Search Results: Authors starting with P from Priscilla Juvelis

Berkeley, CA: Pacific Editions, 1986. One of 165 copies all on Twinrocker handmade rag paper, each signed by the author and artist. Page size: 12 inches x 8-1/4 inches. Bound by Klaus-Ullrich Rotzscher: gilt stamped morocco and Twinrocker paper in custom clamshell box. Four of the five etchings accompany each of the four essays by Thomas and a fifth, For Quartet, weaves visual metaphors of the themes of the four essays. The etchings incorporate a variety of graphic techniques, including aquatint, spitbite, drypoint, and hard and soft ground methods. They were proofed by Kay Bradner at Katherine Lincoln Press and the edition was printed by Robert Townsend and Kate Hanlon. The text is handset in 16 point Bembo and Centaur and printed letterpress at the Arif Press by Wesley B. Tanner who also designed the book. Title calligraphy is by John Prestianni. This is a real collaborative effort among artists and the result encompasses Thomas' central themes: the dominant role of symbiosis in life on our planet;… Read More

San Francisco, CA: Pacific Editions, 2005. First Edition thus, one of 48 copies, all on BFK Rives paper, signed by the author, Barry Lopez, and the artist / designer / publisher, Charles Hobson, in pencil and numbered by Hobson. Page size: 11 inches x 12 inches. Bound: with original USGS maps for the concertina binding, which, when opened, creates its own vista of mountains and valleys representing the maps that figure so prominently in the Lopez story, covers made of paper over boards, paper reproducing a 1911 map of Bogotá from the collection of the Library of Congress, publisher's slipcase of wood-grained paper over boards with brass-toned metal label holder attached to spine of box holding white paper label with title and author in black, all suggesting a map cabinet which plays a pivotal role in Lopez's story, further housed in tan corrugated paper board slipcase, slipcase and board covers made by John DeMerrit with the assistance of Kris Langan, new. The book opens with images of hands… Read More

[Beltsville, MD: Hand Papermaking, Inc, 2008. Artist portfolio, one of 150 copies, consisting of 14 original pieces of art in the form of a single sheet of hand-made paper with painting and/or lettering on or lettering in the paper. These 14 pieces are the collaboration of papermaker and calligrapher and are housed in white folders printed with the names of the collaborators in black. The folders measure 8-1/2 x 11 inches. Also included is book with a commissioned essay by Lettering Arts Review editor, Rose Folsom, entitled "Foreground Meets Background: The Collaboration of Calligraphy and Papermaking" (6pp.) and artist's statements from the 28 participants (31pp). The text was printed by Todd Allan Printing on Cougar Opaque Text paper in Garamond types. The Canson blue wrappers were letterpress printed by Steve Miller. The image on the wrapper and title page was pulled from the work entitled MOVEMENT by Katie MacGregor and Nancy Leavitt. The 14 original pieces of art and the accompanying text are… Read More

New York: NY Woman Suffrage Party, 1917. Leaflet, small 4to, 10-7/16" x 8-1/8" (unfolded), printed on white stock which shows a little age-toning. This leaflet has not been folded so is quite fresh and in fine condition overall. The entry of the United States into World War I caused a rift between the Woman's Party (Alice Paul et al.) which adamantly refused to endorse the war and the National American Woman's Suffrage Association (Carrie Chapman Catt, Anna Howard Shaw et al.) who supported the American War effort. Despite this rift, the suffrage organizations continued to press for votes for women at the state and federal level. In 1917 women won the right to full suffrage in New York - the first Eastern state to have women's suffrage. it was an important victory for the movement. This leaflet points that with World War I countries such as Canada, Italy, Russia, France and "[e]ven little Yucatan" have women's suffrage: "THE WOMEN OF NEW YORK STATE HAVE NO LESS PATRIOTISM, COURAGE OR ABILITY THAN THE… Read More

Madrid: Espasa-Colpe, S.A., 1974. Facsimile reproduction of the original 1564 text which included wood-engraved initials and one illustrations of the Virgin Mary and Child. Unnumbered copy from a total issue of 3000. Large 8vo; handsomely bound in 1/4 black morocco and marbled paste-paper boards, marbled endpapers, original printed wrappers bound in, fine. Jorge Manrique (1440-1479), was a soldier and poet whose poetry was in the courtly tradition. His most famous work is "Las Coplas de Jorge Manrique por la muerte de su padre," written in 1476 and first published in Seville in 1494.

[Mt. Horeb, WI]: The Perishable Press, 1986. First Edition, one of 275 copies, broadside folded in thirds, all on Tergiverse Shadwell gray-green paper, all signed in pencil by the author, Michael Ondaatje, on the verso of the last fold. Five copies reserved for Woodland Pattern. Printed in black, blue and brown as triple-fold broadside with title on first fold, "All along the Mazinaw" on second fold, and "Birch Bark" on third fold. Page size: 22 inches x 9-1/4 inches folded to 5-1/2 inches x 9-1/4 inches. Printed letterpress in Vintage Sabon by Walter Hamady, fine.

