf and wood veneer paper over boards, title in blind
on spine. Dust jacket. One in an edition of 150 copies. Fine. $195.00 No. 110.
We welcome a new creative talent to these pages
Sara Langworthy’s recent works show a deep interest in the exploration of layering and texture through an unusual
and intriguing combination of painting, drawing, and printmaking processes. In 2001, she completed graduate stud-
ies in Book Arts at the University of Iowa, and has taught classes in Minnesota, Iowa, and North Carolina. She has had
her work exhibited nationwide.
112. (Sara Langworthy) First Visit. Artist’s book by Sara Langworthy. Coreopsis Press. 2001. 8.75” x 7”. Conceived and
assembled in the winter, using transparencies of etchings, with U1CB kozo, Japanese book cloth and 2-ply museum
board. Six ‘leaves’ of board, covered with black cloth with rectangular plate inset and held in place with string. Each
plate illustrated and with minimal text. Smaller plates inset in both back and front boards. Grey cloth boards and black
cloth spine. One in an edition of 40 signed and dated copies. Fine. $500.00

No. 112.

Langworthy writes that for best viewing, place in front of bright light.
“Sara Langworthy was trained in bookbinding, printing, and papermaking at the University of Iowa Center for the
Book. She has been a resident artist at the Minnesota Center for Book Arts and Highpoint Center for Printmaking in
Minneapolis. She currently divides her time between her studio in Minneapolis, and Iowa City, Iowa, where she teach-
es Bookbinding and Letterpress Printing. [Her work] can be found in a number of national collections, including the
Walker Art Center and Yale University.” - Women’s Studio Workshop Summer Arts Institute 2007.
This book was published with a grant from Women’s Studio Workshop, which is funded in part by the New York State
Council on the Arts. An interesting structure to a charming book.
113. (Sara Langworthy) Mortho Terrestre. Poems [by] Emily Wilson. Prints [by] Sara Langworthy. 2006. 11.25” x 5”. Four 4-
page fold-out color images created on and off the press by Langworthy, who also designed and printed the book. Text
in Janson printed on Sakamoto paper from photopolymer plates. Pages are sewn with silk in a Japanese multisection
binding. Laid in a recess in a brown silk dropback box with cream paper title on the spine and paper color illustration
on the top of the box. One in an edition of 50 copies, signed by Wilson and Langworthy. Fine. $600.00
[See illustration top of page 44.]

43
 No. 113.
Emily Wilson lives in Portland, Maine, where she is the proprietor of the Spurwink Press, which publishes letterpress
editions of poetry books. She graduated from the University of Iowa Writers' Workshop in 1999. Six of the poems in
this book have previously appeared in various publications.

114. (Susan Lowdermilk) Momento Mori. Quote by Shakespeare. Woodcut artist's book by
Susan Lowdermilk. [Eugene. Oregon. 2005.] Accordion fold. 12.75" x 4.75". Two color
woodcuts. Text and image printed on Stonehenge paper. Black corrugated card covers
with Indonesian palm leaf style binding sewn with white cord. Paper title label on front.
One in an edition of 12 copies, plus 2 artist's proofs. Signed, numbered and dated on the
reverse side. Fine. $400.00
Youth matures into Russia’s greatest contemporary Book Artist
115. (M.K. Publishers) Self-Portrait: Mikhail Karasik.[In English and Russian.] Exhibition
catalogue. The State Russian Museum. The Ludwig Museum in the Russian Museum. Saint
Petersburg. 2003. 96p. 13.25" x 8.5". Illustrated in color with black and white descriptions
throughout. Illustrated paper over board covers with title on front. One in a limited edition
of 300 copies, signed by Mikhail Karasik. Fine. $65.00
M.K. Publishers is the personal publishing house founded in 1987 by Mikhail Karasik, an
artist, pioneer, ideologist and dedicated promoter of the genre of artists’ books in Russia. It
produces limited edition book and book-objects. Karasik has published numerous books
and catalogues on artists' books and Russian avant'garde art of the early 20th century. He
has written more than 30 articles on artists’ books and modern art. Under his own imprint,
M.K. & Khar-
msizdat,
M i k h a i l
Karasik initi-
ated a series
of avant-
garde festi-
vals in St.
Petersburg,
including the
No. 114. D a n i l
Kharms festi-
vals (1995-1998, 2005). Patronizing artists
from St. Petersburg, Moscow, Nizhny
Novgorod and Lvov, M.K. Publishers
has brought Russian artists’ books to
international art fairs regularly since
1997.
Image of Karasik as a child; cover of #115.
44
 No. 116.

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

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

No. 117.

45
 No. 118.
118. (M.K. Publishing) Arabian Eros. Artist's book by Mikhail Karasik. St. Petersburg. 1998. n.p. (24p.) 19.5" x 13". Nine full-
page original color lithographs. Green titled wrappers. In a striped multicolored dropback box with black cloth spine.
One of 17 copies signed by the artist. Fine. $2900.00
In a series of original glowing lithographs, Mikhail Karasik puts his artistic vision to play with The Yashmak; Morning;
Voluptuousness; The Source; Midday; Caresses; Evening; Dream and Moon. Beautiful images with a salute to Matisse!

No. 119 -
3 images.

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

46
 No. 120 -
3 images.

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

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

No. 121 - box, binding & an image.

47
No. 122.

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

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

No. 123.

48
 Martin - the essential bibliography on the early Private Presses
124. (John Martin) A Bibliographical Catalogue of Books Privately Printed: including those of the
Bannatyne, Maitland and Roxburghe Clubs, and of These Private Presses at Darlington,
Auchinleck, Lee Prior, Newcastle, Middle Hill, and Strawberry Hill. By John Martin, F.L.S.J.
and A. Arch. Payne and Foss; J. Rodwell. London. 1834. 2 vols. xiv, 314; 317-563p,
includes Index. 11" x 8". Colored frontispiece to Vol. I, black and white frontispiece and
vignettes to section headings to Vol. II. Later black leather spine and tips, gilt title on
spine; marbled paper boards. Marbled endpapers. Neat labels in each volume top cor-
ner of front pastedown dated 1881. Very good. $650.00
John Martin - bookseller, publisher, editor, and librarian - compiled this first bibliogra-
phy of privately printed books based on replies to his advertisement seeking informa-
tion about these titles in Gentleman’s Magazine (February 1829). Martin also obtained
a wealth of information from contacts with some of the greatest English collectors of
the day, including Thomas Grenville, George John Earl Spencer, Francis Wrangham
and the Duke of Bedford, while Sir Thomas Phillipps provided details of the publica-
tions he issued under the Middle Hill imprint. A second edition of this catalogue
appeared in 1854. - From Almeloveen to Whittington: Book & Manuscript Catalogues 1545-
1995, The Grolier Club, 2007. An essential bibliographic tool in the study of the early
Private Press movement. No. 124.

