Artists' Books & Book Artists
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A note on OCLC
As is now the norm, OCLC counts are tentative, at best, as we recognize that searches using different qualifiers will often turn up different results. Searches are now further complicated by the vast numbers of digital, microfilm, and even print-on-demand copies, which have polluted the database considerably, making it difficult, without numerous phone calls or emails, to determine the actual number of tangible copies. Hence, even though the counts herein have been recently checked, most all should be taken as a measure of approximation.
1. Rincon poetico / Poétic corner / Coin poetique. Iowa City: Pacific Inland Press, 1975.
$175
Edition limited to 210 copies, this one of 60 on Suzuki handmade, square 8vo, pp. [26] frenchfold; printed in red and black; 4 illustrations by P. G. Montoya; original plain maroon wrappers; short tear in the fore-edge, else fine. From the library of Kim Merker.
The poems are in Spanish, French (translated by Katerina Anghelaki Rooke), and English (translated by David William Young). "In cooperation with the International Writing Program at the University of Iowa, the Pacific Inland Press has published two hundred & ten copies of this pamphlet. One hundred & fifty copies are printed on Strathmore Text, sixty on Suzuki, a handmade Japanese paper. The type is Romanée."
OCLC locates copies at Yale, Iowa, Princeton, Notre Dame, Ohio, and Arizona.
2. Bright things: Ace Space, Andrew, Art Rat, Box Arnold, Dr. Brute, Victor Coleman, Greg Curnoe, Peter Daglish, Greg Jupiter, Rex Raglan, George Saia, Michael Tims. [Toronto]: Coach House Press, 1970.
$150
8vo, pp. [64]; illustrated throughout by Atchley, much of it comix; text toned, else a near fine copy throughout in original pictorial wrappers.
"Before his death in 2000, Atchley was a bit of a legend and certainly a pioneer in the digital-storytelling front. His clients included Coke, EDS, Adobe, Silicon Graphics and many others. He even worked with Apple as a charter member of the AppleMasters program" (presentationzen.blogs.com).
3. Nat Turner in the clearing. N.p., n.d.: .
$200
Frenchfold bifolium printed in red and black, consisting of a Foreword on p. [1] and the text of the poem on p. [3]; illustration of a pig at the top; fine. From the library of Kim Merker.
This poem was collected in Aubert's If Winter Come: collected poems 1967-1992, Carnegie-Mellon University Press, 1994. "A career in teaching took Aubert back to Southern University, where he taught for ten years, to SUNY Fredonia and then to Wayne State University in Michigan, where he was professor and director of the Center for Black Studies as well as chair of Africana Studies. In 1975, he founded the journal Obsidian: Black Literature in Review, which was an early forum for African American literature and literary criticism" (Poetry Foundation).
Auberts’s honors include fellowships from the National Endowment for the Arts, the Callaloo Award, and the Xavier Activist for the Humanities Award.
Not found in OCLC.
4. Intimate Immensity. Minneapolis: Form and Content Gallery, 2007.
$750
Large portfolio (approx. 15¼" x 11¼") containing 14 original artworks, chiefly in color, by Robyn S Awend; Howard Oransky; Christine Baeumler; Jil Evans; Jim Dryden; Camille J Gage; Leah Golberstein; Fred Hagstrom; Joyce Lyon; Lynda Monick-Isenberg; Faye Passow; David Rich; John Saurer; Jeff Wetzig; and Jody Williams.
Form + Content Gallery is a cooperative artists' gallery in downtown Minneapolis. Intimate Immensity was an exhibition featuring a limited edition of new prints by gallery artists and invited guests, inspired by Gaston Bachelard's The Poetics of Space. Thisa is the first publication by the gallery.
5. Rot-o text ciphertext. N.p.: Alex Bacalso, 2016.
$150
Edition size not stated, 5" x 4", accordion-fold, 12 panels printed in black, blue, and gold, the opening panel with a alphabetic volvelle; decorative blue, green and gilt paper-covered boards; fine.
"An exploration of building words from ciphertexts originating from the word 'text'."
6. Diary of a prime-time crier. [North Truro? Mass.]: S. Baker, 1990.
$75
First edition, 6¼" x 6", consisting of three 5-panel cross-shaped pieces in decreasing size, folded into squares, and each inserted into the larger piece(s). Fine.
Illustrated excerpts of events from the early years of the life of the artist's son. "This book was made possible through a mass productions grant from the Mass. Council on the Arts + Humanities in conjunction with the Truro Center for the Arts."
7. Early vs. modern handmade papers: observations of a 20th c. papermaker...Drawings by Richard Flavin. Madison: Silver Buckle Press, 1989.
$800
Edition limited to 150 copies (this being copy no. 82), signed by Barrett; 8vo, pp. [10]; title page printed in red and black; 3 folding specimen sheets bound in at the back; fine in original hand-made beige wrappers with printed paper label on upper cover. From the library of Kim Merker.
All the paper used in this book, including the specimens, were made by Timothy Barrett who won a MacArthur Award in 2009 for his much-admired work on the history of paper and papermaking.
8. Japanese paper. [Minneapolis]: printed by Coffee House Press, 1986.
$200
Broadside, approx. 12½" x 6", from handset Blado and Poliphilus types on handmade Japanese Etching paper. Signed by Barrett.
From Japanese Papermaking, Traditions, Tools and Techniques by Timothy Barrett (Weatherill, 1983). Reprinted by permission of the author as a keepsake for founders of Minnesota Center for Book Arts at a reception in their honor, 5 June 1986."
Timothy Barrett won a MacArthur Award in 2009 for his much-admired work on the history of paper and papermaking.
Texas A&M only in OCLC.
9. Covid: book of days. [Minneapolis]: Mnemonic Press, 2022.
$1,600
Edition limited to 25 signed and numbered copies, 7½" x 5", consisting of a title leaf, a 12-page gathering ("Prologue"), and six bifolia containing a total of 26 collages and mixed media created by Bart during the incipient days of the pandemic. Conceived and directed by Harriet Bart; produced by Paul Nylander at Four Tree Press; giclee and letterpress print on paper; boxed deigned by Jody Williams and executed by Campbell-Logan Bindery; folio titles excerpted from Emily Dickinson. Covid: Book of Days is based on mixed-media drawings and collages created in response to the events of March through May, 2020. On March 13, Governor of Minnesota, Tim Walz, closed the State in response to the deadly spread of Covid-19. Bart went to her studio that day, collected a small box of art materials, a stack of precut paper and went home. There she created a workspace 18 x 18”, the size of Emily Dickinson’s desk. From March 13 thru May, she created more than 50 mixed media drawings and collages, some of which comprise Covid: Book of Days.
From the artist's website: "Harriet Bart creates evocative content through the narrative power of objects, the theater of installation, and the intimacy of artists books. She has a deep and abiding interest in the personal and cultural expression of memory; it is at the core of her work. Using bronze and stone, wood and paper, books and words, everyday and found objects, Bart’s work signifies a site, marks an event, and draws attention to imprints of the past as they live in the present.
"Bart’s work has been exhibited extensively throughout the United States and Germany, and she has completed more than a dozen public art commissions in the United States, Japan, and Israel. She has been the recipient of fellowships from the Bush Foundation, McKnight Foundation, MacDowell Colony, Virginia Center for Creative Arts, NEA Arts Midwest, and the Minnesota State Arts Board. Since 2000, Bart has published numerous fine-press books and mixed media bookworks. She has won three Minnesota Book Awards, most recently in 2015 for Ghost Maps. Her work is included in many museum, university, and private collections. In 2020, the Weisman Art Museum in Minneapolis presented "Harriet Bart: Abracadabra and Other Forms of Protection." Curated by Laura Wertheim Joseph, Abracadabra… will be the first retrospective and monograph of her work. Bart is a guest lecturer, curator, and founding member W.A.R.M. and the Traffic Zone Center for Visual Art in Minneapolis, MN.
10. Rondo Library. A miscellany of visual poetry. Minneapolis: Mnenomic Press, 2006.
$750
Edition limited to 40 copies (this no. 19) numbered and signed by Harriet Bart; very tall folio (approx. 23" x 6½"), accordion fold, 6 panels printed on rectos only containing 22 visual poems by 15 poets; very fine in original gray printed wrappers, with original printed wrap-around band.
Designed and printed in collaboration with Phillip Gallo at the Hermetic Press, Minneapolis. "The Rondo Library Miscellany was commissioned as a work of public art. These twenty-two visual poems are etched into a 20 foot long glass wall in the Rondo Community Outreach Library in Saint Paul, Minnesota."
11. The pocket paper engineer, volume I: basic forms: how to make pop-ups step-by-step [cover title]. The pocket paper engineer. Glen Echo, Maryland: Popular Kinetics Press, 2005.
$50
Tall 8vo, pp. 67, [1]; numerous illustrations, many folding and in color; spiral-bound; fine copy in original laminate boards. Together with: The Pocket Paper Engineer, Extra Cards volume, containing 15 bifolia on different types of boxes, supports, cross-overs, etc., and 6 die-cut patterns. Volume I appears to be all that was published.
12. Ars anatomica. A medical fantasia. Thirteen drawings. New York: printed at the Curwen Press for Editions Medicina Rara, Ltd., [1972].