Madison, WI: Wisconsin Academy of Sciences, Arts and Letters, 2005. Exhibition catalogue containing bibliography of The Perishable Press taking up where TWO DECADES OF HAMADY & THE PERISHABLE PRESS LIMITED left off (book #106 1983). This starts with book #107, 1984. Page size: 10-1/4 inches x 7 inches; 18pp; one of which is a triple gatefold. Bound: original wrappers printed in color, both front and back wrappers are gatefolds with the bibliography of The Perishable Press on the interior pages of each of the gatefolds. The entire catalogue was printed in color by Park Printing House and designed by Patrick JB Flynn.The essay on Walter Hamady's work is by Roy Behrens, Professof of Art at the University of Northern Iowa, where he teaches graphic design, illustration and design history. There is a "Colophonic Afterword" by Walter Hamady and "A Note from the Curator" by Martha Glowacki. The works of The Perishable Press are included in this exhibition, but perhaps more intriguingly, collages and… Read More

Madison, WI: Wisconsin Academy of Sciences, Arts and Letters, 2005. Special Issue of Exhibition catalogue containing bibliography of The Perishable Press, one of 150 copies signed, enhanced, and altered by the author / subject / printer, Walter Hamady. Taking up where TWO DECADES OF HAMADY & THE PERISHABLE PRESS LIMITED left off (book #106 1983), this starts with book #107, 1984. Page size: 10-1/4 inches x 7 inches; 18pp; one of which is a triple gatefold. Bound: original wrappers printed in color, both front and back wrappers are gatefolds with the bibliography of The Perishable Press on the interior pages of each of the gatefolds. The entire catalogue was printed in color by Park Printing House and designed by Patrick JB Flynn and Walter Hamady.The essay on Walter Hamady's work is by Roy Behrens, Professof of Art at the University of Northern Iowa, where he teaches graphic design, illustration and design history. There is a "Colophonic Afterword" by Walter Hamady and "A Note from the Curator" by… Read More

Iceland: Oddi, 1994. One of 500 copies, each signed and numbered by the artist, all on Simpson Starwhite Vicksburg paper, illustrated with 36 offset prints of colored pencil drawings of sweets, pastries, breads & crackers from 16 countries. Page size: 8 inches x 12 inches, 42 pages. Bound: tan cloth over boards, author and title stamped on spine. An introduction and brief comments on each subject is included. The book was designed by Peter and Leslie Miller of the Grenfell Press of New York. The text was typeset by Linda Josefowicz in Centaur and produced by Michael Josefowicz of Red Ink Productions. The drawings are beautifully reproduced: the tarte au peche, the kashina mochi, the cannoli siciliani, and the humble Oreo all look good enough to eat.

[New York: By the Artist, 1994. First Edition, one of 35 copies, all on Fabriano Ingres paper, each signed and numbered by the artist. Page size: 2-1/8 x 1-15/16 inches. Bound: oriental fold, front and back boards covered in Moriki dark mauve-brown paper with "open" printed in black with a red arrow on front foredge 3/8 inch x 1/2 inches; housed in bemboka oatmeal paper case with flaps and elastic band. Illustrated with eight one-color etchings. The artist, a collector of buttons, has presented them here in all their intriguing variety. Printed one per page in Van Dyck brown and matching the cover color, they are brightened by the addition of colored threads that pierce the paper appear to sew them to the page. By featuring these valued fasteners, the artist reveals the fallacy in the expression that provides the book's only text: "Don't care" on the first page and "a button" on the last.

New York: Robert O. Ballou, 1933. First Edition. 8vo; 251pp, with 75 photographs on double-sided plates, including frontispiece; original blue cloth, gilt spine, edges faded about 1/8 in, endpapers a bit aged toned, jacket chipped along all edges rubbed ("E" in Peterkin missing on spine) with creases on both front panel, very good in used jacket. Julia Mood Peterkin (1880-1961), South Carolina native, lived on her husband's two-thousand acre plantation and also had a summer home at Murrell's Inlet, a coastal village. She wrote, with realism and dignity, plantation stories and stories of the Gullah African American tenant farmers of the Sea Islands and coastal regions. She was a sympathetic and outstanding commentator of the lives of this vanishing black culture. Doris Ulmann (1882-1934) was a well-respected photographer of the period who specialized in portraying the people of the "Southern Highlands" Appalachia and the coastal blacks Peterkin wrote about. Ulman's photographs of now vanished worlds… Read More

Paris: C. Coulet & A. Faure, 1958. Limited Edition, one of 800 from a total issue of 835 with 71 drawings after Albert Marquet. 4to; handsomely bound in 3/4 maroon morocco, with pastepaper doublures, original wrappers and spine bound in, teg, near fine.

Paris: Galerie de la Cible, 1920. One of 1040 on veige teinte, from a limited total issue of 1100 copies. 8vo. Handsomely bound in 3/4 dark red morocco and marbled paste-paper boards, gilt fillets, four raised bands on spine, author and title gilt, top edge gilt, marbled paste-paper doublures, original wrappers bound in, fine. A critical biography of the celebrated Dadaist artist who joined forces with the Surrealist group in Paris in the 1920's. Illustrated throughout with tipped-in reproductions of Picabia's work, with a pen-and-ink self-portrait as frontispiece.

