priscilla juvelis rare books · priscilla juvelis – rare books catalogue 75 – contemporary book...

Priscilla Juvelis – Rare BooksCatalogue 75 – Contemporary Book Arts

Bound by Coleen Curry

1. Curry, Coleen Binder. Plimpton, Sarah. For Now.[New York: 2008] Binding 2017. $4,100Unique binding by Coleen Curry on artist’s book on FabrianoTiepolo paper, from an edition of 15, signed and numbered by thepoet / artist / printer, Sarah Plimpton. Page size: 8-¾ x 11-¾inches; 20pp. Unique binding by Coleen Curry: full chocolatebrown Harmatan leather; leather laced-on design binding andedge-to-edge suede doublures with inlays, gold titling and inci-sions painted in 24 carat shell gold; inlays of wolfish skin (fish)and ‘peau Krause’ (foils stamped onto box calf with etched plate);paste papers; grey and gold silk headbands, the book mounted ontabs to allow for page openings to lay flat, original wrappers boundin, blind-stamped signature and date the binder on the back insideturn-in with binder’s insignia, housed in custom-made rust-col-ored cloth over boards (cloth color harmonizing with Ms.Plimpton’s strong aquatints), lined with brown suede, raisedbrown paper label on spine with author / artist and title lettered ingold gilt. Ms. Curry notes, “I took shapes and lines in book andconnected them to form an abstract composition.”

The text of this book is set in Dante and was printed by SarahPlimpton with the help of Brad Ewing at The Grenfell Press inNew York. Each page is an original aquatint on an ochre coloredground with the exception of the middle double page spread withis on a pale moss greenground with deeper greenforms. Extremely organicand sculptural, each page ofimages surround the word /words, almost devouringthem (think Pac-man). Thetextures achieved in the aqua-tints belie their two-dimensionality. The plates were made andproofed by the artist at the Manhattan Graphics Center and

editioned by Peter Pettengill. Ms. Plimpton’s personal journeywith forms and words is captivating. Ms. Plimpton’s poem reads,“one eye / drawing circles / with fingers tightened / round like anhour / left / on the paper / for now”.

Ms. Curry’s binding perfectly captures and enhances thesubtle textures and sculptured feel of Ms. Plimpton’s masterfulaquatints. The interplay of colors and textures of the bindingkeeps the viewer’s eye moving - up and down, left to right and rightto left, circling around - just as delineated in Ms. Plimpton’s text.This is a most successful an artist’s book! (11330)

2. Kydd, Sal Taylor. The Call. Rockport, ME:Stagenhoe Press, 2017. $850Artist’s book, one of 10 copies, deluxe issue, with an originalcyanotype printed on vellum laid into the clamshell box, from atotal issue of 15 (#10-15 without cyanotype and in slipcase) all onBFK Rives, each signed and numbered by the artist in the colo-phon. Page size: 8 x 8 inches; 8 leaves, 16pp; including colophon.Bound by the artist: drum-leaf binding of blue-grey cloth overboards with tan cloth spine, duotone print (artist self-portrait usedthroughout book)edged in tan insetinto front panel,housed in blue-graycloth over boardsc u s t o m - m a d eclamshell box byRichard ReitzSmith, lined with blue cloth printed with darker blue small imagesof telephone, spine with title and artist printed on spine, smallphone stamped on front panel. Printed letterpress by the artist inBaskerville Old Face and Century Schoolbook at Maine MediaCollege in a variety of point sizes in blue, each page with a series

of 4-3-2-1 dots printed in tan in lower right corner of each recto.The artist notes that her poem is “broken up throughout the bookand the stilted structure of the verse speaks to the awkward natureof the phone call it describes.” The words and tone of the poem areunsparing and relate the desire to be known to those closest to usand the ensuing sadness when we realize this is not possible. The

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

author / artist takes the reader / viewer on an intimate journey,highlighted by the use of her self-portrait printed as a duotone onvellum between the last two lines of the poem, followed by thesame image printed in pale grey with the last line of the poembelow the artist’s uncompromising gaze. The text is quick and tothe point and relevant to us all. The elegant cyanotype printed onvellum laid into the back of the slipcase might have seemedephemeral had the image not been so strong. Instead, it is exactlythe opposite. The artist’s eyes force viewing and consideration ofher words. Beautifully accomplished, this is a wonderful exampleof an idea made concrete by one artist’s talent. (11344)