$500
Edition limited to 2800 copies, this one of 300 (no. CVIII) of the roman numeral copies of the "double suite," issue, signed by Baskin, and printed on specially made paper bearing the watermark of Editions Medicina Rara; large folio, pp. 6 plus 13 biofolia [i.e. 26, as each is present here in duplicate], each with a fantastical anatomical drawing by Baskin; title page printed in red and black; publisher's blue cloth slipcase, printed paper label on upper cover. Fine.
13. [Baskin, Leonard.] The death of a salesman. Certain private conversations in two acts and a requiem. New York: Limited Editions Club, [1984].
$3,200
Edition limited to 1500 copies signed by Miller and the illustrator, Leonard Baskin (this, no. 727); 4to, pp. [8], 164, [4]; 5 etchings by Baskin; bound in full maroon niger, gilt-lettered spine, publisher's slipcase. Fine. Contains a new Preface by Arthur Miller.
Accompanied by: Death of a Salesman: Five Etchings by Leonard Baskin [box title], folding maroon niger portfolio containing 5 separate artist proofs (each on watermarked paper and measuring approx. 12" x 9") duplicating those in the published edition, each marked in pencil by Baskin, "Artist's Proof" and signed "Baskin."
LEC Bibliography 540 making no mention of an additional suite; nor can I find any mention of it elsewhere; Lisa Baskin notes that it was likely made up by the original owner, so almost certainly it's unique.
14. Standing upright. [N.p. Minneapolis / St. Paul?]: self-published, 2000.
$100
Square 12mo, approx. 5¼" x 5½", [40] leaves including 20 illustrations from photographs; printed from manuscript; fine in original stab-stitched pale green wrappers. From the library of Allan Kornblum, fine press printer, poet, and founder of the Coffee House Press.
The text concerns a cancer diagnosis. We can't find out too much on this book or Jennifer Bender, but it's well done and attractive. The edition size is likely quite small.
Not found in OCLC.
15. The poetry of learning. Berkeley: Archetype Press, 1975-85.
$1,500
The collection includes 26 printed scrolls (that for the letters A and B are supplied in Xerox facsimile), some rolling out to about 15 feet in length, each with the text of this epic poem arranged in columns, each in a tube beautifully covered in various colors of hand-made papers. The edition size varies and may be in question. It is doubtful that the edition size was ever as large as 100 for any one of the scrolls; the edition of some is as stated forty, and some may even be fewer.
"These scrolls," Emerson Wulling wrote about Bentley (A Comp's-Eye-View of Wilder Bentley and the Archetype Press), "are a humanistic autobiography of life lived on the border of materialism...written in various metrical forms. This is a typographical and literary accomplishment. One thinks of the Education of Henry Adams as being like The Poetry of Learning. Both are life views. Adams is a historian among whose symbols of life is the dynamo. Bentley is a man of letters who lives with a printing press. Both use their education as bases for reviewing their lives in context with their times. In doing so they offer substantial thought about human values. The early scrolls are largely narrative and descriptive about travels in Europe, about teaching, about printing. The later scrolls are more epigrammatic, about people, about current events, about environment. All are written in more or less traditional English poetic diction, with occasional sly puns. They read comfortably despite several rigorous structures: terza rima, sonnet, canzone, sestet, and free verse."
Bentley was one time Laboratory Assistant at the Laboratory Press, Carnegie Institute of Technology where he worked 1930-34, and from then on in Berkeley. Scroll A is in facsimile but the tube is original; scroll B has been reproduced on water-marked paper, but the tube is blue cardboard. All else fine or better, as issued.
16. The world of sex: a sampler. [Ann Arbor]: Roger Jackson, 1995.
$450
Edition limited to 26 copies of which this is copy "Q," signed by the artist, 8vo, 9 individual unbound sheets on goldenrod cardstock printed in red; laid into a handcrafted envelope made in Nepal from the bark of the Daphne cannabina tree; erotic charcoal illustrations by Camille Binet; printer cover label detached but present, else fine.
Contents also include a previously unpublished preface by Lawrence Durrell to Miller's The World of Sex. Small laid in broadside titled "News Flash!" by the publisher, in which he recounts his disgruntled printer's vow "never to print anything like this again".
17. January 8, 1994. Today I found a poster for the Southern Cross Bicycle Classic... [first line]. [Minneapolis]: Minnesota College of Art & Design, 1997.
$250
Edition size not stated, square 4to (approx. 9½" x 10"), 30 leaves, without a title page, as issued; 38 illustrations from photographs; original brown hand-made paper over boards, unadorned; fine copy.
Text and pictures describing a cross-country bicycle trip Katie Blake took with her friends from California to Florida, from Disneyland to Disney World. "Katie recently graduated with a masters in Art History from Pratt Institute. She is a Library and Information Science graduate from the University of Washington’s iSchool as well. She has worked in many states across the country for libraries, teaching, in the film industry, office job amazingness and was even once outfitted as Miffy for Nickelodeon during a Kid’s Choice party. Having just completed her thesis, Katie is currently living and making art in her hometown of Anchorage, Alaska" (inalj.com).
18. The tender organizations ... with wood engravings by Jack Molloy. Minneapolis: Minnesota Center for Book Arts, 1989.
$150
Edition limited to 310 copies, this one of 275 signed by Carol Bly (this, no. 197), 8vo, pp. [2], 34, [5]; accordion fold; folding wrap-around pictorial gray paper wrappers by Jill Jevne, designed and printed by Gaylord Schanilec "with a gang of interns" at MCBA; near fine. From the library of Allan Kornblum, poet, fine press printer, and publisher who founded Coffee House Press.
This copy inscribed to Kornblum and his wife: "For Allan & Cinda - Carol Bly." And, additionally inscribed by Schanilec, "Happy trails" with his chopmark.
MCBA's second annual "Winter Book."
Quarter to Midnight A.93.b.
19. [Bonfils, Robert.] Bagatelles. Illustrations by Robert Bonfils. Paris: Maurice Darantiere, 1926.
$1,500
Edition limited to 100 numbered copies printed by Maurice Darantiere, small 4to, pp. [5]-58, [5]; 20 small pochoir illustrations by Bonfils; original stiff pictorial wrappers; fine copy in a nearly fine glassine sleeve, and the printed copy designation slip laid in.
Robert Étienne Bonfils (1886-1972) was a French illustrator, painter and designer, not to be confused with the American illustrator, Robert Bonfils. Tessie Jones was the talented daughter of the famed collector of rare Americana, Herschel V. Jones, of Minneapolis.
20. Self portrait. [New York: Siamese Banana Press, 1972.]
$150
4to, [40] leaves (including back wrapper) printed offset on rectos only; 2 full-page self portraits; original printed wrappers, side-stapled; back wrapper toned, else about fine.
21. A bestiary of the Lake Superior basin. N.p.: Pilot Rock Press, 1988.
$1,500
Edition limited to 18 copies, this being copy no. 1; folio, 5 wood-engravings on Rives BFK gray, each signed and dated by the artist, and each with a descriptive leaf of "letterpress passages" in Garamond types (with titles in Spartan Heavy); contained in a letterpress portfolio printed in green and black, the whole in a gray cloth folding box; fine.
Fred Brian was born in Normal, Illinois, in 1924 and raised in Bloomington, IL. For most of his life he has spent his summers in Gogebic County, in the Upper Peninsula of Michigan. He taught at Illinois Wesleyan University from 1952 until his retirement in 1984. As early as 1947 he began studying printmaking, and in 1950 he enrolled at the Art Department, University of Iowa. This work is "a sequel to a 1977 piece. Like the earlier work, this 1988 version is a creative printing project of the Pilot Rock Press, with all of the design and production done by Fred Brian."
22. Deer Santa. [Minneapolis (?): Boy Wonder Press [at the Minneapolis College of Art & Design], 1994].
$75
Edition limited to 100 copies (this, no. 20), signed by Paul Brosi; accordion-fold artist's book approx. 4" square, extending to approx. 55½", 11 linocuts, origami reindeer on pink paper in rear cover pocket; green cloth-covered boards, printed title inset into upper cover; fine.
A story in pictures. "Deer Santa was developed, screenprinted and bound from late October to early December of 1994. Story by Paul & Ted Brosi. Drawings and design by Paul Brosi. This book is from an edition of 100, of which you hold in your hot little hands, number 20" (colophon).
Paul Brosi, based in Minneapolis, MN, US, is currently a Designer and Creator at Tidal Studio. [He] holds a 1992 - 1996 BFA in Printmaking and Bookmaking from Minneapolis College of Art and Design."
Not found in OCLC.
23. Bearing south. Antarctica, at sea. Photographs by Stuart Klipper. [Colorado Springs, Colo.]: The Press at Colorado College, 1991.
$950
Edition limited to 50 copies (this, no. 18), signed by the printer and designer, James Trissel, and also by the photographer, Stuart Klipper; oblong folio, pp. [50] and but for the title-page spread, printed on rectos only; with 28 mounted black & white photographs, each approx. 3" x 4"; bound with concertina guards around signatures to compensate for the tipped-in photos, in pale blue Japanese cloth over boards, silver-stamped spine, in matching cloth slipcase, slightly faded. From the library of Kim Merker.