[Paris]: Rene Drouin, 1948. First Edition, with more than 90 half-tone photographs of Picasso, with his family, working, and with completed works. With an important commentary by noted author and friend of Picasso's, Paul Eluard and an Introduction by another noted author and close friend, Jaime Sabartes. Folio, 3/4 blue morocco with marble pastepaper, spine panelled, author and title in gilt, teg, original pictorial wrappers of Picasso bound in. An important record of the master and his work.

Paris: L'Edition d'Art, H. Piazza, 1959. One of 1675 numbered copies on velin chiffon des Papeteries Navarre from a total edition of 1950. 8vo, handsomely bound in 3/4 dark green morocco and paste-paper boards, spine paneled, title gilt, top edge gilt, original covers bound in, fine. Cover illustration plus 16 color reproductions after watercolors of Paris boulevards and quartiers by J.-M. Le Tournier.

Rome, 1813. Engraved title and 11 of 12 engraved plates, modern 1/4 green morocco binding with skillful paper restoration to lower corners of margins. Size: 14-5/8 x 10-15/16 inches; page size: 14 x 10-13/16 inches; plate size: 10-1/8 x 7-3/8 inches. The artist engraved the plates and they are charming indeed with titles such as "La Vendemmia" and "Gioncataro in riposo." Rare: NUC lists only one copy of this work (Avery Library at Columbia).

[New York, 2008. Artist's book, one of 15 copies, all on Fabriano Tiepolo paper, each copy signed and numbered by the poet / artist / printer, Sarah Plimpton. Page size: 8-3/4 x 11-3/4 inches; 20pp. Bound: loose as issued, in cinnamon-colored wrappers, black label title printed in gold on spine housed in brick-colored cloth custom-made clamshell box, black leather label with title and author in gold gilt on spine, made by Claudia Cohen. Ms. Plimpton's poem reads, "one eye / drawing circles / with fingers tightened / round like an hour / left / on the paper / for now". The text is set in Dante and printed with the help of Brad Ewing at The Grenfell Press in New York. Each page is an original aquatint on an ochre colored ground with the exception of the middle double page spread with is on a pale moss green ground with deeper green forms. Extremely organic, each page of images surround the word / words, almost devouring them (think Pac-man). The textures achieved in the aquatints belie their… Read More

New York, 2002. First Edition, one of 20 copies, signed and numbered by the artist / author, all on handmade Arches. Written, designed, illustrated and printed by artist Sarah Plimpton. Page size: 11 inches x 7-3/4 inches; 20pp. Bound: loose folios gathered in handmade black paper wrapper; custom made clamshell case in mustard cloth by Claudia Cohen, fine. Poems printed at the Manhattan Graphics Center and at the Grenfell Press in Spectrum; aquatints printed by Peter Pettengill in Hinsdale, New Hampshire; title letterpressed on paper label on cover of wrapper, and on paper label on box spine. Shades of gray and mauve color the abstract designs shadow Plimpton's thoughtful verses.

[Milwaukee, WI], 1992. One of 10 copies, all on one-ply Strathmore, signed and numbered by the artist on the colophon page. Page size: 7-3/8 x 5-3/8 inches, 30pp; with a small book on botany bound in: 5-1/2 x 4 inches,10pp. Bound by the artist: covers are handmade French paper in pale green; front cover has a fig leaf, copied, cutout and collaged onto French handmade paper and attached at stem only. The fig leaf lifts up to reveal the title hand-written underneath. Wrappers attached with dark green grosgrain ribbon. Bookmark of dark green grosgrain ribbon with carved wooden apple (already eaten so that only core remains) at end. Hand-lettered with quotes from various texts - "Adam whilst he spake not, had paradise at will." William Langland, The Vision of Piers Plowman; "And Adam was a gardener..." Shakespeare, Henry IV; "The serpent deceived me and I ate." Genesis 3:13. Hand collaged with color copies of various paintings, cuts, postage stamps, and botany. The smaller inserted book contains eight… Read More

Milwaukee, WI, 1997. One of 10 copies only, each signed and numbered by the artist. Vol. I, 54pp; Vol. II, 54pp; Vol. III, 56pp. Page size: 3-5/8 x 1 inch. Bound: wood-grained paper over boards in shape of cigar with cigar label at pointed end with volume number hand-lettered and onlaid to the original wrapper by the artist; all housed in "cigar box" of wood-grained paper with cigar band and stamp onlaid and title hand-written by Poehlmann. Each page is hand-written by the artist on the verso and the recto has an original cigar band mounted to the page. The text is a mix of aphorisms, history, and lore of tobacco and smoking, with quotes by famous authors, etc. The Introduction tells us that the cigar band was invented by Catherine the Great of Russia, when she tied a bit of silk ribbon around her stogie to avoid staining her fingers! A witty production with the actual cigar labels quite attractive.