125. (Nora Lee McGillivray) To Be Read in the Light. Artist's book by Nora Lee McGillivray. 2006. 27 leaves. 10" x 13.125".
Gocco screenprinted on Masa. Original text, title page and colophon are inkjet printed on Arches 88 in Papyrus. Single
sheets are post and nut bound between covers of handmade Cave Degener Black over boards and lined with Cave
Galaxy with mica. Title is printed on Cranford silver. Flyleaves are crater paper from the Philippines. Black box and
separate lid with title label and edition number on front. One in an edition of 26 initialed copies. Two A/P copies. Fine.
$375.00
McGillivray writes: "To Be Read in the Light is an interactive artist's book, in which pairs of printed images and 13 very
brief verses of words use light as material and metaphor to illustrate luminous moments of discovery. This book is my
attempt to give form to those exhilarating ‘ah-ha’ moments of insight and revelation, when the elusive becomes clear.
“Pairs of images are screenprinted to single sheets of semi-transparent paper: one image to the recto and one to the
verso. The ephemeral moment of enlightenment will come to the reader as she lifts and turns the page. A new image
is created as surrounding light shines through the paper, blending the two images into one. Brief, self-contained sto-
ries, printed on opaque pages on either side of the image page, are clearly revealed at the moment of the turning.
"I am inspired by Ezra Pound's idea that "the book should be a ball of light in one's hand"; the physicists' understand-
ing that light is the primal element that makes everything possible; the philosopher's view that light is life, knowledge
and reality; the mystic's belief that light is the divine."

No. 125.
Two fine works by Robert Johnson of the Melia Press from the early 1990s
126. (Melia Press) Tickletoes. John Wills, Poet. Robert Johnson, Artist. (Minneapolis. MN. 1993.] 13 French fold leaves. 18” x
12.75”. Designed and printed by Robert Johnson. Shapes and colors printed using a relief collagraph letterpress
process. Hand printed using Bembo, Huxley Vertical, and Clarendon type on Rives BFK paper. Bound by Jill Jevne

49
 No. 126.

with an open sewn spine; boards of yellow fabric with a blue Moriki inset front and back. Pages are hinged with yel-
low Moriki guards sewn on to five linen tapes. Bright blue cloth dropback box with paper title label on spine. No. 35
in an edition of 40 copies, signed by John Wills, Robert Johnson, and four other contributors to the production. Fine.
$4500.00
This large format book presents fourteen of Wills’ cheerful poems in combination with Johnson’s colorful, animated
two-page spreads. Approximately 160 press runs and 180 handmixed colors were required to achieve these unusual
graphic images. An exciting visual book with charming text.

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

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

No. 127.

50
 No. 128.
Bound in sharkskin over board. Laser-cut by Julie Chen.
Title on front. In a plum textured bag with green tie. One
in an edition of 25 copies, signed by Lois Morrison. Fine.
$195.00

129. (Lois Morrison) Geryon’s Country. Artist's book by Lois

Morrison. [New Jersey.] 2005. Tunnel book format. 9" x
5.5". Color copied from crayon drawings. Gocco-printed
and color penciled onto digital color Supreme Glossy recy-
cled, Arches text wove and Fabriano Tiziano Lava Red.
Typeface is Font Lister. Together with the colophon in a
red folder at the back of the book are three handcut and
movable grommeted figures of two Geryons and a dog.
These figures can be placed between the layers of the book
to form an interactive scene. Laid in a patterned tan cloth
wrapper lined in deep red with a three-button closure.
One in an edition of 25 copies, signed by Lois Morrison.
Fine. $750.00 No. 129.
Inspired by the Greek myth wherein Hercules is caught stealing Geryon's herd of red cattle and kills him as one of his labors. "Geryon
is described as being red, incredibly strong and having six arms and six legs" - from the text. Lois Morrison has again created a clever
contemporary visual book inspired by a classic text.

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

No. 130.

51
 Nix states in her Preface: “I felt that our children in the United States know so little about war that perhaps it would be a challenge
to create a non-scary book that told about things that happen during a war. I recalled some of my most vivid childhood memories
and wrote about my experiences in Holland during World War II. I used the names of the people involved because they should not
be forgotten. ... Please consider this artist’s book as an expression of the happiness I feel because I survived and as a reminder that
war is not just about armies but very much about fathers, mothers, and children.”

No. 131..
131. (Nelleke Langhout Nix) Papua New Guinea: where She invented bow & arrow. An Artist’s Book [with] stories and origi-
nal art by Nelleke Nix. [Nelleke Nix Studio Gallery Press Inc. Mercer Island. Washington.] 1996. n.p. 8.5” x 11.5”.
Illustrated with 30 black and white block prints, some color added, and linocuts in color. The block prints are made on
metal blocks, using the raised line - the reverse of engraving. Printed letterpress by the artist on cream Mulberry paper
and Clearprint. Black feather laid in; one page with sewn-on collage. Endpapers of handmade navy, orange and natu-
ral striped Japanese paper. Bound in tan cassowary bird skin, with striped Japanese paper. The cassawary skin has
been used in as natural a shape as possible to form its own design, with the bottom spine extending slightly over the
edge of the book. Binding sewn Japanese style to back cover. An edition of 32 numbered copies. One of 10 thus, signed
by the artist. Fine. $450.00
One of 20 copies: printed on Reeves etching, Fine and Clearprint. Gray and white endpapers of original prints made
using a very fine mosquito netting over the linoblocks on Reeves paper. Bound in a brown skin of the lizard family,
with cut-out tail-feather shapes added to the back cover. Nix writes that the leather is antique from animals that were
eaten, not wasted for their hide and feathers! Fine. $300.00
A fascinating record of the author/artist’s trip to Papua New Guinea in 1995, where she was invited to visit by artists from the Sepik
region whom she had met when they were traveling in the United States. The
illustrations are all of the people and their activities, and the text combines
stories and legends together with facts relating to the life of the people.