The photographs were taken by Stuart Klipper during an expedition to Antarctica in 1987. Klipper had joined the crew of the Bermudian yacht War Baby on a two-and-a-half-month journey that covered over 4000 nautical miles. The text accompanying the images consists of excerpts from the log of War Baby's skipper, Warren Brown, and quotations from the renowned Irish ice-sailor, John Gore Grimes. The voyage began in Punta Arenas, Chile on the Strait of Magellan, to the Falkland Islands, then on to Antarctica and Tierra del Fuego; later, the journey took them up the western coast of Chile and ended at Valdivia, Chile.
24. Panthers. [Minneapolis]: Indulgence Press, 2007.
$300
Edition limited to 151 copies (this, no. 24) printed, illustrated and bound by Chip Schilling, this is one of the 121 "standard" copies (there are also 26 "deluxe" copies); signed by Browne and Schilling; oblong 12mo, pp. narrow folio in sixes; pp. [4], 53, [2]; title page printed in gray, 4 cyanotype photographic illustrations; fine throughout in original gray and silver cloth, silver lettering on spine, gray cloth slipcase.
25. Jimmy day-dreams about all kinds of things. Minneapolis: Elisa Brynteson [at the Minneapolis College of Art & Design], 2000.
$45
Edition size not stated, artist's book approx. 4" square, 8 leaves, 8 hand-colored illustrations; original yellow hand-made paper over boards with inset illustration of a flower, string-tied; fine.
Inscribed by Brynteson on the back pastedown: "For Jody / artists books / fall 2000 / thanks / Elisa" (with a small drawing of a flower).
Jody is Jody Williams, long-time instructor at Minnesota College of Art and Design.
Not found in OCLC.
26. Jimmy picks wild flowers with his best friend. Minneapolis: Elisa Brynteson [at the Minneapolis College of Art & Design], 2000.
$45
Edition size not stated, artist's book approx. 4" square, 8 leaves, 8 hand-colored illustrations; original blue hand-made paper over boards with inset illustration of a flower, string-bound; fine.
Inscribed by Brynteson on the back pastedown: "For Jody / Elisa."
Jody is Jody Williams, long-time instructor at Minnesota College of Art and Design.
Not found in OCLC.
27. Walker Art Center and Duffy's present William Burroughs with John Giorno; Chandler Poling, piano; 8 pm Sunday, 22 March 1981. [Minneapolis]: Walker Art Center, 1981.
$750
Broadside approx. 22" x 13" in frame; signed by Burroughs. Depicts Burroughs holding a handgun, with a shooting target at the lower right showing 6 bullet holes. Fine.
A poster announcing a benefit reading for the Walker Art Center's Writers reading series. Photograph of Burroughs by Alan Pogue.
Only Kansas (2 copies) in OCLC.
28. Rocky Ledge 8. Cherry Valley, New York: June-July, 1981.
$100
4to, pp. 76; printed from typescript; cover drawing by Jane Freilicher; original pictorial wrappers, side-stapled; slight dampstain at the top outer corners throughout; all else near fine. Contributions by Anne Waldman, Ed Dorn, Larry Fagin, Anselm Hollo, and many others.
29. Dream book. Iowa City: 1988.
$150
Edition limited to 30 copies (this, no. 4); 8vo, pp. [24]; handmade paper throughout; the colophon is signed in pencil by the 11 book artists associated with the book; wallet-style binding with string-and-button closure; illustrated throughout, much in color; fine copy. From the library of Kim Merker.
"Written, illustrated, designed, set, printed, hand-colored and bound by eleven of the most talented teenagers in the state brought together in June 1988 for the first Iowa Summer Governor's Institute for Gifted and Talented Students ... Our most sincere gratitude is extended to Tim Barrett, Pat Fahey, Robin Fawcett, Kimberly Liedel, Bridget O'Malley and Annie Wilcox."
Iowa only in OCLC.
30. Typewriter. Nos. 1, 2, 3, 4, 6, 7, and 8. Iowa City: 1971-78.
$950
Seven issues in all; Illustrated throughout, much from the typewriter; Allan Kornblum's set assembled while he was in Iowa City; aside from a touch of fading here and there, these are in near fine condition. As best I can tell, ten issues of Typewriter were published.
No. 1, 11" x 8½", side-stapled, 23 leaves printed on rectos only, plus pictorial wrappers; contributions by Ira Steingroot, Joyce Holland (aka Dave Morice), Allan Kornblum, Cinda Wormley, David Oshel, Rachel Faber, and others. Signed by Allan Kornblum on the front wrapper.
No. 2, 8" x 8½", side-stapled, 19 leaves printed on rectos only (1 folding), plus pictorial wrappers; contributions by Mary Ferris, Darrell Gray, Lloyd Quibble, Sandra 'Sandy' Skoglund, Ira Steingroot, Joyce Holland (aka Dave Morice), Kent Zimmerman, and others.
No. 3, 8" x 8½", side-stapled, 24 leaves printed on rectos only, self-wrappers and with a red plastic overlay; contributions by Ray Di Palma, Andrew Hawks, A. G. Sonin, Jeremy Adler, Loid Quibel, Luis Camnitzer, Dave Oshel, and Helena Paul. This copy inscribed to Allan Kornblum by Quibel: "Allan - your long promised copy, Loid."
No. 4, 8" x 8½", perfect-bound, 44 leaves (2 folding), mostly printed on rectos only, printed yellow wrappers; contributions by David Mayor, Hugh Fox, Jeremy Adler, Peter Finch, Kent Zimmerman, David Oshel, and others.
No. 6, 7½" x 5", pp. 48, saddle-stapled, pictorial wrappers; contributions by Alan Riddell, Better Radin, Tim McDonough, Jiri Valoch, Kent Zimmerman, David Oshel, and others.
No. 7, 7" x 9½", 16 leaves, saddle-stapled, pictorial wrappers; contributions by Ian Krieger, John Vieira, Ladislav Nebesky, Glen Boggess, Ruth Wolf Rehfeldt, Karl Kempton, Peter Payack, and Joan Endres.
No, 8, 8½" x 8½", pp. [80], saddle-stapled, pictorial blue wrappers; contributions by Richard Kostelanetz, Diane Kistner, Ed Kaplan, Al Weiner, Beverly Muzak, Seth Wade, Steven Smith, Karl Kempton, Jeremy Adler, Richard Truhler, and Luis Camnitzer.
31. Activity book. [Minneapolis: Maria Castillo at Minneapolis College of Art & Design], 2017].
$125
Edition limited to 8 copies (this, no. 5), inscribed by the artist on the colophon, "To Jody, Thanks for your generosity and patience! Best, Maria." Approx. 9" x 6", pp. [20], including 1 folding, and an 8-page insert on orange paper approx. 3" x 2¼" at the center; illustrated with various media on various color paper; fine.
Jody Williams was a long-time instructor at Minneapolis College of Art & Design.
A book of activities relating to the brain's ability to interpret visual information, including words, colors, and optical illusions, in creative ways. "It was designed using the Typewalk Mono font, by Sven Fuchs."
Hennepin County Library only in OCLC.
32. Charting. [Oakland, CA]: In Cahoots Press [and] ilfant Press, 2004.
$75
Edition limited to 50 copies numbered and signed by the artists (this mo. 50); 5½" x 6¾", [8] leaves; self-wrappers; fine.
"Charting was inspired by grids, data and creative conclusions. The edition of 50 is based on a spontaneous book created by both artists in collaborative visual dialogue. Printed on handmade papers using letterpress and silkscreen with additional elements of drawing, collage and machine stitching" (from the prospectus which is laid in).
33. Animal [cover title]. . Minneapolis: Kate Cherne [at the Minneapolis College of Art & Design], 2010.
$45
Edition limited to 5 copies (this, no. 4), accordion-fold artist's book approx. 4" square, extending to approx. 33", 8 mounted paper samples with a series of cut-out words defining a relationship; handmade paper-covered boards, title printed direct on upper cover; fine.
Not found in OCLC.
34. A Letter of Columbus...with monoprints by Anthony Rice. [Columbus]: Logan Elm Press at the Ohio State University, 1990.
$2,000
Edition limited to 130 copies, 4to, pp. [38]; 29 multi-color monoprints in the margins, 22 hand-brushed initial letters, bound in handmade raw flax paper covers with visible sewing structure through brown goatskin spine, title embossed in blind on upper cover, brown pastepaper-covered wooden slipcase, the whole designed by Robert Tauber.
A magical and wondrous volume, beautifully produced, being a poetic adaptation of Columbus' letter to Ferdinand and Isabella as he was returning to Spain from his first voyage to the New World. Rarely do text and illustration harmonize so. A "tour de force .. On every page of this richly textured paper, handmade appropriately from Spanish flax, there is at least one colored picture: only the half-title and colophon leaf are not illustrated. Dolphins, sharks, turtles, hares, dogs and doves, torsos and trees, and mitred bishops in brilliant profusion fill margins, corners, and half-pages. Crimson and magenta, emerald green and cerulean, lemon yellow and blazing orange, tints of blues and greens and earth colors dazzle the viewer" (review in Fine Print, summer, 1990).
35. Manhattan an elegy and other poems ... Woodcuts by Margaret Sunday. Iowa City: University of Iowa Center for the Book, 1990.
