Rare books from Priscilla Juvelis

New York: Vincent FitzGerald & Company, 1991. One of 25 copies, text on Apta Royale Laid Richard de Bas paper (made in 1938), images on Musee paper, backed on custom-made papers by Paul Wong on Dieu Donne' Papermill. Page size: 16 inches x 16 inches. Bound by Zahra Partovi in Coptic-style mauve-grey silk over boards, box by David Bourbeau, Thistle Bindery, fine. Six original line etchings by Susan Weil are hand-painted in watercolor and gouache with gold-leafing throughout, each mounted on museum board. These images surround the 40-page text when sitting in the box and when lifted out become three-dimensional paintings. There are also two original collages in the text and on the boards of the cover which is printed in three colors. The calligraphy is by Jerry Kelly and the letterpress is by Dan Keleher at Wild Carrot Letterpress. Susan Weil's third Joyce book takes an excerpt from FINNEGAN'S WAKE and it is as much as tour de force as her previous two. The box itself is a piece of sculpture, and… Read More

New York: Vincent FitzGerald & Co, 1993. Portfolio of etchings, one of 25 copies, each signed and numbered by the artist Judith Turner on the reverse, all on BFK Rives paper and paper from Paul Wong, Dieu Donne Papermill. Page size: 30 inches by 15 inches; 6 leaves. Bound: loose in green paper portfolio with the title in silver gilt on front panel by BookLab. The titlepage printing was letterpress by Daniel Keleher at Wild Carrot Letterpress with calligraphy by Jerry Kelly. Marjorie Van Dyke and Vincent FitzGerald accomplished the printing of the etchings. Twenty-four photographic images by noted architectural photographer Judith Turner were selected by the artist and laid out in horizontally on five rectangular sheets of paper. They were photoetched and produced images with softer lines than photogravure. The artist has noted that this process helps conceal the deterioration of the sculptures. The etchings were printed with black ink and then using chine colle color was added by adhering thin sheets… Read More

Buenos Aires, Argentina: Ediciones Dos Amigos, 1997. One of 25 copies, but each copy unique, all printed on cream Velin d'Arches paper. Etchings and aquatints by Gabriela Aberastury, this copy one of the publisher's copies. Page size: 13-1/4 inches x 10 inches; 176pp; each page an original print - and many times several different print processes. Bound: loose in original black wrappers with Hebrew letter (Aleph) engraved in silver gilt on front panel and spine, housed in gray cloth over boards clamshell box with original etching on front of box, title printed in black on the spine, box a bit dinged at edges, book fine. Started in 1984 and finished 13 years later under the direction of Samuel Cesar Palui and printed by Ruben R. Lapolla. Samuel Cesar Palui and Ernesto Lowenstein published this book to commemorate the centenary of the birth of Jorge Luis Borges in 1999. The artwork was created by Gabriela Aberastury who editioned all the prints. Rather than illustrate the text story by story, Aberastury… Read More

Stamford: The New Overbrook Press, 1984. This copy in a unique binding by Jack & Emma Craib: full black morocco with mother-of-pearl onlays forming design of characters from the play climbing out of the cylinder tube in which Beckett has set the play. The design reveals itself as a pictorial image only with the use of an anamorphoscope which is a 6 inch silver tube sitting on top of one of the marble onlays. Limited to 250 copies on Rives, each copy signed by Samuel Beckett. Each of the seven etchings is hand-numbered and signed by the artist, Charles Klabunde. Charles Klabunde, master engraver, was born in Nebraska where he spent the first two formative decades of his life. He received his MFA at the University of Iowa where his unusual talents were discovered by master print-maker Mauricio Lazansky who invited Klabunde to join his Print Workshop. Following his one-man exhibition at The Minneapolis Institute of Art, the artist moved to New York where he established his own printmaking studio and… Read More

Paris: Lefuel, 1825. First Edition, eight volumes each with one engraving PRINTED IN COLOR, heightened by hand, original white wrappers printed with color lithographs housed in original double-compartment box with lithograph printed in color on cover (lid), gold foil which is stamped bordering edge of box, original pink and blue ribbon pulls. Page size: 6 x 4". The eight volumes are titled: The Little Milkmaid, The Little Schoolgirl, The Little Flower Seller, The Little Harvester, The Little Savoyard, The Little Shepherd, The Little Boatman, and The Little Firewood Gatherer (5 girls and 3 boys). Each volume has an engraving printed in color of a child dressed in the manner suiting the occupation in the title. The neo-classic colored bordered lithographs on the covers of each title have elements of the occupation included, such as flowers in La Petite Marchande des Fleurs and fish, seashells, and seaweed in The Little Boatman. The text of this charming children's set is titled Simple Stories, and they… Read More