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

133. (Jan Owen) Rhyme & Rhythm. Unique calligraphic panel by Jan
Owen. [Bangor. Maine.] 2005. Hanging accordion fold book. Closed
- 14" x 10.5". Open - 14" x 55". Acrylic on paper, painted woven Tyvek
and two half CDs as decoration. All backed with plum color paint-
No. 132.

52
 ed Tyvek. Painted tan/blue/black-plum; orange background painted with
black and brown inks. Decorated paper boards with colored paper title label
and white hanging cord. Laid in a patterned gray/black cloth portfolio case
lined with hand decorated tan/gray/black paper. Paper title label with black
cord closures; lined with hand decorated paper. Unique signed work. Fine.
$1000.00
Owen writes: "[This work] began as a quiet book of blue and black paper but I
was chopping up a copper paper and together, they came to life. The brush
marks in the copper paper made me think how exciting and vital our writing
and our words can be - no matter if written or stored on CD. Yet, as Dana
Gioia's quote says, 'Reading is never more intimate than with script. The hand
of the poet reaches out to greet the reader.’” Text includes words by Boris
Pasternak, Lu Chi, Dana Gioia, Virginia Woolf, Iris Murdoch, Joseph Conrad,
John Tagliabue, and Walt Whitman.

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

No. 134.
No. 133.

53
 135. (Passim Editions) Ultima Thule. [By]
Nicholas Christopher. Woodcuts by Wesley B.
Tanner. [Ann Arbor. 2004.] Over 125 color
woodcuts throughout. n.p. 12.75" x 10". Printed
and bound by Wesley B. Tanner using Bauer
Bodoni type and Vit Bloma handmade paper.
Title woodcut lettering by Susan Skarsgard.
Illustrated boards in red, tan, orange and black;
green cloth spine with paper title label. One in
an edition of 30 copies, signed by Nicholas
Christopher & Wesley B. Tanner. Fine. $1500.00
An epic poem by the author of A Trip to the Stars,
Atomic Field and Franklin Flyer, Ultima Thule is the
story of a bold adventurer on a journey to the very
end of the world, while the young queen of Sparta
waits and ponders her fate. ... [it] is the work of a
master at the top of his form.
Nicholas Christopher is well-known for his many
appearances in The New Yorker and The Paris Review,
No. 135.
and is keenly appreciated by the poetic community,
amongst them Anthony Hecht and Catherine McSweeney.
Celebrating forty years as a printer, Wesley Tanner created this book with handmade Swedish paper of the late 1950s, utilizing the
rare Bauer Bodoni types. He is now on the faculty of the School of Art & Design at the University of Michigan. His illustrations for
this book are well integrated with the text, resulting in a powerful and appealing work.

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

No. 136.

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

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

54
 No. 137.
138. (Passim Editions) This Lunar Beauty. [By] W.H. Auden. Ann Arbor. 2007. 7 leaves. 19.25” x 13”. Calligraphy by Susan
Skarsgard. Green front leaf with silver moonlike device. Five light grey leaves with calligraphy, plus Colophon page.
Calligraphy in dark green printed by giclée and letterpress colophon on Twinrocker handmade paper. Open spine
sewn binding with four cloth strips held in place with thin cream cord stitching by Wesley B. Tanner with laser-etched
acrylic cover and silver bead-etched aluminum box. Box lined with dark green suedette and tape for ease of removal
of book. One in an edition of 25 copies, signed by Susan Skarsgard. New. $1250.00
A very beautiful and elegant book by two very talented bookmakers.

No. 138.
139. (Perishable Press) New Hampshire Journal. [By] Joel Oppenheimer. With an afterword by Theresa Maier. Wisconsin.
1994. n.p. 9" x 5.25". Woodcuts by Margaret Sunday. Printed in black and gray on Sakamoto and Kurotani papers. Top
edges uncut. Thick cream handmade paper wrappers with three narrow white leather raised bands and beige stitch-
ing on the spine. No. 64 in an edition of 125 numbered copies. Fine. $400.00

The last Gabberjabb from Walter Hamady

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

55
 No. 140.

141. (Press on Scroll Road) Three

Essays by David Kline. Abigail Rorer -
Engravings.[Carrollton. Ohio. 2006.]
28p. 10.75” x 6.75”. Two full-page
black and white engravings. Printed
from handset Cloister Lightface type
on Twinrocker paper in an old iron
handpress. Sheila Waters drew the
title page initial. Bound by Priscilla
Spitler in brown slubbed silk with
paper title label on spine. An edition
of 60 copies. Fine. $225.00
“David Kline writes from the farm where
he was born in Holmes County, Ohio. A
member of the Amish community, he
farms there with his wife & children and
No. 141- the help of his neighbors & horses. -
right; Prospectus.
No. 142 - “An internationally recognized engraver,
far right. Abigail Rorer’s work can be found in
major institutional and private collec-
tions, in the publications of various fine presses as well as in the books from her own press, the Lone Oak Press.” - Prospectus.

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

143. (Red Angel Press) The Owl King. By James Dickey. New York. 1977. n.p. 12.25” x 8”.
Design and illustrations by Ronald Keller. Woodcuts throughout. Frontispiece in black and
blue. Set in Centaur & Arrighi and printed by hand in black and blue at the press in New
York & Bremen, Maine, on Rives. Pages are divided into three sections, with illustrations
flowing through all sections. Tan cloth spine, blue cloth boards with indentations in two
places, echoing the three sections of the book. Title in blue on spine. An edition of 100
copies, numbered and signed by James Dickey and Ronald Keller. Fine. $750.00
A fantasy poem in parts, pages are cut to present the three voices in separate ‘leaflets’
allowing parallel incidents of the three characters to appear together.
No. 143.