$3,200
Edition limited to 130 numbered copies and 10 unnumbered proofs (this, copy no. 34), all of which are signed by both the artist and the author; folio, pp. [60]; illustrated throughout; fine in original illustrated paper-covered boards designed by Pamela Spitzmueller; printed on heavy French mouldmade paper by Kim Merker and Don Howell, with assistants. Nice copy, in a custom-made brown cloth clamshell box with leather label on spine. From the library of Kim Merker.
This is the "second in a series of livres d'artistes published by the University of Iowa Center for the Book" (p. [9]).
"Overcoming the challenges of printing this book was difficult. It was like putting a jigsaw puzzle together. It was great fun to do, but it was a bear."
Printing and the Mind of Merker, 95.
36. [Untitled]. Durham, NC: K. Clove, 2005.
$250
Edition limited to 20 copies (this, no. 16), dated and signed with initials in blind on rear cover flap; 3" x 3¼", 6 folding leaves, each leaf with 3 photographic images approx. 1¼" x 2"; fine, sewn into plain cream paper wrappers.
37. & grammar & money. Berkeley: Ārif Press, 1973.
$100
Edition limited to 350 copies, 26 of which have been lettered and signed by the author; oblong 12mo, pp. [22]; title page printed in red and black; original tan wrappers printed in red and black; back wrapper with a few small, light coffee stains; all else near fine. Printed by Wesley Tanner. From the library of Allan Kornblum, poet, fine press printer, and publisher who founded Coffee House Press.
This copy inscribed: "For Allan, for Kornblum, peace to both. Andrei Codrescu, April 26, '73." And later, in the same hand: "West Branch, June 3 (5' stop)." Cinda Kornblum clarifies: "Andrei's reference to the signature he did on the 5 minute stop. He and family were traveling cross country. We weren't home but usually left the door unlocked. Andrei came in and signed all his books while we were gone. We found them when we returned."
38. Caterpillar story ... to the kid I used to be ... screen printed by Trevor Collis. 1999.
$150
Edition limited to 15 signed and numbered copies (this, no. 1); 8vo, pp. 3-30; color illustrated throughout; fine in original green handmade paper over boards.
Trevor Collis, now a renowned tattoo artist in Kirkwood, Missouri, graduated from the Minneapolis College of Art & Design in 1999. This book was part of his senior course work and was gifted to Jody Williams, his instructor.
39. The license & the limit. Four poems.... Iowa City: privately printed, 1958.
$650
Edition limited to 25 copies signed by the poet (this one of 23 copies on Ticonderoga Text); 8vo, pp. [8]; text printed in red and black; fine copy in original printed cream wrappers. From the library of Kim Merker.
"Printed by JC at the State University of Iowa Typographic Laboratory."
Henri Coulette (1927-1988) was an American poet, winner of the Lamont Poetry Prize for his first regularly published book, The War of the Secret Agents and Other Poems (Scribner, 1965). He studied at the University of Iowa Writers' Workshop, after which he returned to California. He spent nearly his entire career as a faculty member at California State University, Los Angeles.
Delaware only in OCLC.
40. Strada Facendo. [Seattle]: Waterland Press, 1995.
$85
Edition limited to 45 copies (this, no. 25) signed by the artist; 5" x 4¾", 8 leaves, 6 illustrations printed in blue; original taupe wrappers, illustrated label on upper cover; fine. Text and engravings by Maralyn Crosetto. Non-adhesive two signature binding designed and executed by Judith L. Johnson.
"This book rose out of daydreams I had while driving through Italy last fall. Some of the country through which I passed inspired the illustrations. These engravings were printed on Rives Lightweight. The text was set in Bodoni. Judith L. Johnson designed and sewed the soft cover of Roma. As always, Maura Shapley's generosity made this effort possible" (colophon).
41. Thee four seasons. [Minneapolis: Minneapolis College of Art & Design, 1992].
$75
Edition limited to 8 copies (this, no. 1) signed by Cuccia and with a brief inscription "For Jody, thanks for all the help"; 8¼" x 8", 4 colored linocuts; original pictorial paper-covered boards, string-tied; generally fine.
The late Jody Williams was a long-time instructor at MCAD.
Not found in OCLC.
42. Twelve days of Christmas. N.p.: created by Michael Cuthbery, Michael Shimon & Jill Shimon, 1995.
$85
Edition limited to 22 copies signed by the participants (this, no. 5); folding quarter tan cloth box 8½" x 6½" containing 12 color woodcuts mounted on cards, with 12 envelopes, plus a title leaf. Fine.
"This hand-printed edition ... was created by woodcut methods and printed without the aid of a printing press. We hope that you will enjoy the images contained within the edition, and encourage you to share them with others through your correspondence."
43. The softness on the other side of the hole. Oakland [?]: Rebis Press, 1976.
$250
Edition limited to 325 copies printed by Betsy Davids, square 4to, pp. [92]; stiff paper wrappers, the upper cover of which bears a tuft of merkim (i.e., artificial pubic hair), the whole bound into riveted quarter-inch plywood boards by James Petrillo; generally fine. This is copy signed by Davids, Petrillo, and Davids. From the library of Allan Kornblum, poet, fine press printer, and publisher who founded Coffee House Press.
"Fondle this book made 1976 by Rebis Press slipt between hard board & penetrated brass riveted piano hinges spreading by James Petrillo, title moistness letterpressed deep into crevices of Arches Cover by Betsy Davids ... each copy of 325 fondled, breathed on & signed by Davids, Petrillo & Davids."
44. [Deibig-Lacaria, Judith.] How I love. 7 poems ... with original woodcuts by Judith Deibig-Lacaria. Madison, Wisconsin: The Pantagruel Press, 1968.
$150
Edition limited to 34 copies, 8vo, pp. [16]; original brown card wrappers and pictorial dust jacket; generally fine. From the library of Allan Kornblum, poet, fine press printer, and publisher who founded Coffee House Press.
Hand-set and printed by Judith Deibig-Lacaria in Palatino, roman and italic, on hand made Torinoko paper. Created for Walter Hamady's class, Print Layout and Design, at the University of Wisconsin.
Wisconsin and Michigan State only in OCLC.
45. Topographie amoureuse. Achill, County Mayo, Ireland: Red Fox Press, 2013.
$60
Edition limited to 150 copies (this, no. 6), signed by the artist on the title page; approx. 7¾" x 5¾", pp. [34]; inkjet printed with photo-collages of French text and portions of women's bodies and faces; original black cloth-backed pictorial boards; fine.
Buffalo, Washington U., Monash U., and State Library of Victoria in OCLC.
46. [Denby, Edwin.] An interview with Edwin Denby, conducted by Anne Waldman. [Boulder]: Erudite Fangs Editions, [1997].
$250
First edition limited to 200 copies; 4to, 11" x 8½", [5] leaves printed from typescript on rectos only; fine in original pictorial wrappers, side-stapled. From the library of Allan Kornblum, poet, fine press printer, and publisher who founded Coffee House Press.
This copy inscribed by Waldman, "For Allan, love, A." Laid in is an 11" x 8½" photocopied typescript by Waldman entitled "Notes on Sitting Beside a Noble Corpse - Light Breeze Stirring the Curtains, Blue - Faint Tremor of His Blue Shroud," on the death of Allen Ginsberg, 1997. The right margin is a little curled. This piece not found in OCLC.
47. Tom. Artwork and binding: Mary Devenyi. Toronto: Beaux Art Publishing, 2003.
$75
Edition limited to 50 copies (this, no. 12), signed by the two principals, and Tom, a child with Down syndrome; 2¾" x 2⅞", pp. [3]-76, [4]; 7 mounted color photographs; original red cloth-backed decorative paper-covered boards, leather label stamped in gilt on upper cover, title in gilt on spine; fine.
A miniature book "printed on Zephir Antique Laid Acid Free paper at The Coach House Printing Co. ... Toronto" (colophon). Delaware, Virgina, Wyoming, and Toronto in OCLC.
48. Others. Two short stories about the solitary and disenchanted. [Minneapolis: Will Dinski, [ca. 2003].
$50
Edition size not stated, 6¼" x 4¼", 9 leaves of card stock printed in blue and red, containing two stories, "The Pressman," and "Get Away From Me,", each illustrated comic-book fashion; stab-sewn at the top, with original wrap-around sleeve. Fine.
Will Dinski is a "Minnesota-based artist and designer. He is the author/illustrator of the graphic novels Trying Not to Notice (2d Cloud) and Fingerprints (Top Shelf Comix). He received the "Head on Fire" Award from the Raintaxi Review of Books in 2016 and the 2013 Minnesota Center for Book Arts (MCBA) Jerome Book Arts Fellowship. When he's not writing or designing, you can find Will biking around Minneapolis, where he makes his home with his wife and their two dumb cats" (google).
"Will Dinski is a cartoonist best known for his mini-comics. His beautiful handmade books are just as renowned for their exquisite silk-screened covers as they are for their oddball stories, unique “silent film style” panel structure, and frequently dismal endings. In 2009, Dinski was acknowledged for his work with the Isotope Award for 'Excellence in Mini-Comics'" (MCAD).
This production was likely student work by Dinski at the Minneapolis College of Art & Design.