3. Kydd, Sal Taylor. The Call. Rockport, ME:Stagenhoe Press, 2017. $550Artist’s book, one of 5 copies regular issue, from a total issue of15 all on BFK Rives, each signed and numbered by the artist in thecolophon. See above. (11347)

4. Leavitt, Nancy Ruth. On the Formation of Snow.Stillwater, ME: 2018. SOLDUnique artist’s book, one in a series of two, all on handmadepapers which feature the artist’s handcut snowflakes embedded inthe paper, signed and numbered by the artist, Nancy Ruth Leavitt,on the colophon. Page size: 12 x 9 inches; 20 pages. Bound by theartist: hand-stitched blue paper with white spine covered in irides-cent mesh fabric; the artist’s handmade snowflakes are “quilted”under the translucent fabric. Housed in custom-made deep bluecloth over boards clamshell box by Joelle Webber, white labellettered in blue with the title and creator. Box with compartmentin tray case with a sliding piece of plexiglass on which the bookrests and under which is a collection of 12 (each unique) hand-cutsnowflakes by the artist. Also included is a copy of the author /artist’s democratic multiple: HOW TO MAKE PAPER SNOW-FLAKES. Using shades of blue watercolor and gouache to hand-letter her own text, the author / artist articulates the scienceleading to the formation of snow. The reader / viewer follows herexplanation while viewing the elegant and delicate lettering againsta ground of falling snowflakes embedded in the “snowy white”paper. The experience is extremely pleasing and the wonder ofnature subtly and deftly conveyed.

The author / artist writes, “I pledge allegiance to the land ofsnow! Here in the north during the winter months I create hand-cut

snowflakes from paper and scissors and use them in artwork suchas the handmade paper in this book. The binding is a three colored‘snow’ flag. The book text explains how snow is formed and itsimportance in redistributing water around the globe to sustain alllife on earth.

She adds two reasons why she has focused on snowflakes inher work. “First In January of 2013 a call was put out to send 20snowflakes to the elementary school in Sandy Hook, Connecticut,to welcome the children back to school and honor the 20, six andseven year children, who were murdered on December 4, 2012.That year I decided to cut a snowflake for each person killed by gunviolence in this country. Although I have cut thousands of snow-

flakes over the past 5 years,I cannot keep up with thenearly 13,000 gun homicidesthat occur each year in theUnited States. The follow-ing is a list of my works thatcontain snowflakes: SnowPalace, 2013, MS #104,unique book; Poetry of theAir, 2011, MS #111, hand-lettered edition of 10; Hope,2018, MS #114, hand-let-tered edition of 2; On theFormation of Snow, 2018,MS #115, hand-lettered edi-tion of 2; How to Make APaper Snowflake, 2018, MS#116, democratic multiple;

Installations at the Church of Universal Fellowship, Orono, Maine,Snowflakes in the Sanctuary, 2015, Snow Showers, 2016, andSnow Flurry, 2017

Second: I am interested in math and geometry in art, espe-cially in the Gospel books created between 600 and 1000 CE.Early scribes used their knowledge of the Pythagorean theoremand simple geometrical tools to develop a characteristic style ofdecoration that integrated complex interlacing geometric de-signs. This style of illumination succinctly illustrated the earlyChristian principle of God’s existence everywhere, from thesmallest microcosm to the largest macrocosm. A hand-cut snow-flake exhibits similar traits. A square of paper of any size, whenfolded into triangles and having shapes cut out of it will create alacey 6-sided design. The resulting repetition of geometricaldesigns and variations are endless.” (11343)