Buenos Aires, Argentina: Ediciones Dos Amigos, 1974. One of 30 copies on Fabriano paper from a total issue of 32, each numbered and signed by the artist, Gabriela Aberastury. Page size: 13-3/4 inches x 18-1/2 inches; 72pp. Bound: loose in vellum wrappers with author and title printed in black on front wrappers, housed green clth clamshell box, label in printed in gold on maroon leather, boards covered with yellow-green grass paper, fine. There are 6 full page aquatints by Aberastury, 5 of which are in color, and one half-page colored aquatint. The text is printed by etch, the artist has handwritten the text and etched it on the plate and printed it on a green ground, with the exception of the last pae with is printed on a yellow ground the size of the text line and then printed green. The full-page images are remarkable. This is brilliant print-making. Conceived as an homage to Breton, it was published on the 50th anniversary of the publication of Breton's SUREALIST MANIFESTO under the direction of… Read More

[Sacramento, CA], 2008. Artist's book, one of 4 copies only, each containing a suite of 10 silver gelatin prints, the prints on doubleweight fiber base Bergger developing out paper, as well as a commentary of about 1000 words, printed on Mohawk Superfine paper, both the photographs and commentary by William T. Vollmann. Each print is signed and numbered in pencil on the reverse by the artist / author. The original text written by the author / artist for this portfolio, is printed letterpress, and signed by him on the Colophon. Page size: 16 x 20-1/8 inches (matted photographs) and 8-1/2 x 11 inches (text and captions) totalling 17pp.which includes the titlepage, 10 gelatin prints, colophon, and five pages of captions housed in envelope on inside back over of clamshell box. The titlepage is hand-lettered by Mr. Vollmann. The colophon / artist's statement plus 5 pages of captions, one for each image, are printed letterpress by David Ward of The Applecart Press, Brunswick, Maine. Bound: loose as issued… Read More

Cleveland, OH: Foolsgold Studio, 2002. One of 60 copies, each signed and numbered by the artist / author, Donald Glaister; 10 of which HC, all on 10 mil aluminum. Page size: 14 x 12"; 28pp. Bound: quarter leather grey Nigerian goatskin with aluminum onlays on front and back. The aluminum pages are set on paper hinges for ease of opening. Endpapers of coarse black textured paper. The book is housed in a felt-lined aluminum box. There are portraits of the Brooklyn Bridge which are painted with acrylics on sanded aluminum as well as collages suggesting the construction of the bridge which are also on sanded aluminum and painted, with wire aluminum tape, laminated polyester film and sand all attached to the pages. The type is Avant Garde and is silkscreen printed. Selected for inclusion in Wellesley College exhibition and catalogue RESONANCE AND RESPONSE (2005). The Brooklyn Bridge has, since its opening in 1883, inspired many writers and artists: Hart Crane and Walker Evans perhaps the most famous of… Read More

Sydney, Australia: Chowder Bay Press, 2012. Artist's book, one of 26 lettered copies, A-Z, plus 2 Artist Proof copies, all on Japanese Iwaki Mulberry paper for the linocuts and Rising Stonehenge paper for the poems, with wrapper supports of Suecia Antiqua Chamois, each book signed and lettered in pencil, by the artist, Peter Kingston, and the author, Robert Adamson. There are twenty-one prints by Kingston, including three long internal wrappers, a folding leporello, the upper lid of the box, and the illustrated colophon in the base of the lining. Page size: 13-3/4 x 13-3/4 inches; 14 folios consisting of poem title on recto, poem on verso, linocut (chine colle) on recto (one of which is double page fold), verso blank; plus titlepage and colophon, plus wrappers consisting of double-page linocut on Iwaki Mulberry paper to hold colophon and color photograph of Mr. Kingston and Mr. Adamson. Bound: loose as issued in linocut-printed green wrappers of Iwaki Mulberry paper showing wide-eyed, iridescent… Read More

Canton, NY: Caliban Press, 2001. One of two copies in original designer binding by Donald Glaister, from an edition of 125 copies all on various handmade papers by Velma Bolyard, La Papeterie St. Armand, and Barcham Green, with Arches, Frankfurt and Mexican amate paper. The text is set in 14pt. Dante by M & W Bixler; rain cut by Greg Lago. The book was designed, printed and bound by Mark McMurray, using the text from the 1623 First Folio (with a few liberties). Page size: 8 x 12 inches. Bound by Donald Glaister: full grey morocco with deep blue morocco onlay cutout to reveal underlay of aluminum with onlays of mesh, copper, mylar, painted in silver, gold, red, and black, the cutouts, while seemingly abstract, spell out the title of the book, TEMPEST, on the front panel and the same on the back panel - but in reverse mirror writing, spine smooth with two sets of tooled red and gold-gilt vertical lines and one set of horizontal lines spelling out the word THE, cork endpapers, blue and grey silk… Read More