Not found in OCLC
49. O'Ryan's belt. Eleven poems 1990-1991. Madison: Silver Buckle Press, University of Wisconsin-Madison Libraries, [1991].
$375
First edition limited to 70 copies signed by the poet, this one of 30 on Twinrocker handmade paper (this, no. 5); 8vo, pp. [26]; two fold-out die-cut illustrations designed by Marta Gomez, and the whole handbound by Tracy Honn; typography, setting and artwork by Barbara Tetenbaum; fine copy. From the library of Allan Kornblum, poet, fine press printer, and publisher who founded Coffee House Press.
50. Greetings from Atlantic City. A suite of etchings. [Iowa City?]: 1977.
$1,800
Edition limited to 25 copies (this, no. 7); 8 leaves (approx.14½" x 10¼") consisting of an etched title leaf, 6 leaves of etchings, and a colophon; letterpress printed in grey ink, the illustrations all signed and numbered in pencil by the artist-publisher; all contained in a portfolio covered in tan, gold, brown, and white striped denim with white braided cord ties.
"The text for this book was set by hand in Mistral and Horizon Light types and printed on Rives BFK Paper. The etchings were done on copperplates and printed by hand on an intaglio press" (colophon).
From the library of Kim Merker.
Five in OCLC: Georgia, Iowa, Duke, North Carolina-Greensboro, and University of Washington.
51. The 1967 game calender [sic]. Drawings by Joe Brainard / Words by Kenward Elmslie. [New York?: publisher not identified, ca. 1966-67.]
$375
4to, [12] leaves printed on rectos only; 12 full-page illustrations plus the cover art by Joe Brainard, each illustration matched with a 4-line poem; saddle-stitched; some toning along the fore-edge of the front wrap, all else near fine. Robert Duncan's copy, with his bookplate inside the front wrapper.
52. Oostamera . [Atlanta, GA]: Nexus Press, 1991.
$35
First edition, square 8vo, pp. [78]; illustrated throughout with photo-reproductions, spiral bound, stiff plastic covers; fine.
"A photographic chronicle written on graph paper of book-artist Emanuel's travels in his truck, complete with his own comments of his experiences along the way."
53. Winter reader 2003 - 2004. [Minneapolis]: Minnesota Center for Book Arts, 2003.
$125
"Chapbook edition" limited to 200 copies (this, copy no. 34); there was also a "standard edition" of 100 signed copies; approx. 9" x 5¾", pp. [44]; 7 illustrations, each with a die-cut bifolium on ochre paper; original tan paper wrappers, printed paper label on spine; fine.
"Features five meditative texts by Louise Erdrich ... The provocative introspection and poetic observance offered in these stories are characteristic of Erdrich's writing. Fear, angst, anticipation and joy are revealed in otherwise ordinary events. Life's complexities are fundamental in discovering simple, transcendent beauty" (MCBA).
"Featuring the papermaking of: Amanda Degener (January), Bridget O'Malley (Rising wolf), Rebecca Alm (Butter brickle), Mary Hark (Living dangerously), Jeff Rathermel (Winter gardens). This is "the fifteenth in an annual commissioned series celebrating the creative potential of book art. Text by Louise Erdrich provides the conceptual basis for the work, featuring the artistry of five Minnesota papermakers. Michael Lizama designed the book " (colophon).
54. [Finial Press.] The bird ... a series of capricci. Urbana, Illinois: The Finial Press, 1970.
$750
Edition limited to 45 copies signed by Fehl (this, no. 7), 4to, pp. [18] frenchfold; (pagination irregular); 12 full-page illustrations; original red cloth stamped with a small top-hatted man bearing a banner; mild dampstain to the front cover; all else fine. From the library of Kim Merker.
Printed on Hosho paper with Spectrum types and handbound by Mary Chapdu. "Each copy of this edition is unique. They have been made by individually drawing on silk screened backgrounds prepared by the author/artist" (colophon).
Fehl (1920-2000) was an Austrian born American artist and art historian.
LC, Illinois, and Northern Illinois in OCLC.
55. [Fjelstul, Alice.] "The slope of the church roof...'. [Plymouth, MN: Mountain Stool Press, 1993].
$65
Edition limited to 7 copies (this, no. 3) signed "A. Fjelstil"; 7¼" x 4", accordion-fold, 6 panels extending to 22", 1 panel die-cut to the shape of hands; original pictorial gray paper-covered boards; fine.
Fjelstul received her MFA from the Minneapolis College of Art & Design in 1994 and, still in Plymouth, continues creating art and art products today.
56. [Frasconi, Antonio, & Kim Merker.] Five minutes before 3 p.m., Father died.... [Iowa City: Kim Merker, n.d., 1965 or after].
$500
Broadside approx. 21¼" x 7¼", edition limited to 35 copies from Spectrum and Centaur types on handmade U I C B paper. Printed in red and black, and with a woodcut of Thoreau at the top by Antonio Frasconi.
This copy, while unnumbered, is inscribed in pencil: "to Kim Merker who did the beautiful printing. Frasconi."
The woodcut is the same as used in A Vision of Thoreau with His 1849 Essay: Civil Disobedience [with] Woodcuts by Antonio Frasconi, Spiral Press, 1965.
No mention of this broadside in Berger, Printing and the Mind of Merker. Not found in OCLC.
The text by Thoreau concerns the death of his father, as recorded in his journals February 3, 1859.
57. La frontera. Modurn mezod ov iunvers ol Ingles. [New York]: Helpful Book, [1983].
$100
First edition, square 12mo, pp. [78]; cartoon illustrations throughout, each with captions in phonetically rendered English and English; original pictorial wrappers; fine. From the library of Allan Kornblum, poet, fine press printer, and publisher who founded Coffee House Press.
A parody of bilingual phrase books.
58. VIsual poems. Bennett Ernst Gallo Helmes Kamin Kostelanetz [cover title]. Minneapolis: Stamp Pad Press / Hermetic Press, 2003.
$425
Edition limited to 75, folio, consisting of 4 bifolia (each approx. 13" x 10") with letterpress wrappers and contents, and a total of 6 visual poems printed in color, as below:
1) Preface to an Autobiography, by Richard Kostelanetz;
2) A Naive Topognomy of Loopules on a Fabric-Manifold of the All-Angel, by Franz Kamin;
3) Dialogue with Anna Blume, by Scott Helmes;
4) High-Heeled, by K. S. Ernst;
5) Untitled. John M. Bennett;
6) Nuclear Child, by Philip Gallo.
Fine, and contained in the original Zip-Loc bag, as issued.
59. 15 April 93 X. A. Jesus: archive of the unknown Fluxus poet. P. Gallo @ Walker Art Center. [Minneapolis: Phil Gallo at the Hermetic Press], 1993.
$375
Ziploc plastic bag, approx. 9" x 7", with typed yellow peel-off mailing label, containing the following printed broadsides and cards, all 6½"x 4" or smaller:
1) Lapel button: "Just Say No to Art";
2) Homage a Maciunas;
3) William S. Burroughs (Recombinant);
4) Radon Dispersal thru the typical suburban home and its effects;
5) Danger. Do not play on or around;
6) Schedule F. Fluxus surtax;
7) Some trepanned dementias;
8) Invocation and mantra for tape loop;
9) for better help we offer a smoke-free environment;
10) Real Ants / Imaginary Bugs;
11) Park even tonight;
12) Park odd tonight.
13) Three tiny plastic ants.
Distributed gratis to the attendees of an interview with Phil Gallo, Ides of April, 1992 at the Walker Art Center, Minneapolis.
60. Ephemera. [Minneapolis: Phil Gallo at the Hermetic Press], 1999-2006.
$150
A Phil Gallo sampler: 15 letterpress invitations, greeting cards and announcements, 16mo to 8vo; plus Advice to Bibliophiles by Umberto Saba, N.Y.: Barnes & Noble, 2000, pp. [3]-17, [1], original black paper wrappers lettered in silver. All fine.
61. A printer's dozen. Poems by Philip Gallo. Engraving by Gaylord Schanilec. Los Angeles: Bieler Press, 1992.
$200
First edition limited to 200 numbered copies signed by the poet and the illustrator, 8vo, pp. [22]; title page with 4-color plexiglass engraving; original charcoal printed wrappers, bound by Robin Price; fine.
Designed and printed by Gerald Lange. This is the first color engraving made by Schanilec in about 1980 but not published until here.
Quarter to Midnight A.113; Smith, Bieler, 40.
62. [Gallo, Philip.] Our work and why we do it ... Frontispiece by Gaylord Schanilec. Drawings by Jody Williams. Minneapolis: The Ampersand Club, 2011.
$200
Edition limited to 120 copies, 64mo, pp. 25, [6]; frontispiece printed in gilt and silver, color illustrations; original blue printed wrappers in original clear plastic box, fine. Printed and designed by Phil Gallo for the 80th anniversary of the Ampersand Club, "and presented at the annual dinner meeting" (from the colophon).
This copy with a presentation from Jody Williams: "For mom, love, Jod."
Not in OCLC; Quarter to Midnight A.271.
63. Electric tulips 5.1...with an appreciation by Alessandro S. Strega and accompanied by diverse notes and drawings. [Minneapolis]: privately printed, 2015.