56
144. (Red Angel Press) The Bridge. Three poems by Hart Crane
from his collection, The Bridge. Illustrated and designed by
Ronald Keller. New York. 2004. 12.5” x 7.5”. Printed in
American Garamond 648 type on Saunders Waterford
paper. To illustrate the first two poems three relief print
images of the bridge’s stone arches and steel suspension
cables are printed on Sekishu in six colors in a style remi-
niscent of early 20th century poster graphics. The third
poem is printed on four hinged leaves that extend to 42
inches when opened and create a pop-up design of the
cables and supports. Cover designed to represent
abstractly the bridge’s suspension cables. An edition of
100 copies signed by Keller. Fine. $900.00
The last poem, To Brooklyn Bridge, has a typographic layout to
form the bridge’s roadway and is bordered by a depiction of the
suspension cable (the poet’s ‘choiring strings!’) that rises up from the pages when opened. No. 144.
“Much of Crane’s poetry in this collection was written while Crane lived in Brooklyn Heights, certainly within sight of the Brooklyn
Bridge. Critics contend, however, that his early conception of a bridge was metaphorical, not specific. It was at this time that Crane
fell in love and work on The Bridge intensified. In 1924 he wrote [to] Waldo Frank, ‘... the ecstasy of walking hand in hand across the
most beautiful bridge in the world, the cables enclosing us ...’. The specificity of the Brooklyn Bridge seems to take hold now, but is
symbolic of his new lover, not just a paean to a monumental structure.” - Prospectus.

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

No. 145.

Martyr, Mercury and Rooster - A contemporary trilogy on the theme of ‘Ars Moriendi’
A new interpretation of 15th century texts now seen through modern eyes.
146. (sailorBOYpress) Martyr, Mercury, and Rooster. [A series of three books on the theme of 'ars moriendi'.] A collaborative
project between Caren Heft and Jeffrey Morin. [The text is taken from various sources, stated in the books.] The

57
 Arcadian Press & The sailorBOYpress.
[Stevens Point, Wisconsin. 2004/2005.] n.p.
11.75” x 9”. Various colored and textured
Root Mill cotton, Larroque and
Hahnemuhle papers. Hahnemuhle paper
was gelatin sized with pigment added in.
With onlays of metal, string,tape, plastic,
pins, mica, beads and paper. Illustrations
and decorations in various colors; type
used as part of the design. All books print-
ed in 14 pt Cochin Light. Bound with open
sewn spine and five cream bands across the
spine which end inside the front cover; the
middle band is larger than the two on
either side of it. Pale blue/green textured
cloth dropback box with small mica square
inlaid on the front. An edition of 50 copies.
Fine. $2250.00
1. Shahida - The factual story of the first
Palestinian female suicide bomber.
No. 146 - 2. The Dancing Cats of Mercury - Mercury
3 images. and its destructive effect on the lives of fish, animals
and humans.
3. Sibongile and the Murderous Rooster - tells of the
spreading of HIV in Southern Africa through the
means of a fable.
“In fifteenth century Europe, the level of literacy had been
on the decline. ‘Ars Moriendi’ are picture manuals for one’s
preparation to meet death. On one level they are intended
to ease the transition and prepare one’s family for the com-
ing loss. On another level, these manuals are a form of
propaganda, advising the soon-to-be-departed to give
heavily to the Church to guarantee a better place in Heaven
or at least a seat further from the flames of Hell.” -
Colophon, Rooster.
"The way the project worked, we decided on scale, paper,
and page count first. We spent last summer hand-sizing
many papers with gelatin and pigment, and then moved on
to text. The first and last books are our own individual
attempts at sticking to the format while the middle book is
a project that went back and forth between the two of us
until it was completed." - Letter from Jeff Morin.
"The collaboration between two printers, ...
came out of Walter Hamady's 1983 letter-
press class." - Colophon, Martyr.
This series of books dealing with contempo-
rary ways in which people 'prepare' to meet
death in various forms in different societies
is a moving treatise, without
sentimentality..It is thought-provoking and
important as a document on the state of man
and our civilization to-day. We believe it
should be read and shown to as wide an
audience as possible.
Already in the collections of The Library of
Congress; Rochester Institute of Technology;
The Bruce Peel Special Collections Library,
University of Alberta, Canada; The Jack
Ginsberg Collection, Johannesburg, South
Africa; Wheaton College Library, Norton,
MA; Smith College, Northampton, MA;
Scripps College Library, Claremont, CA, and
Wellesley College Library, MA.

58
 No. 147.
World War II remembered in a series of letters home - from a sailor to his wife
147. (sailorBOYpress) My darling, My reason. Text from letters by Roger D.N. Design and construction by Jeffrey Morin.
[Stevens Point, Wisconsin.] 2006. 7" x 10". Letterpress printed in 20th Century Light, which was purposely chosen not
to emulate script or typewriter, both formats of the original letters. Gelatin-sized Hahnemuhle watercolor paper in blue
with gray. Black and white and sepia reproductions of photographs of sailors from the World War II period, as well as
two photo postcards from the same era. Illustrations, postage stamps of the period and some cut-outs throughout. All
photographs placed with black photographic album corners, reinforcing the idea of an album. Bound in brown mot-
tled paper endboards with postage stamp on the right hand side of front board. Four signatures sewn with open spine.
Brown cloth dropback box with postage stamp on side on sideof front. An edition of 48 copies. Fine. $750.00
Morin writes: "Every project starts with a type of predicted vision but they never become what was envisioned."
"The photographs, with the exception of two obvious photo postcards, have never been published and are part of my large collection
of such images of sailors. They are editioned using an archival inkjet process on Kodak Ultima paper."
Morin also states in the Colophon: "The letters came to me in an anonymous way with no knowledge of the author or the relation-
ship with his wife. This book has evolved over time from the original intention of a photo album to that of a book which presents
the possible thoughts of Roger D.N. who wrote to his wife faithfully while a sailor during World War II. Misspelling and grammati-
cal oddities remain from the original letters."

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

No. 148.