5. Leavitt, Nancy Ruth, Dickinson, Emily. Hope.Stillwater, ME: 2018. $3,000Unique artist’s book, 1 in a series of 2, in form of diptych, KatieMcGregor handmade paper, signed by the artist, Nancy RuthLeavitt, in pencil on the leaf on the lower part of the image page,middle leaf. Page size: 10-¾ x 14-½ inches; diptych with Dickinsonpoem, HOPE, lettered on right and images (cut paper flowers withleaves stitched to batik fabric. The artist’s gouache lettering onKatie MacGregor handmade paper and hand-cut paper snowflakeand feather illustration on batik fabric are attached to the bottom


of a dark blue fabric covered box by Joelle Webber, green paperlabel with title in white gouache on lower right front corner Theartist has hand lettered a copy of Emily Dickinson’s poem 254, c.1861, “Hope is the things with feathers. . .” and created a flowerillustration composed of fabric and paper that are stitched downto a green and purple and blue batik print which might evoke anexotic garden. The white flowers are three-dimensional and popcharmingly out from the subtle print below. The “feathers” (leaves)are cheerfully suspended above the batik garden as well. The well-known text opens, “HOPE is the thing with feathers / That perchesin the soul / And sings in tune without words / And never stopes atall. The reader / viewer is beguiled! (11342)

6. McCallion, Barry. Penelope. Book XXIII of THEODYSSEY Translated by W. H. D. Rouse followed byoriginal text by Barry McCallion. [East Hampton,NY]: 2017. $5,000Artist’s book, unique, Caribou and red St. Armand papers, plus avariety of papers for “Penelope’s weavings,” signed and dated bythe artist / author, Barry McCallion, on the colophon. Page size:14-¾ x 11 inches; 40pp. Bound loose as issued in original redwrappers with ivory colored oar affixed to front panel; housed inred fabric over boards clamshell box by Joelle Webber, with paperlabel on recessed panel on spine with title in black; front panelwith image of partially-completed tapestry in gold and black, traycase lined with black and silver printed paper. The text is hand-

lettered in Uniball Signo pen, the text boxes pasted with OldHolland sepia acrylics; borders of the ODYSSEY section stainedwith coffee and brushed with yellow, red, and blue India inks, oarson verso pages of ODYSSEY section painted with various metal-lic and iridescent inks. The PENELOPE pages are very beautifulpaper “weavings” made by the artist in a variety of shapes, sizes,and colors (some metallic, some printed), each page designedwith weavings and text blocks. The artist was inspired by thepassage in Book XXIII in which Odysseus recounts his meetingwith the blind seer Teiresias who tells him he must set on anothervoyage - this time, inland. He must plant the oar he carries on hisshoulder and make sacrifices to Poseidon. On his return to Ithaca,he is to make additional sacrifices to the gods. Then he will beallowed to live to a comfortable old age. The artist / authorimagines Penelope’s reaction to this news of another journey forher husband. Written in first-person narrative, her thoughts are set

within the confines of multiple tapestries, which she will undoubt-edly weave during her husband’s next odyssey, although the lastweaving is left unfinished suggesting that the faithful wife had hadenough and would not hang around waiting the second time. Ahypnotic imagining of Book XXIII followed by a deft vision ofwhat is to come for the first fictional husband and wife subjects inwestern literature. (11314)

7. McCallion, Barry. The Revelations of John onPatmos. Revelations 5-10 chiefly from the RevisedStandard Version of the Holy Bible. [East Hampton,NY]: 2016. $6,000Artist’s book, unique, on Richard de Bas cream wove paper, signedby the artist, Barry McCallion, on the colophon. Page size: 10 x13 inches; 32pp. Bound: loose as issued in terracotta and ivorypastepaper over boards, overall vine pattern; housed in custom-made green cloth over boards clamshellbox by Joelle Leavitt Webber, box deco-rated with original ink drawing of angels,black ink on white paper, inset into frontpanel, label on spine with REVELATIONSlettered in yellow ink on paper paintedblack and inset into spine. The artist, BarryMcCallion, has used several different ver-sions of the sixty-sixth book of the Holy


Bible, the language of the four horsemen of the apocalypse, theseven seals, the seven angels with seven trumpets are all includedwith bold images that conjure up the magic and magnificence ofthe words.