$1,500
Edition limited to 50 copies, this being one of 45 (there are 5 artist's proofs); small tall folio, pp. [24]; illustrations in the text (1 full-page and in color), large double-page folding plate printed in color; original stiff orange wrappers with gilt vignette, the whole in a plexiglass slipcase. As new, at the published price.
Electric Tulips 5.1 was conceived as a dialogue between an imaginary literary critic (Gallo) and the poet (Gallo), and revolves around the writing and presentation of his poem, Electric Tulips 5.1. The essay which results, Future Preterite, by the esteemed critic Alessandro S. Stompanado is intended to emulate that of the essay by James Joyce, written under the pseudonym Vladimir Dixon; and which appeared in the Sylvia Beach publication of 1929: Our Exagmination Round His Factification for Incamination of Work in Progress, in which Joyce writes an appreciation of his own novel, Ulysses. As such, the book is a multi-layered pastiche of both literary and typographic treatments, along with a magnificent double gatefold presentation of the poem in eight colors (each of the seven stanzas in a separate color and the seminal tulip in an eighth); the type all set by hand and printed letterpress and polymer from Permanent Headline Open from the now defunct foundry Ludwig & Mayer.
64. [Gallo, Philip.] One thousand haiku. Saint Paul: Stamp Pad Press, 2013.
$500
Edition limited to 20 copies in collaboration with the printer Phil Gallo at the Hermetic Press; square 12mo, consisting of a title page and a colophon page, plus 10 leaves cut horizontally in thirds, each with a printed line of the haiku, but the haiku are purely graphic interpretations and are meant to be mixed and matched; fine in original spiral-bound black cloth lettered in white on the upper cover.
65. How little pterodactyl invented the art of flying. Translated from the Pterodactyl by Philip Gallo and with drawings by the author. [Saint Paul]: Philip Gallo at the Hermetic Press, [2020].
$750
Edition limited to 35 copies, 8vo (approx. 10¼" x 6½"), 16 leaves printed in blue, green and black on rectos only; illustrations throughout; original blue card wrappers; as new, in a plexiglas slipcase.
"Printed on 180 gsm Rives from handset Studio & Allegro; 'a fractal of pterodactyls' was set in Illustrator from Eurostile and printed from polymer plate; the drawings were created in Illustrator from the Calligraphic Brushes Set & printed from polymer."
Gallo's pandemic creation, a children's book for adults.
66. Pathetic fallacy from allusive typography to Cancel Culture. An extrapolation from word-fetishism in Edmund Wilson's Night Thoughts. [Saint Paul]: Philip Gallo at The Hermetic Press, 2021 [i.e. 2023].
$1,250
Edition limited to 31 copies signed by Gallo, press numbered 1-26 and 5 lettered A-E; 8vo, pp. [34]; frontispiece printed in green, "from Bric-A-Brac [J Swift] and first appearance of Hermetic Press imprint :: 1966," the whole printed in red, blue, green, and black, in roman and cyrillic type, on Johannot, with extracts from Montaigne, William Massey, John Ruskin, Laurence Sterne, Ralph Ellison, and Vladimir Nabokov's translation of Lewis Carroll's Alice Adventures in Wonderland; stiff card wrappers with black dust jacket, stamped in silver, in a plexiglas slipcase.
An overtly political book, on the "limitations, if not the failings of Cancel Culture."
67. The broken G. Entertainment with Deepdene, Kennerley & Cloister initials. Concept by Phil Gallo. Design by Dean Lindblad. St. Paul: Truck Press, 1978.
$400
Edition limited to 70 copies, printed and bound by hand at the Hermetic Press in Minneapolis by Philip Gallo; [32] leaves printed on rectos only in a multitude of colors; original quarter black niger over red cloth-covered boards. The dedication reads: "For Frederic W. Goudy whose Types these are."
A collection of initial letters from the three named typefaces, beginning with W X Y Z, and then A B C up to V. Only the G is uncolored.
68. This side up: 1 [- 2] [- 3] [cover titles]. Typographica Broodthaers excerpta. Word bags. Palabra* Sixteen samples sixteen voices. [Minneapolis & Saint Paul]: Hermetic Press, 2016-17-18.
$1,500
The complete series in 3 volumes, edition limited to 30 copies, 8vo, pp. 18; 18; 56; illustrated throughout; original cream printed wrappers. Fine.
On Typographica Broodthaers excerpta: "This book started out as an installation but devolved into conceptual art and lay dormant until now. But my first idea was to set it in a kind of poison pen letter fashion, and as I had a complete run of Eurostile Extended—which I felt quite suited to it—I went ahead and printed it on a half sheet of Strathmore. It was not long before I decided that the copy was irrelevant—that the idea was simply an idea—or more to the point—joke—that the piece did not need to be produced and that a written description would suffice: The idea of the thing being better than the thing itself. I still have the press and the type (still standing after 25 years) and for the book I reprinted the form, photographed the original drawing and sheet of Strathmore; along with the press and the type piled up and into it.
On Word Bags: "Graffiti on a bank building. A suite of seven cibachromes showing individually the letters of the word PROTEST. Building maintenance went over the letters with lacquer thinner and then covered the entire word in clear plastic to protect passers-by. The red spray paint spread and ran down the side of the building, imparting a blood & tear-like aspect to the letterforms under the billowing shroud of plastic. Hence body bag, viz. word bags."
On Palabra*, Found poems in lowercase Peignot - by way of its modified ascenders and dotted i - if handled as a unicameral may be seen as a democratization of type; or as a kind of gentrified graffiti.
69. Dakota turkey. [Saint Paul: Margot Fortuncto Galt, 2009].
$45
Edition size not stated, origami folded book by Mary Witkus on 3 conjoined sheets of yellow and purple paper, printed offset on both sides, approx. 4¼" x 4¼", opening to 24" x 11½", bound in red painted boards, string-tied with 3-dimensional agate catch; fine.
Galt is a poet and writer living in the Twin Cities with a number of books to her credit (43 hits in OCLC) but this one not listed there or on her website.
70. Collage. Minneapolis: Terry Garrett, .
$100
Edition limited to 5 copies (this, copy no. 1), signed by the artist; approx. 7" x 5", accordion-fold, 8 panels retos and versos showing 8 color reproductions of collages by Garrett, brown paper-covered boards with text mounted inside both covers, and a pictorial label on the front. Contained in the original pictorial folding box.
"The reproduced collages In this book are a combination of my own photographs, old clip-art, bird Illustrations and various stamps. Some of the photographs were altered in the computer to create the backgrounds. The original collages are larger and were all hand cut and glued. This allowed for use of a variety of paper colors and textures ... The collages in this limited edition book are reduced reproductions of my original work. The actual collages are approximately 8"x10". No editions were made of the original work." (introductory text and colophon).
Not found in OCLC.
71. [Gerry, Vance.] Vance Gerry and the Weather Bird Press. With contributions by Vance Gerry, Simon Lawrence, David Butcher, Patrick Reagh, James Lorson, and John Randle. With a checklist of publications compiled by David Butcher. [Risby, Herefordshire]: The Whittington Press, [2018].
$4,500
Edition limited to 235 copies, this being one of 40 'A' copies bound in full Oasis by the Fine Book Bindery, accompanied by 22 items (in this case, 26) of Weather Bird ephemera found in Vance's workshop after his death, "and mostly bound up in his simple style by the Fine Book Bindery;" also, a facsimile edition of Jazz Instruments, plus a portfolio of 13 facsimiles of Vance's letters (in this case, 16), all contained in a leather-backed solander case; small folio, pp. [10], 86, [4]; mounted color frontispiece portrait after a watercolor of Mary, Vance's wife, plus 30 other illustrations in all, from various sources, including line drawings, linocuts, wood engravings, and 12 pages of 26 color reproductions of Vance's pochoir illustrations. With 3 exceptions "the engravings and linocuts are printed from the original blocks, and the line blocks are from Vance Gerry's workshop."
The deluxe 'A' version is now out-of-print, all being subscribed for prior to publication.
72. Airplane dreams: compositions from journals.. Toronto: The House of Anansi, 1968.
$150
First edition, wrapper issue; 8vo, pp. [8], 38; blue and white pictorial wrappers, stained, dampstain through top corner of last few pages, not affecting text. This copy inscribed by Ginsberg to Israel "Izzy" Young, former owner of the Folklore Center in Greenwich Village, New York, and first promoter of Bob Dylan in New York City: "For Izzy Young, Stockholm, January 29, 1983. Corrections enclosed." The corrections mentioned in the inscription are not present.
"The Manufacturing Clause of the American copyright laws is an interesting piece of legislation. Among other things, it provides that the copyright of an American author's work published outside the U.S. can be pirated if more than three thousand copies of that work are imported into the States. In protest of this infringing piece of legislation, and with Allen Ginsberg's permission, we are sending five thousand copies of Airplane Dreams...to the United States." A note in the subsequent 1969 City Lights Edition (with accompanies this offering), notes that "the shipment was subsequently seized & confiscated by U. S. Customs and has never been recovered."
73. Through a papermaker's eye: artists' books from the Dieu Donne Collection of Susan Gosin. A members' exhibition at the Grolier Club, April 25-June 8, 2012. New York: Dieu Donné Press, 2012.