59
 Catherine Satterlee studied painting with Philip Wofford and Lawrence Poons at Bennington
College. She continued painting on a full-time basis, exhibiting her work in Washington DC
galleries, until 1999 when she began working in the exhibits department of the Hirshhorn
Museum and Sculpture Garden. Rapunzel, Rapunzel is the first book for Ms. Satterlee and
her first collaboration with author Isabel Fucigna. Their current project is based on the
Sleeping Beauty myth.
Satterlee writes”When our manuscript was exhibited –at the staffshow of the Hirshhorn
Museum, where I had begun to work, and at the library of the National Museum of Women
in the Arts, where it had inspired the exhibition Rapunzel, Rapunzel, Let Down Your Hair! –
the response was so encouraging that the third stage of our project, developing multiples,
was begun. This small edition of ten books was inspired by seeing the possibilities of great
printing – it is uncanny how the prints convey the same intense colors and velvety quality of
the original gouaches....
“Although our version of Rapunzel is not for children, the reference to children’s books is per-
haps a recognition of the archetypal nature of this and many other classic fairy tales, of the
very fundamental parts of our selves that the stories relate to, and the profound lessons they
have to teach.”
Isabel Fucigna writes: “I began my writing career in third grade in an effort to enliven the
back row during English class. After graduate school in journalism at the University of
Missouri-Columbia, I worked for several newspapers, then spent almost 15 years at Time-Life Books in Alexandria, Virginia. After
receiving an M.A. in fiction writing at The Writing Seminars, Johns Hopkins University, where I taught for two years, I abandoned a
paying job. Currently, I am at work on two novels and a memoir, and a book of poems. I live on an undiscovered mesa in the San
Juan Mountains of Colorado.
“Rapunzel, Rapunzel is not like anything I have ever done before. There were numerous creative hurdles, among them: how to be com-
fortable with a collaborator when my being wants to go it solo, how to see a story as art and in color when my likes are blank pages
and gray-black text, what to bring to a classic fairytale that has stood the test of time and is an extraordinary work of art on so many
levels. I ended up deciding I could bring nothing to the Brothers Grimm story but a different language, different words, and differ-
ent emphases. Ultimately working with these many constraints proved creatively liberating.”

149. Ilse Schreiber-Noll) Hamba Kahle

Solomon Malangu. Poem by Dennis
Brutus. Printed and illustrated by Ilse
Schreiber-Noll. 1987. Color woodcuts.
n.p. 22" x 15". French fold. Printed on
black Arches Cover paper. The poem is
cut out of the woodblock and is printed in
white ink over a populated green and
brown landscape, which is continuous
over 18 pages. In a dropback box covered
with dark brown handmade paste paper.
Small woodcut inlaid into the front cover.
One in an edition of 10 copies signed by
the poet and artist. Fine. $2250.00
Dennis Brutus was born in Zimbabwe in
1924 to South African parents. He attend-
ed university in South Africa. Political
campaigns led to his being banned from
all political and social activity. When held
captive on Robben Island, near Cape
No. 149. Town, South Africa, he spent time break-
ing stones with Nelson Mandela. After
leaving South Africa, he made his home in England until 1983, when he won the right to stay in the United States as
a political refugee. He is an Emeritus Professor at the University of Pittsburgh, and has also taught at Northwestern
University, Swarthmore College, the University of Denver, as well as other major universities. He was the recipient of
the Langston Hughes Award in 1987 (the first non-African American to receive that award) and he was also honored
with the first Paul Robeson Award in 1989 for “artistic excellence, political consciousness and integrity.” Brutus’ first
collection of poetry, Sirens, Knuckles and Boots (1962) was published in Nigeria while he was in prison. Although his
work is protest poetry, there is a maturity and restraint in his poems that prevent them from ever becoming self-pity-
ing.
Schreiber-Noll writes: “I encountered the poetry of Dennis Brutus the first time in 1987. ... I read the poem “Hamba
Kahle Solomon Mahlangu” in a magazine and was so moved that I decided to contact the poet, who was teaching at the
University of Pittsburgh. That is how my first collaboration with a contemporary poet started.

60
 No. 150.

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

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

No. 151.

61
 Schreiber-Noll writes: “I had listened to the early piano pieces of John Cage and read his books. At the same time I found Octavio
Paz’s poem dedicated to John Cage. I thought that I would like to make a book, which [would] be a mutual admiration of [two] great
artists for each other, Paz and Cage. After getting permission to use Paz’s poem I contacted John Cage asking him if he would write
something dedicated to Octavio Paz. [He agreed to re-write White on White which he had written for Paz’s 80th birthday,] but Octavio
never responded to it. Maybe he will this time, we thought. And he did when I met him at his home in Mexico City to bring him his
book and to sign the others. He seemed to be pleased.”

No. 152.

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

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

No. 153.

62
 No. 154.

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

Dramatic and haunting etchings illustrating a great Epic

155. (Kristiane Semar) Gilgamesch: Die Weltränder Im Auge. Text aus dem Gilgamesch-
Epos. Radie-rungen von Kristiane Semar. [Text from the Gilgamesh Epic. Etchings
by Kristiane Semar.] [Belfast. September 1994.] n.p. 23.25" x 15.25". Illustrations in
blind at beginning and end of text. 26 original black and white etchings, all signed
and dated, illustrating different sections of the Epic. Etchings on different paper,
depending on copy number. Text in Perpetua using an Apple Macintosh with
PageMaker 5.0 on translucent Japanese Shoinbis paper or Chinese Xuan paper.
Endpapers of black and white etchings. Bound by the artist in black linen spine,
with cream paper boards; title and recessed etching in black on front board. No.
4 in an edition of only 5 copies, signed by Kristiane Semar. One page creased, else
very good. $2,500.00
This book was made in 1993/1994 during Kristiane Semar’s Postgraduate Course in Applied
No. 155.
Arts at the University of Ulster, Belfast. It is a monumental production of love, well suited
to one of the world’s oldest written stories which comes from Ancient Sumeria,
and was originally written on 12 clay tablets in cuneiform script. The subject is
the legends and myths that have accrued about the historical King of Uruk
(somewhere between 2750 and 2500 BCE) who lived in Babylonia on the River
Euphrates..