Sacramento, CA: Co-Tangent Press, 2015. Artist's book, one of 6 copies, 5 of which are for sale, all on Nideggen paper, each copy signed by the artist, William T. Vollmann, on the colophon and on the hand-lettered titlepage and on the reverse of each print. Page size: 17 x 12-7-8 inches; 12pp. Bound: loose as issued; suite of prints and titlepage and colophon are wrapped in buff Rives lightweight and housed in a custom-made black cloth over boards clamshell box, with title and artist printed in black on white label on spine, box by Joelle Leavitt Webber at The Mermaid Bindery. Each of the 6 copies contains 5 original woodblock prints printed with a spoon in Charbonnel and Daniel Smith oil-based inks, with additional hand-work done a la poupee. The wood blocks were engraved on pine blocks over pencil drawings of two different female models. The Nideggen paper was first under-painted with black acrylic in order to reverse his usual negative-tone style. Each print was then archivally glued to… Read More

Vashon, WA: Foolsgold Studio, 2016. Artist's book, one of 10 copies, from a total edition of 12 for sale, 10 regular, 2 deluxe (Sold Out), pages on polyester film and various metals and binders board, each copy signed by the artist, Donald Glaister, on the colophon. Page size 14 x 12 inches; 32pp. Bound by the artist: textured and painted paper over boards, hand-sewn with each page on tabs to allow complete opening of each page spread, black morocco spine, with sanded aluminum insets on front and back panels; title indicated by three parallel cut-outs in the aluminum inset on front panel suggesting a counting system, housed in custom-made black cloth clamshell box. The text is letterpress printed in Filosofia in various point sizes, on aluminum and polyester sheets done from photopolymer plates by Jessica Spring at Springtide Press. The drawn images are silkscreen printed on aluminum and individually painted by the artist, Donald Glaister, who designed and produced the edition, assisted by Gabby… Read More

Easthampton, MA, 1993. Publishing archive (complete) containing original art which served as setting copy for trade children's book published by Hyperion Press. This complete archive consists of 19 watercolors approximately 20 x 12 inches each on 24 x 18 inch paper, each individually matted and signed by the artist, Alan James Robinson. Also included are 11 large pencil drawings corresponding to the watercolors noted above (as preliminary studies) that were used as the images on each page of the book. These drawings are annotated in the artist's hand and signed by him, the annotations relating to changes in the image requested by the publisher. Also included are 6 additional watercolors approximately 20 x 12 inches on 24 x 18 inch paper, matted, of completed compositions not included in the book. Also included in this archive are two portfolios housing 47 pencil sketches on various sizes of transparent paper and 115 pencil sketches respectively. These sketches, some of which are collages and some of… Read More

New York: Vincent FitzGerald & Company, 1987. Artist's book, one of 65 copies only, 50 in the edition for sale and 15 Artist's Proofs, all on Moulin du Gue paper and Japanese papers, with 62 etchings, employing over 150 plates, original watercolors, collage and hand cutting, signed by the artists, Susan Weil and Marjorie Van Dyke on the stunning colophon page. Collage by Vincent FitzGerald and Zahra Partovi, etchings printed by Marjorie Van Dyke assisted by Maria Luisa Rojo at the Printmaking Workshop; lithographs editioned by Marjorie Van Dyke with Rhae Burden, calligraphy by Jerry Kelly, letterpress by Dan Keleher and Bruce Chandler at Wild Carrot Letterpress in 40 colors with type set by Dan Carr and Julia Ferrari at the Golgonooza Letter Foundry. Page size: 12 x 14 inches; 94 leaves, 3 of which are double folds, one printed page loose as insert (Dreams section), two fold-out images (Death section). Bound: loose as issued in original wrappers in hand-made box by David Bourbeau at The Thistle… Read More

Stonington, CT: Wequetequock Cove Editions, 2012. Artist's book, poetry by James Sacre in English and French, in a unique binding by Coleen Curry, one of 30 copies with text printed on Velin d'Arche, the original watercolor that is the frontispiece is on Sekishu Japan paper, as are the four copperplate engravings, all copies signed by the artist, the author, and his translator, Joshua Watsky, who is also the publisher. Page size: 12.8 x 9.8 x 1/2 inches; 32pp. Bound by Coleen Curry: full goat cerulean blue leather binding with laced on boards with magenta buffalo leather edge to edge doublures; inlays of hand dyed, embossed, and painted goat and calf leathers with painted incisions; title, author, and artist hand tooled in turquoise metallic foil; top edge painted with acrylic, polychrome silk end bands, Green Mokuba backed with blue Lotka paper fly leaves; original wrappers bound in; signed on rear inside cover with binder's device and stamp; housed in magenta / grey cloth over boards clamshell box… Read More