$35
An exhibition catalogue in the form of ten 7" x 5" cards illustrative of some of the books in the exhibition, together with a broadsheet approx. 20" x 7" detailing the exhibition; together within an unbroken paper wraparound band, and all in the original printed paper envelope; fine.
74. Wreck o'lections. Collaborations between Darrell Gray & Alastair Johnston with guessed appearances by Anselm Hollo & Allan Kornblum. Berkeley: Transitional Face [i.e., Poltroon Press], [1987].
$175
Edition limited to 150 copies printed on Labor Day; 5 unbound bifolia (= 20 pages), each approx. 17" x 6", the first printed in brown and green, and all contained in a multi-colored portfolio with a carrot and milk label theme; fine.
From the library of Allan Kornblum, poet, fine press printer, and publisher who founded Coffee House Press.
75. Sightings. [Place of publication not identified: Artichoke Press / Ephemeral Press, January, 2010].
$425
Edition limited to 35 copies (this, no. 31); 6" x 5", 10 interleaved bifolia; Layered Indigo Day, a handmade flax sheet by Cave Paper, forms the cover of a non-adhesive, tab and fold binding. The book block is hand sewn, comprised of textured Domestic Etching and interleaved Thai Kozo sheets. The text is set in 12 pt. Optima" (colophon). Stitching becoming a little loose, else fine.
"Poems & illustrations: Georgia A. Greeley; book design: Sue Bjerke."
Denver and Hennepin County in OCLC.
76. Cuttings I. Cuttings II. Cuttings III. [Mountain View, Calif.: Artichoke Press, 2008].
$200
Edition limited to 60 copies (this, no. 5); 3 volumes, each approx. 5¾" x 4¼", pp. 20; 24; 28; 22 mounted paper cuttings; each in blue pictorial wrappers and mounted into a trifold binding of green cloth; printed wrap-around sleeve; fine.
"A collaboration of ten authors and one bookmaker" (title page, II). "I asked authors to submit phrases which were cut from a written work, words to which they were still emotionally attached, words which led them to their finished poem or story."--Georgia Greeley, Cuttings I, p. [1].
Three in OCLC: Hennepin County Library, Ingram Library Service, and LC.
77. Makes sense. [New York]: Angel Hair Books, [1975].
$125
Edition limited to 400 copies (26 more were numbered and signed), 4to, [56] leaves printed from typescript on rectos only; original pictorial wrappers by George Schneeman; side-stapled; fine.
78. My dear, don't worry my deer. Melbourne: Gracia Haby, 2011.
$45
Edition limited to 60 copies (this, no. 19), signed by Haby with initials; approx. 4" x 6", 36 leaves printed on rectos only, showing illustrated rectos and holograph versos of 11 collaged postcards; fine throughout.
Gracia Haby, in partnership with Louise Jennison, is located in Melbourne, Australia. "I have been collaborating with Louise Jennison since 1999, making artists’ books, zines, collages, stories, prints, and drawings. Besotted still, it appears, with paper for its adaptable, foldable, cut-able, concealable, revealing nature, using an armoury of play, the poetic and familiar too, with the intention of luring you into our A(rtists’ books) to Z(ines)" (gracialouise.com).
State Library of Queensland only in OCLC.
79. The Perishable Press Limited was established in 1964 & was so named because it seemed to most adequately describe the human condition which is both perishable and limited.... Mt. Horeb: Perishable Press, 1973.
$275
Broadside, approx. 18½" x 12", text in double column under a running head; previous folds; generally fine. From the library of Kim Merker.
One of at least three broadside catalogues of books with the same running head, published by Hamady, this ending with books published in 1973 (another we are aware of includes books published through 1972, and another still which announces an exhibition of books, broadsides and ephemera produced by the Perishable Press, held Oct. 1-31, 1971, at The Madison Art Center, Madison). A catalogue of books published by Hamady 1964-1973, intended as a self-mailer (this copy without evidence of mailing). Standing order patrons received a copy unfolded, as here.
Not found in OCLC.
80. Avian Mastication Center, absolutely and most perfectly completely unincorporated subsidiary of the Hamady Birdfeeder Co. Mount Horeb, Wisconsin: Perishable Press, [1973].
$400
Broadside (approx. 12" x 19"); one diagonal crease else a fine copy. From the library of Kim Merker.
" ... has removed on to its ... international début ... at tellus mater, inc / three-nineteen state street / madison, wisconsin."/ " ... the fabricator is a proprietor in the perishable press limited, where this got printed with a drawing from Mary's newest book."
Letterpress printed in black ink (except for "tellus mater" line in red) on handmade cream-colored paper. The illustration is from Mary Laird Hamady's, The Eggplant Skin Pants, and Poems (Mt. Horeb : Perishable Press Limited, 1973).
OCLC locates the Santa Cruz, San Diego, Buffalo, Brown, Wisconsin, Evergreen State, and Howe Library copies.
81. Off the hip. Two journal pieces...with a 1944 sketch book lifting by John Wilde. Madison: Landlocked Press, 1984.
$425
Edition limited to 85 copies printed in black and various colors on various colored papers from Méridien type; 8vo, pp. [14]; hand-sewn in self-wrappers; fine.
The "tenth book and final project at the University of Wisconsin - Madison ... Walter Hamady sent the printer these pieces taken from his journals. A book person really did tell two students he was not interested in books that could not be described in 38 words or less! These off-the-hip pieces were in response to that attitude. The ruffled papers were hand-made by the printer - most are from remnants of favorite clothing" (colophon). Contained in the original printed manila folder, as issued.
82. Plumfoot poems. Madison, WI: Perishable Press, 1967.
$850
Edition limited to 200 copies, 8vo, pp. [8], 23, [3]; portrait frontispiece, printed in red and black; purple calf-backed olive cloth-covered boards, fine. From the library of Kim Merker.
Inscribed by Hamady on the flyleaf: "For Kim Merker with all best and with hope that the movement will keep going. Yrs. Walter. 67 Oct."
An earlier edition was printed a year prior, with a limitation of only 7 copies. This edition is one of Hamady's favorite books, and was "the first book that was seriously 'perfected' and the first one that forced the importance & beauty of the paper's translucency into my consciousness."
Two Decades, 12.
83. [Hammer, Carolyn.] Andromache: a tragedy freely translated into English in 1674 from Jean Racine's "Andromaque" by a young gentleman & John Crowne. Foreword by Desmond Flower. Lexington: Anvil Press, 1986.
$750
Edition limited to 100 copies (this, no. 44), printed in red and black in Victor Hammer's American and Andromaque uncial types; 4to, pp. 10, [2], iv, vii, [1], 51, [7]; text printed in red and black throughout; with 21 woodcuts by Fritz Kredel; fine.
Original prospectus, order form, extra label, and an autograph note signed by Carolyn Hammer all laid in.
84. I have a dollar. N.p.: Amber Hare, Virtual Studies Workshop Press, 2007.
$225
Edition size not noted; 5¾": x 4", pp. xxxiii, [3]; includes pockets, zip-loc bags, loose inserts, a clover leaf, and an original printed wrap-around band signed by Amber Hares; original blue cloth stamped in black on the upper cover.
"I Have a Dollar is a small collection of writings about absence, fragility, and loss. Book includes a cut flower's coffin, eraser crumbs, and a merry Christmas card" (amberhares.com).
Art Institute of Chicago only in OCLC.
85. Innocence in extremis. New York: Grenfell Press, 1985.
$175
Edition limited to 118 copies, this being the issue of 85 printed on Saunders paper and bound in quarter morocco, spine stamped in gilt, pictorial paper-covered boards; small 4to, pp. 64, [10]; frontispiece; signed by the author and illustrator. Frontispiece and covers by T.L. Solien.
86. [Henke, Dellas.] Within the walls. Wood engravings by Dellas Henke. Iowa City: Windhover Press, 1993.
$2,500
Edition limited to 300 copies, this being one of 25 numbered I-XXV (this, copy no. XXV) which has been hand-colored and signed by the artist, and bound by Pamela Spitzmueller at the Conservation Laboratory at the University of Iowa; 8vo, pp. [8], 58, [4]; 37 hand-colored wood engravings; original black morocco-backed gray paste-paper boards, die-cut upper cover revealing the title; fine throughout. From the library of Kim Merker.
A previously unpublished manuscript "by a writer whose work documents the major transformation of modernism." The balance of the edition, 275 copies, were bound at Campbell-Logan in Minneapolis and were uncolored.
Berger, Printing and the Mind of Merker, 102.
87. [Henry, Barbara.] A practical guide to light refreshments: a collection of nineteenth-century recipes...Wood engravings by John DePol. New York: South Street Seaport Museum, [1996].
$150
Edition limited to 200 copies signed by the author and the illustrator, 8vo, pp. [36]; title page printed in red and black, 8 wood engravings by DePol; original black cloth-backed decorative paper-covered boards, gilt-lettered spine; fine.
Invitation (with a DePol engraving) to the book launch at South Street Seaport laid in. Both book and invitation printed by Barbara Henry.
88. [Henry, Barbara.] A rustic tea: being a compilation of traditional recipes for afternoon delectation...presented in the artistic style by Bowne & Co., stationers. New York: South Street Seaport Museum, 1994.