A creative collaborative project - still exciting after a decade

156. (Silver Buckle Press) The Exquisite Horse. Madison. Wisconsin. 1997.
Thirty-two contemporary book arts and letterpress printers collabo-
rated on this project. Prints are housed in a drop-back box measuring
16" x 11.75" x 1" when closed, with the inner tray divided by a wall that
separates the head and tail parts. Each artist designed and printed 100
copies of a section of a quadruped, with the specification that the parts
meet in the middle. The displayed prints can be arranged and re-con-
figured to create many combinations. Edition of 100 copies; this is one
of 60 for sale. Fine. $850.00
There is a familial connection between this book and The Exquisite Corpse, pro-
duced by the same press. The printers involved in The Exquisite Corpse were
asked to recommend other printers’ names for this project so that the printing No. 156.
network would be spread even wider. These two books form a major sampler
of contemporary printing techniques and printmakers working in the United States to-day.

63
 157. (Silver Buckle Press) Specimen Book of Wood Type: from the col-
lection of the Silver Buckle Press. Introduction by Rob Roy Kelly.
Foreword by Stephen O. Saxe. University of Wisconsin-Madison.
1999. 10" x 7". Letterpress printed on Mohawk Superfine from the
original wood type with text set in Joanna. Cloth case binding,
printed with decorative wood ornaments in black on green. The
book displays over eighty catalogued wood type fonts, with deco-
rative wood ornaments interspersed throughout. Includes a copy
of an original commemorative broadside. One of 165 copies for sale
in an edition of 200. Fine. $75.00
1999 marked the 25th anniversary of the Silver Buckle Press at the
University of Wisconsin at Madison. The Silver Buckle Press was acquired
by the University in 1973 from the estate of Robert Shaftoe, whose one
No. 157. expressed wish was that his press not be broken up or disposed of piece-
meal; he also wished it operated by a museum, library or historical institution. In providing a home for the Silver Buckle Press, the
University has been the fulfillment of that wish. The Press is a working tool used to support training and instruction.

158. (Tern Press) The Morning Wind. [Poems by] John Clare. With an
introduction by Ronald Blythe. Selected & Illustrated by Nicholas
Parry. [Market Drayton. July 2006.] n.p. 10.5" x 9". Set in Caslon by
Kelsy Thornton, who also modified the punctuation & spelling.
Printed on Whatman Paper. Bound in turquoise floral self-patterned
paper, with paper title labels on spine and front. No. 30 in an edition
of 40 copies, signed by Nicholas Parry and Mary Parry. Fine. $195.00
159. (Tern Press) Twenty Poems of London. [By] Ivor Gurney. Selected
with an Introduction by R.K.R. Thornton. [Market Drayton. June
2006.] 34p. 11" x 8.5". Set in Poliphilus and printed on Magnani paper
with 12 prints from photographs taken in 1900. Light tan handmade
paper spine with the word 'London'; light brown paper over board
sides with gray letters and numbers forming a background design to
the black title on the front. Artist's copy in an edition of 30 copies,
No. 158. signed by Mary Parry. Fine. $195.00
The poems have all been re-edited from their sources and slight
editorial changes introduced: Gurney's dots have been stan-
dardized to a regular three; apostrophes have been supplied
where necessary; titles of plays and other works have been ital-
icized; Gurney's amendments have been incorporated. -
Colophon. Wonderful black and white prints of London which
evoke the feel and atmosphere of the time.

160. (Beth Thielen) Temptations. Created by various par-

ticipants at the Armory Center for the Arts Letterpress
Studio, a collaborative program with the Woman’s
Building. Winter. 1997, in Beth Thielen’s and Kathrine
Ng’s class at The Armory Center for the Arts.
[California.] 7.5” x 5.5”. Unbound with loose title page
laid in. Accordion folded and cut to create a three-
dimensional effect with the black and white collographs.
Letterpress text in red. In a black dropback box with col-
No. 159. lograph on front and title on spine. No. 1 in an edition of
15 numbered copies, signed by some of the participants. Fine.
$350.00

161. (Larry B. Thomas) guerre du jour: A Guidebook: What they

mean When they say What they say. Alphabet book by Larry
Thomas. 2006. 4.5" x 5.75". Accordion fold book glued into
back board. Green boards with green cloth spine. Illustrated
color paper title label inset on front board. One in an edition
of 5 signed copies. Fine. $145.00
{See illustration top of page 65.]

No. 160.

64
 162. (Larry B. Thomas) Curious Forms of Forgetfulness. Artist's book
by Larry B. Thomas. [Georgia.] 2006. 7" x 6". Collaged xerox
pages. Accordion fold in brown boards with cream spine;
recessed illustrated title label. Unique book signed by Larry B.
Thomas. Fine. $395.00

163. (Larry B. Thomas) Christmas, 2004. Artist's book by Larry B.

Thomas. [Georgia.] 2005. 5.75" x 5.75". Five double-page pop-
up spreads in color. Book in shape of house with chimney.
Illustrated card endboards and spine. Unique book signed by
the artist. Fine. $395.00

164. (Larry B. Thomas) Book out of the Box. Artist's book by Larry B.
Thomas. [Georgia.] 2005. 6.75" x 5.25" x a.375". Mottled green
box with inset cloth title label and metal closure. In the inside
of the lid is a layered collage. In the base of the box if a pull-out No. 161.
accordion fold 'book' with color and black and white collages, as
well as graphite, ink and pencil crayon handwriting. The last page
is an old library sheet, with the due dates of return stamped on it.
Unique work signed and dated by the artist. Fine. $595.00

165. (Tideline Press) The Bottle Hill Studio Pottery of Arthur W.

Rushmore and Delight Rushmore Lewis. By James H. Fraser. 2003.
34(2)p. 12.25" x 9.5". Designed, printed and bound by Leonard
Seastone. Handprinted on handmade, dampened, vintage
Fabriano Pace paper utilizing a Vandercook 215 press. Monotype
Bembo cast by Michael Bixler and Weiss Initials handset at The
Tideline Press. Duotone printing by The Stinehour Press.
Seventeen duotones of the pottery, as well as tip-ins of two
Golden Hind Press broadsides reproduced only for this edition,
No. 162.
and reproductions of Bottle Hill Pottery pots and documents
tipped-in as well as bound-in. Maroon cloth spine with brown
paper title label; matching brown paper boards.
Together with: A brown paper envelope on a free back endpa-
per holding an eight page small booklet Pottery by Delight
Rushmore, The Rushmore Pottery at the Fortuny Shop, 1934.
[6.25" x 4.5"] Three black and white photographs and text.
Handset in Weiss Antiqua at the Golden Hind Press, Madison,
N.J. Photographs by Ingemann Sekaer, printed by The Harbor
Press, New York. An edition of 75 copies, signed by the potter,
Delight Rushmore Lewis, in the week of her 90th birthday..
Fine. $325.00
This book is the first
in a series on Book No. 163.
Arts and Art by
Tideline-Phaedrus.
"Founded in 1916 and still in opera-
tion today, Bottle Hill Pottery is the
oldest, continuously operating stu-
dio pottery in New Jersey and one of
the oldest in the United States.
"This illustrated history outlines yet
another chapter in the larger cre-
ative undertaking of the Rushmore
family which has included the
Golden Hind Press, its paste paper
production - the "Fairview Papers,"
and other contributions to the deco-
rative and printing arts in the mid-
No. 164.
No. 165. twentieth century." - Prospectus.