The artist has taken the familiar double-column format of theBible for this book by painting black India ink rectangles side-by-side and creating a handwritten, multicolored text. The poly-chrome drawings in ink and acrylics which illuminate the text areoutlined in white. Gold gilt ink calves, incense burners, seals andangels’ wings hover across the contrasting inked texts. Mr.McCallion’s illuminations do not overpower the text but they do

help make sense of it. The mysteries of this apocalyptic andprophetic writing - the word of God as revealed to John of Patmos- are a touchstone for western civilization and are once again theinspiration for a beautiful book. (11312)

8. McCallion, Barry. Romola Nijinsky. NijinskyDances the War. Text by Romola Nijinsky. [EastHampton, NY]: 2016. $5,500Artist’s book, unique, on tan Richard de Bas wove paper, signedand dated by the artist, Barry McCallion, on the titlepage and oncolophon. Page size: 9 x 12 inches; [i-x] 46pp; + colophon. Boundby Joelle Webber: sewn, tan cloth spine with black paper overboards, housed in custom-made beige cloth over boards clamshellbox, beige paper label printed in black with title on spine, black andwhite images of the legendary dancer / choreographer on the frontpanel (both in recessed panels). The artist has created his owninterpretation of the final performance of the foremost dancer ofhis generation, the person who revived and then recreated classi-cal dance for the 20th century. Using colored inks and collage, the

artist creates a visualization of Nijinsky’s irrevocable mentalbreakdown, the pace of which accelerated markedly after 1917.This book narrates and visualizes a single night at the SuvrettaHouse in St. Moritz, January 19, 1919. Romola Nijinsky (wife ofVaslav) recounts how the evening unfolded. Before an invitedaudience of several hundred, accompanied by a pianist, Nijinskyopened by sitting and staring at his audience for about 30 minutes.Then he began to dance - according to his wife’s account, “fright-eningly”. He then took a few rolls of black and white velvet andmade a big cross - the length of the room - and stood at the head

of it. He then said, “Now I will dance you the war, with itssuffering, with its destruction, with its death. The war which youdid not prevent and so you are also responsible for.” His wife adds,“It was terrifying.” In describing his performance, she continues,“He seemed to fill the room with horror-stricken sufferinghumanity. It was tragic, his gestures were all monumental, and heentranced us so that we almost saw him floating over corpses...Itwas the dance for life against death.” Images of Nijinsky, infamiliar “L’apres midi d’un faun” poses (mostly) and Petrouchkaare juxtaposed with the horrifying images of the dead of WorldWar I . Surrounding the images are fragments of text, in white onred ground, As the images progress they become more frag-mented. The text, however becomes clearer. Faces and hands ofsoldiers are painted green against barbed wired fences Images ofNijinsky, and soldiers, appear dismembered, not unlike HansBellmer’s dolls. The artist has manipulated the images of war,

whether by size or juxtaposition of images or both, for maximumshock and horror. (11311)


9. McKee, Elizabeth. Pied Beauty by Gerard ManleyHopkins. Pasadena, MD: 2013. SOLDUnique artist’s book, from a series of 2 of the same title, this inthe form of accordion- fold book with sewn foredge, displayed inform of star (first was star book, now sold), on Arches text wovepaper, signed by the artist on the back cover as part of the cut-outformat, “E. McKee, 2017.” Page size: 8-¼ x 6-½ inches openingto 77-¼ inches, 22pp. front and back painted and collaged withpaper cutouts and string; the text of Hopkins collaged with paperletters cut with Xacto #11 blade in a multitude of colors boldlyscattered across each page. Bound by the artist: painted and

printed cloth (scanned from pages of book and printed onto clothand then enhanced with colored pencils, over boards as ends ofcarrousel Letraset double-sided tape and linen thread, tiny watchspring collaged to cover, housed in custom-made green cloth overboards clamshell box lined with orange and tangerine cloth andpaper on the interior, orange paper cutout letters collaged to spinespelling out title; front panel with cutout and tangerine andraspberry collage with sprung watch spring as free-form sculptureoccupying bottom half of front cover of box. The two layers ofcutouts for each ofthe five double-pagespreads are affixedwith Jade 403 glueand polyester but-ton hole threadwhich is woven intothe back of each im-age as the tails ofkites. Top edges of pages are cut with Xacto blade in irregularshapes. Both sides of the book were coated with acrylic mattemedium to hold thread in place.

The text is one of Gerard Manley Hopkins’ (1844-1899)most well-known works, a “curtal” sonnet which advocates origi-nality (and whimsy) while praising God for this diversity in theuniverse. The artist has visually interpreted the text with colorfulpainting in acrylics and lettering in bright oranges on a greenground with blue, red, and yellow - all adding to the joy. The “back”pages (versos of accordion) are painted in the same yellows,oranges, blues and reds, with linen thread stitching (vines around

trunks) and are hand-collaged with onlays, as well as images, ofthe green trellis work on the lettered page spreads. An extraordi-nary accordion-fold book, a companion piece to another interpre-tation done 5 years ago, in which the artist has used the cutoutletters from the earlier version as the collaged letters for the textof the second version. The artist submitted this work to the NewMexico (where she now resides) State Fair and was awarded “Bestof Show.” as well as “First Place” and “People’s Choice Award.”The award ribbons are included with the book; happily they are thesame colors used in the book! Hopkins’ text, “Glory be to God fordappled things...All things counter, original, spare, strange...” isinterpreted and made visual by this complicated, stunning bookwhich will bring a smile to all who view / read it. (11346)

10. Owen, Jan. Cantus. Inspired by Arvo Part’s “Cantusin Memoriam Benjamin Britten” Belfast, ME: 2017.

$1,000Unique artist’s book in scroll format, on Hollytex polyester, inacrylics and ink signed on the scroll hanger and dated, by the artist,Jan Owen. Page size: 25 x 17-½ x 2-½ inches unrolled, sevenlayers (pages) measuring 15 x 16 inches, 21-½ x 17 inches, 18-¼ x 6 inches, 23-¼ x 17 inches, 24-3/8 x16 inches, 25 x 15-¼inches and 25-½ x15 inches. Bound by the artist: mounted ashanging scroll of white book cloth over board roller, braided linenthread inset under book cloth, housed in grey patterned pastepaperover boards lidded box, title lettered in black ink on white label onlid with instructions for care of scroll in inside of lid.

The title, CANTUS, is defined as a melodic theme or subjector principal melody or highest voice and the texts selected by theartist, Jan Owen, are just that. Centering on writings about musicalthemes, sometimes their relation to words, sometimes on theperformance of the music, or the place of music in life, texts areby Rilke and Beethoven, as well as contemporaries JoAnn Falletta(conductor Virginia Philharmonic), Dimitri Shostakovich andBenjamin Britton, Hugh MacDiarmid and Theodore Enslin, amongothers. The artist her-self has twice added herown voice with wordsevoking the “Cantus inMemoriam BenjaminBritten” to brilliant ef-fect. Part’s short but in-tense short canon in Aminor is often describedon a meditation on lifeand loss as well as musi-cal form. The spiritualnature of Part’s “Cantus”is mirrored in Owen’stwilight Hollytex colorsand the dense, geomet-ric but always elegant,black lettering. ArvoPart’s music is movingas is this series of textreflecting life and loss. Accomplished in sumi ink and acrylics,


the first page of long black marks with gold acrylics set thesomber tone of the piece. (11325)

11. Owen, Jan. Dawn Shone Once More from theRobert Fagles translation of THE ODYSSEY. Belfast,ME: 2017. $1,250Unique artist’s book in scroll format, on Hollytex polyesterlettered and painted in acrylics and ink, signed by the artist on thetop roll where scroll is mounted in pencil, Jan Owen, and dated.Page size: 47 inches x16-½ inches x 3 inches,6 panels each of varyingsize: 15-½ x 39-¾ x 2inch fringe, 12-¼ x 40-½ x 2 inch fringe, 15-½x 40, 11 x 46-1/8, 11 x46-½ inches; 6pp.Bound: mounted ashanging scroll withwhite book cloth overboard roller, braidedlinen thread inset underbook cloth forminghanger; housed in cus-tom-made box ofpastepaper over boardsin pale rose with titleletter in black ink on topof lid. The excerpts ofTHE ODYSSEY wereselected by the artist, JanOwen, from the RobertFagles translation. Thetexts are lettered inblack ink, as well as goldacrylic, the English inblack sumi ink over theGreek and binary codein gold acrylic; fringeon pp. 1 and 2 tipped with gold acrylic, images of a compass;painted “wine dark sea” waves are page 4, page 5 is a zigzag line insea green on rose Hollytex representing Odysseus’ tortured routefrom Troy to Ithaca, and page 6 is a calm, blue sea, with binary codegold chains. The “man of twists and turns” (previously translatedas wily Odysseus), the “earth-shaker Poseidon,” “cautiousPenelope” are well-served by the beautiful scroll. As much apainting as a book excerpt, it evokes the endless fascination withHomer’s tale. Curiously modern as well as evoking antiquity, theartist has found the perfect vehicle for this cornerstone of west-ern civilization. (11324)