65
 166. (Tiramisu Press) C : O : L : O : N. Text by Ivan Soll.
designed in close collaboration by Ivan Soll and Marta Gomez.
Madison, Wisconsin. 1995. 17 printed pages, 9 with images. 11”
x 6”. Printed letterpress by Marta Gomez on Sakamoto and
Fabriano Ingres papers, and bound by her with green slubbed
silk spine and brown paper boards with design on front cover.
Dropback box of brown-red slubbed silk with green slubbed
cloth sides. One of 75 numbered copies, signed on the back free
endpaper by Soll and Gomez. Fine. $400.00
Initially inspired by the 500th anniversary of Columbus’ arrival in
America, the book’s completion was delayed by occurrences of the very
phenomenon it discusses - long voyages to other continents, and explo-
rations of terra incognita. Using wordplay, etymologies, and rebuses, C
: O : L : O : N weaves a fabric out of ideas, images, and echoes suggest-
ed by the various names of the explorer: referred to in English as
Christopher Columbus, but born Cristóforo Colombo in Italy, and
Cristobal Colón when he sailed west. These names give rise to a bizarre,
No. 166.
disparate, but still surprisingly unified landscape.
A sophisticated book from the Tiramisu Press, produced after Soll and Gomez returned from teaching in eastern Europe.

No. 167.

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

No. 167.

66
 No. 168.
168. (Laura Wait) X: letter of danger, sex, and the unknown. Artist's book by Laura Wait. Akimbo Arts.[Steamboat Springs.]
2006. 12 painted leaves. 15" x 7.75". Collographs and paste stencils used to create shapes throughout the book.
Multimedia painting on BFK Rives paper using acrylic, paste, Akua color, ink on top of offprints of woodcuts and text
from In the Garden. Layers of handwriting using a ruling pen and traditional pointed pen. Bound in brown leather with
gold and color tooling. The designs are based on the 'x' forms throughout the books. Handsewn endbands, brown
Cave paper endpapers, with leather joints. Black cloth dropback box made by artist, lined in light brown Kurzuyu
paper. No. V in a series of seven unique books, numbered Volume I-VII, signed by the artist. Fine. $4000.00
Wait states: "An investigation into the uses, development, and meaning of the letter X throughout history.”
"The introductory text reads ‘X’, the 24th letter of the English alphabet. The West Greek letter sound ‘ksi’ became ‘x’ in words of Greek
origin when used by the Etruscans. ‘X’ was the last letter of the Latin Alphabet from about 750 BC to about 100 AD when ‘y’ and ‘z’
were added. ‘X’ became an English letter used for words with ‘ks’ sounds at the end - like 'mix' and 'ox'. ‘X’ is usually only found at
the beginning of words of foreign origin like xerography."
The inner text reads: "Descartes introduced the use of ‘x’, ‘y’ and ‘z’ for unknown variables in geometric equations. Röntgen discov-
ered electromagnetic radiation and named it ‘x-ray’ for the unknown substance. Words of common usage are used through the books
as text and repetitive pattern writing. These include: X-ray, Xena, Planet X, Xtreme, Xgames, X box, Mac OSX, Xenon, Xmas, X rated,
X men, X marks the spot, XX dos Equis, xoxox, Xtra large." - Wait.

No. 168.

67
 An exciting collaboration showcasing poetry by women

No. 169 - Each copy has a

unique box and binding.

169. (walking bird press) To stretch the Night: Eleven Love Poems by Women. A series of eighteen unique monotypes by Elena
Popova. Printed and bound by Tara Bryan. A unique cover bronze bas-relief by Luben Boykov. Newfoundland.
Canada. 1999-2001. n.p. 11.5" x 10". Images are unique monoprints printed on Fabriano Artistico paper. The sheets are
glued together. Endpapers of indigo-washed kozo backed with another paper to make it thicker and easier to glue.
The boards are black walnut coated with black lacquer; black calf spine. Each binding has a unique bas-relief of bronze
which is bolted to the cover. The bas-reliefs are created from grass and wax and then bronzed with its gold and green
patina. An edition of 18 unique variant copies, with only 15 for sale. Signed by all three collaborators. Fine. $5500.00
A list of the eleven poets, spanning many centuries and countries, is given at the end of the book. They include Louise Labé, Hwang
Chin-I, Anna Akhmatova, Lady Suo, Christina Rosetti, Edith Sodergran, Sulpicia, Emily Dickinson, Sappho and Amy Lowell.
Popova and Boykov are Bulgarians who moved to Canada in 1990 and have lived in Newfoundland from that time. Their works
have been shown nationally and internationally, with examples in public and private collections in North America and Europe.
Tara Bryan was born in Texas and has a MFA degree from the University of Wisconsin-Madison. She has lived in Newfoundland since
1992. Printing and making books both on her own and with collaborators, her work in public and private collections in North
American, Europe and South Africa. Highly recommended!
Below is one of the superb monotypes
illustrating To Stretch the Night.

68
 A new work of great creativity
and a major contribution to the
art of the book
170. {Wayzgoose Press) Dorothy Lamour’s life as a
phrase book. By Noëlle Janaczewska.
Introduction by the author. Katoomba.
Australia. 2006. Bound as a concertina, the
book consists of 11 triple-gate pages, folded to
approx. 17” x 12”; opened each page measures
approx. 24” x 17”.This typographic rendition of
Noëlle Janaczewska’s play was conceived,
designed and illustrated with multi-colored
linocuts by Mike Hudson. Hand set in a variety
of types by Jadwiga Jarvis. The book was print-
ed in numerous colors with further illumina-
tions by hand on some pages making each copy
in the edition unique. Hand printed letterpress
on Magnani Incisioni 220 gsm on a Western proof press, the book is contained in
a brightly patterned cloth-covered box with the title printed on a recessed label
and a purple ribbon tie. An edition of 30 numbered copies, signed by the poet,
Jarvis and Hudson. Numbers I-V are not for sale. Of the remaining 25 copies,
three are in designer bindings. Fine. $3800.00
“Noëlle Janaczewska is an award-winning Sydney based playwright whose work has been
staged locally and internationally, as well as broadcast on radio. Her play, Dorothy Lamour’s
life as a phrase book, is the third in a series of monologues inspired by Hollywood heroines
of the 1930s, 1940s and 1950s, and was written for a solo performer. In it, the 'glamour girl’
made famous by her ‘road movies’ in which she co-starred with Bing Crosby and Bob
Hope, finds herself in a poem instead of a movie and marooned in a dingy Sydney hotel.
However, as Janaczewska’s characters do not conform to the romantic air-head type
assigned to them in their films, Dorothy’s miscasting leads to much reflection and soul-
searching.
“In order to maintain the spirit of a performance, we have given the book a theatrical set-
ting; the hotel room, which appears on every one of the 11 gate-fold pages, is its ‘stage’.
Onto this stage various scenarios (suggested by the text, but not a literal depiction thereof)
are introduced. We aimed for the contradictions, confusions and contrasts, for the elusive
and enigmatic, the tangential and bizarre. The ‘props’ range between curious and surreal,
and include a chessboard, a maze, a giant pineapple, a clapperboard, and an overweight
Ronald McDonald. (Oh yes, there is also Dorothy’s trademark hibiscus.) The introduction
and colophon pages feature the same room/stage, but on these the set is empty and shown
as if unlit, alluding to the characteristic hiatus of a theatrical presentation both before cur-
tain-up and after the final curtain.” - Prospectus. A tour de force.

Illustrated above right is the pattern cloth-covered box

Five of the numerous multi-layers and multi-colored linocuts

No. 170 -
all images
on this page.

69
 171. (Whittington Press) Index to Matrix 1 - 21. Compiled by David Butcher. [Risbury. 2003.] xiv, 72p. 11.5” x 7.5”. Printed
on Conqueror laid papers. Half bound in black Oasis leather and toning paper marbled by Christopher Rowlatt. Dust
jacket of regular edition inserted in flap in back inside cover. Green board slipcase with cloth trim. No. XVIII of 110
copies thus in a total edition of 610 copies. Fine. One of the Special copies. $395.00
Index to Matrix 1-21 is an invaluable key to any search of the series. It also contains a list of contents of each issue, and an introduc-
tion by the indexer describing the development of the series, which has on the face of it remained remarkably consistent during its
twenty-six year history.
The Index is uniform with the series. The format and binding style is the same as Matrix 1 - 21, and the extent is about the same as
Matrix 1. Its format is consistent with the rest of the series, and indeed is an indispensable part of it. Typographically, it will follow
the layout of the Index to Matrix 11-15 which appeared in Matrix 15.
172. (Whittington Press) Pages from Presses: Kelmscott, Ashendene, Doves, Eragny, Vale & Essex House. With a Commentary by
David Butcher. Leominster. 2006. 80p. 15" x 11.5". Printed in Walbaum on Czech Losin handmade paper. Edition B.
With a specimen leaf on paper from each of the six Presses, and additional specimen leaves showing other typefaces
used by the Presses. 11 original paper leaves. Bound in red half Nigerian Goatskin with marbled boards. Slipcase. In
an total edition of 180 copies, this is No. xxviii of 40 copies of Edition B. Signed by David Butcher. Mint. $1320.00
Edition sold out.
173. (Irene Woodbury) My City. Artist’s book by Irene Woodbury. Made in Padua, Italy. 2006. 8.125” x 5.75”. 6 card leaves
including cover boards. Handprinted text in blue marker with color laser prints of original watercolors and photo-
graphs. Blue spine and blue title on front cover board. One in an English edi-
tion of 5 copies, signed by Irene Woodbury. New. $180.00
“A child writes about his lovely city in a book that includes visions of palm trees, foun-
tains, ice cream and guards. The book’s construction, using cardboard pages, recreates
the format of a children’s book for toddlers. The writing style mimics a child’s awkward
hand and occasional mistakes.
“However, at the end of the book, the reader sees that the city the child is describing is
really a shopping center. It could be any shopping center so the photographs actually
come from more than one source in more than one country. All the descriptors that the
child uses can both be applied to true cities and modern malls, a new type of indoor city
that is becoming an increasingly global reality.” - Woodbury.
No. 173.
174. (Ellen Tongzhou Zhao) I Am You. By Ellen Tongzhou Zhao. Paris. New York.
2006. 92 pages of varying sizes. 8” x 5”. Text in black against white or white against
black. White card wrappers with black title with fluorescent orange inside. Edition
of 500 copies. Fine. $25.00
Zhou states: “This project ‘I am you’ is a book which talks about itself, its concep-
tion, its construction and its reading.”
175. (Ziggurat Press) Ghost Names ... Ghost Numbers. By James Scheville.
Illustrations by Walter Feldman. Providence, Rhode Island. 1985. 10" x 10". Two
sheets of Japanese paper joined to make one screen of text and illustration. Bound
in brown buckram boards, titling in blue. An edition of 100 copies, signed by
No. 174.
Scheville and Feldman. Fine. $150.00
176. (Ziggurat Press) The Architectural Orders. An essay with 7 copper engravings from the 1797 edition of the Encyclopaedia
Britannica. With an introduction by William H. Jordy. Providence, Rhode Island. 1990. 12.75” x 10”. Illustrations print-
ed on handmade Moriki paper. Printed paper over heavy boards; exposed leather bands. Set into the cream cover is a
copper embossed plate of the ‘Corinthian Order’. The green patina is protected by clear lacquer. An edition of 45
copies. Fine. $350.00

No. 175. No. 176.

70