12. Owen, Jan. Make Much of Time. Texts byChristopher Marlowe, Sir Walter Raleigh, RobertHerrick and William Shakespeare. Belfast, ME: 2015.

$750Unique artist’s book, in scroll format on Hollytex polyesterlettered and painted in acrylic and Sumi ink, signed by the artistand dated. Page sizes: large blank peach sheet: 12-½ x 16 inches;pale yellow sheet with verse by Herrick and Shakespeare, endingin fringe that is lettered but unreadable: 11 x 15 inches + 1-¼inches of fringe; pink sheet with verse by Raleigh: 8 x 13 inches+ 2 inches of fringe; eggshell sheet with verse by Marlowe: 7 x13inches + 2 inches of fringe. Bound by the artist: mounted ashanging scroll with white book cloth over board roller, braidedlinen thread inset under book cloth forming hanger, housed onroller 13 inches long and 2 inches in diameter; fitted into yellowand pink pastepaper over boards lidded box, with hand-letteredlabel “Make Much of Time” on box end and another label on lid,signed by the artist on the lid label. Each page displays a differentcalligraphic script, the opening two words are large and bold - asis the Shepherd’s proposal,the fringe on this sheet ishighlighted with goldacrylic at each tassel end.“The Nymph’s Reply” is ina larger size and bolder let-ters, the pink fringe istipped in black. The thirdsheet, with Herrick andShakespeare is in smallertext but highlighted witheach letter “o” on the pagefilled in with gold acrylicmaking an unusual andsubtle pattern; the fringewhich is lettered - but let-tering undecipherable -adds to the romantic mys-tery of the scroll. These classics of English poetry are often foundtogether in anthologies; rarely are they so gently and beautifullyrendered. (11327)

13. Owen, Jan. Vestments. Texts include Psalms, theBeatitudes, Verse by Dickinson, Rilke, Whitman,Poulenc’s Gloria, Laudate Dominum etc. Belfast,ME: 2017. $1,250Unique artist’s book, in scroll format, on Hollytex polyester,lettered and painted in ink and acrylic by Jan Owen, signed by heron the scroll anchor in pencil and dated. Page size: 48 x 15-½ x 2inches unrolled; 5 leaves as follows: 40-3/8 x 11, 42 x 11, 44 x 13-¼, 46-¼ x 15-¼, and 48 x 11 inches. Bound by the artist: scroll ofwhite book cloth over board roller with braided linen thread insetunder book cloth forming hanger, housed in buff and tan pastepapercovered lidded box with white label on lid lettered in black withtitle and signed by the artist. The texts are lettered in black ink


in the wild with a bear, and a celebra-tion of the feminine spirit. The imag-ery in the Cibachrome photograph,which I printed, features a fragmentof a pelt killed by a hunter with a bowand arrow, the backbone of an Alaskanbrown bear found in an Indian moundthat pre-dates gun powder, and an ob-sidian arrowhead.” Whether displayedor quietly contemplated holding asbook, this is an intriguing art work,capturing a moment of the past eminently recognizable today.(11295)

Bound by Donald Glaister

15. Thurston, Jacqueline. Dickinson, Emily. A Hymnto Hands. Reflections and Images by JacquelineThurston. Poems by Emily Dickinson. Palo Alto, CA:2017. $8,500Artist’s book, one of six copies, all on Rives BFK paper andCibachrome prints, each signed and numbered the artist, JacquelineThurston on the colophon. Page size, three differing page sizes asfollows: 10 x 14-7/8, 11 x 14-7/8, and 3 gatefold pages (gatefold asverso folded over Cibachromes) 13 x 14-7/8 opening to 22 inches;24pp; Bound by Donald Glaister, Foolsgold Studio: full ochre

highlighted with gold acrylic, lettereddensely, in a variety of calligraphicstyles. The artist has selected textsthat convey spirituality as well as faith.The artists states, “This scroll was made

as a way to getthrough tryingtimes by writingmany prayers. Thetranslucent qualityof the scroll is forme like a palimp-sest with wordsbarely visibleunderneath.The columnof text iss t u r d ywhile thematerial seemsfragile. The goldsquares are like thebeads my grand-

mother would move through her handas she repeated her prayers.” (11326)

14. Thurston, Jacqueline. Song of the Bear. Palo Alto,CA: 1991. $4,500Artist’s book, unique, poem on handmade paper and Cibachromephotograph, presented format of Russian icon in maple and ebonyhinged box, signed by the author / artist on the back panel in blackand dated. Size of box: 16 x 12-¾ inches; opening to 15-¼ x 11-½ inches; text on handmade ivory paper with strands of black fiber(referencing the pelt of the bear) by David Kimbell of MagnoliaEditions. The box is by Chris Daubert with maple for the backdropof the poem and ebony for the backdrop of the Cibachrome print.Walter Sparks selected and laid out the text which was set byMackenzie & Harris and letterpress printed by Alan Hillesheim atDigger Pine Press. From the large deckle on the text page, to theblack ebony setting off the Cibachrome print, this is an exceed-ingly beautiful and well-thought out work. The artist / author statesthat the “prose poem is a reverie - a fusion of a dream, an encounter

goatskin with rosewood veneers as well as copper, brass andaluminum onlays which have been sanded and painted to representbracelets and the base of the rosewood veneer hands which are theprincipal decoration on the front panel. The “bracelets” are af-fixed in recessed sanded leather panels in relief so they are threedimensional. The sanded recessed background for the “hands” istextured as a screen was used in the sanding. The veneered “hands”on the recessed panels are flush with the ochre goatskin and aremarked with acrylic rules in red fading to blind on all four seams.The metal “bracelets” have also been sanded and painted as well asmolded into sculptural forms. The back cover is a “suggestion” of


the hands of the front panel, with the barest outlines of fingersformed by raising the goatskin from the two recessed panelsmimicking the front cover design, again bordered by red acrylicline fading to blind. The effect is as if the viewer were able to seethrough the front cover to the back - ingenious, haunting, and quitebeautiful. The red ochre handprints found in the Pech Merle cavesare immediately brought to mind. While Donald Glaister’s designis completely contemporary, there is more than a nod to prehis-toric art - as there is throughout the text and images in the book

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

Priscilla Juvelis, Inc.11 Goose Fair

Kennebunkport, Maine 04046(207) 967-0909

[email protected] ~ www.juvelisbooks.com

weaving the continuity of human experience. Doublures andflyleaves of painted cork, handwoven silk headbands in white withochre bands, all pages mounted on cotton fabric guards to allowcomplete opening of each page spread. Signed and dated (2018)by the binder in blind with gold dot on the inside back cover atlower end of hinge; housed in custom-made tan cloth over boardsclamshell box lined with black felt, title and artist on paper labelprinted in black and affixed to recess panel on spine.

The six copies in the edition of A HYMN TO HANDS eachhave three original Cibachrome photographs by JacquelineThurston (one of the six copies have a unique variation of theprinted titled “The Blessing”). The book was designed in a col-laborative effort by Donald Glaister, Suzanne Moore, JacquelineThurston, Greta Sibley and Jessica Spring. The final design andtypesetting are by Greta Sibley. The book was printed letterpressby Art Larsen at Horton Tank in Requiem typeface from photo-polymer plates. Cibachrome, now a rare photographic process, isa positive to positive photographic process, using exceedinglypure and stable color dyes, embedded in the paper’s archivalemulsion. The result are prints that are luminous, as if lit fromwithin.

Jacqueline Thurston’s text, which accompanies hereCibachrome prints, and her selection of two poems by EmilyDickinson, form a magical book. The reader / viewer is taken frompre-history to our own time all within a few pages. The two poemsby Emily Dickinson, “I send Two Sunsets” and “Those - dyingthen” open and close this meditation on the human condition. Amost beautiful book, elegantly composed and executed. (11340)

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