$400
Edition limited to 200 copies (this, no. 102), 8vo, pp. [30]; decorative title page and each text page printed with a unique color-printed border "set from foundry type and electrotypes in a style popular during the last quarter of the nineteenth century," original green cloth-backed mauve paper-covered boards, printed decorative title on upper cover, mauve printed label on spine; fine.
Printed by Barbara Henry. 1995 Xmas card printed by Barbara Henry laid in.
89. [Henry, Barbara.] The pit and the pendulum...with wood engravings by John DePol. [New York] : South Street Seaport Museum, 1991.
$250
Edition limited to 150 copies signed by DePol; 8vo, pp. [6], 22, [4]; title page printed in red and black, 8 wood engravings by DePol who also designed the patterned endpapers; original black cloth with printed red wraparound label on spine; fine.
Designed and printed at Bowne & Co., Stationers by Barbara Henry and Lissa Dodington.
90. Coffee, 3 a.m.: poems. Lisbon, Iowa: The Penumbra Press, 1981.
$125
Edition limited to 250 copies signed by Hillman and the printer Bonnie O'Connell (this, no. 97), 8vo, pp. [9], 8-41, [3]; double-page illustration on title executed by O'Connell with relief blocks and pochoir techniques; printed in green and black; very light strip of fade along the top edge, else a fine copy in tan cloth-backed maroon cloth-covered boards. Original postcard prospectus laid in. From the library of Allan Kornblum, poet, fine press printer, and publisher who founded Coffee House Press.
"Text in hand-set Centaur, titles in Arrighi. Paper: Textsheets are Nideggen and the colored end sheets Ingres Antique, both German mouldmade papers. Binding: 125 copies, handsewn with silk thread, are in quarter-bound cloth cases, and 125 are in wrappers of Rives BFK Tan, a French mouldmade paper by Arjomari" (colophon).
91. Six fairy tales: from the Brothers Grimm. [Translated from the German by Heiner Bastien]. [London]: Petersburg Press, 1970.
$125
First trade edition, 4¼" x 3", pp. [60]; frontispiece and 37 illustrations by Hockney, several full-page; original full blue leather stamped in silver; text lightly toned, else near fine.
The Little Sea Hare, Fundevogel, Rapunzel, The Boy Who Left Home to Learn Fear, Old Rinkrank, and Rumpelstilzchen.
92. The entire archive of this American photographer and book artist, and of her Running Woman Press. Largely Sante Fe: 1974-2002.
$95,000
This is the artist’s own archive, left to her friend, the bookbinder Priscilla Spitler, on Hocks’ death in 2003. Ms. Spitler is committed to seeing this archive in a home where it can be used and studied, and to that end she is willing to work with the buyer to see it properly placed.
Paula Jeanne Hocks (1916-2003) was born in Muskogee, Oklahoma, the daughter of Malcolm and Eileen (Magruder) Neathery. Her talents touched painting, sculpture, architecture, photographic techniques, book making, and writing. But eventually, she concentrated on the creation of photo montages and photo collages which she set into book form, often under the imprint of Running Women Press. A complete inventory is available on request.
Paula "first embarked on her artistic career in Denver during the early 1940s. Though her major work would evolve into photomontage and the artist’s book, her first art was sculpture. From Colorado, she soon relocated to a more developed art environment in La Jolla, California. The new surroundings nurtured her work of the 1950s and she began to create the figurative stone carvings and wood sculptures which were akin to those of Gaudier-Brezeska and Constantine Brancusi whom she greatly admired. Even as she continued her interest in sculpture, she began to explore abstract form through painting and collage."
Throughout the next two decades she balanced her interest in visual art with a world of words found in poetry, language, and philosophy. "Largely a self-taught artist, Hocks studied the work of Jean Arp, Barbara Hepworth, and the constructions of Kurt Schwitters and Joseph Cornell. She immersed herself in the contemporary religious philosophy of Thomas Merton, forming a life-long friendship with him and his close friend, poet Robert Lax. Hocks recognized the kinship between her art and Surrealist and Dadaist art, gleefully joining in actualizing the possibilities of chance and playful realities. Most importantly, she looked to the writings and friendship of George Steiner for her life-long inspiration and counsel. These advanced thinkers would serve as her panel of experts for life and art" (Tiska Blankenship, Guest Curator for the 2003 Paula Hocks memorial exhibit, University of New Mexico-Albuquerque).
This archive includes virtually all her published work, many signed and inscribed, many printed in very small editions, often with manuscript amendments. Also included are all her masters (i.e. production work), the collage pages she created to print (Xerox) the text. They are in folders by book title, as she kept them. As a poet, collage artist and photographer, Paula Hocks began making books in the mid-1970s using the latest Xerox print technology to produce small editions, some as chapbooks she stitched together herself, or others she had bound by local Santa Fe bookbinders, where she lived. Paula worked with the photocopy medium as it (and she) matured for almost 3 decades. Her books are already included in many major book art collections, such as the Museum of Modern Art, the Getty Museum, UCLA, University of Iowa, while also regionally recognized in collections at UNM-Albuquerque and the Museum of Fine Arts, Santa Fe. There are books of photos of herself, promotional material, the collage masters that the books were printed from, but not much of her personal correspondence. She was very private and unfortunately disposed of most letters. Her correspondence with Thomas Merton, with whom she had a long and close relationship, are in his archives: Paula typed Merton's last two manuscripts.
93. Sojourner microcosms. New and selected poems, 1959-1977. With a foreword by Robert Creeley & an afterword by Edward Dorn. Berkeley: Blue Wind Press, 1977.
$175
First edition, this copy no. 2 of 50 numbered and signed by Hollo, with one part of a fifty-part holograph poem on p. [283]; 8vo, pp. 285, [19]; frontispiece portrait; fine copy in a dust jacket that has a small piece missing from the top of the front panel (no loss of printing). Cover art by Johanna Drucker. This copy from the library of Allan Kornblum, poet, fine press printer, and the founder of both the Toothpaste and Coffee House Presses.
94. Merton's birds. Everyday ceremonies. [St. Paul, MN: Wayne Hornicek, 2013].
$175
"Presentation Edition" limited to 45 copies (this, no. 12), initialed by Hornicek and the bookmaker Nora Lee McGillivray; 6" x 6¼", pp. [72]; die-cut and color illustrations; fine in original brown wrappers.
"Passages from The Journals of Thomas Merton were thoughtfully selected by Wayne and inkjet printed to Arches text wove. The font is Cochin ... This book was designed and fabricated by Nora Lee McGillivray. The flyleaves are of Thai Marble Momi, the title page and "I pray to the birds" are printed to China Pearlized, the cut-out bird images were hand-cut by Nora from Lami Li Lokta, the pileated woodpecker and eastern towhee birds were drawn by Del Robinson in colored pencil and inkjet printed to Thai mulberry, the cover paper is Folio SuperCard Art. The binding is Keith Smith's Variation on the Long Stitch through Slotted Wrapper Cover" (colophon).
Bellarmine University only in OCLC.
95. The Amerindian coastline poem. [New York]: A Telephone Book, [1975].
$450
First edition of Howe's first collection of poetry, this one of 26 copies signed and lettered by the author and illustrator, Hugh Kepets (this is copy 'N'); 8vo, pp. [48]; near fine in original pictorial wrappers.
"Born in Buffalo, New York in 1940, Fanny Howe grew up in Cambridge and Boston. Her father was a noted lawyer and, later, a teacher at Harvard University. Her mother, Mary Manning, was born in Dublin and wrote plays and acted for the Abbey Theatre before moving to the United States. Her mother had been a close friend in Ireland with Samuel Beckett, and the entire remained friendly with him during his lifetime ... Howe is the author of numerous volumes of fiction for adults and younger adults, essays, and poetry. Her first collection of poetry was The Amerindian Coastline Poem in 1976, which was followed by Poem for a Single Palet (1981) and Alsace Lorraine (1982)" (pippoetry.blogspot.com).
96. A collector's long march. Chérence [France]: 2008.
$750
Edition limited to 10 copies (this is no. 3), square 12mo, 17 double-page spreads, Leporello-style, showing a long drypoint etching; fine in white paper wrappers, printed paper labels on upper cover and spine, marbled slipcase; fine.
The etching is meant to be "read" as a roaming through a gigantic fleamarket in search of a unique object which is found at last in the final panel.
97. [Illouz, Claire.] Frontier poem. Cléry [France]: 2002.
$750
Edition limited to 30 copies (this is no. 30), 8vo, 8 bifolia laid loose in original decorative cream wrappers printed in red and black, paper label on spine; 6 color etchings by Claire Illouz; letterpress by Sergent-Fulbert on Johannot paper; publisher's box with map motif; fine.
A poet and a journalist, Eugene Jolas was born in the United States in 1894 but lived and worked on both sides of the Atlantic (Strasbourg, Pittsburgh, Paris, New York, Aachen, etc.). During the 1920s he became a member of the group "L'Arc" in Strasbourg, and in 1927 founded the very influential literary magazine Transition and published Hemingway, Beckett, Joyce, Gertrude Stein, and many others.
98. Fly deep into the skies. [Minneapolis: Minneapolis College of Art & Design, 1999].
$200
Edition limited to 6 copies (this, no. 6) signed by Ishii; approx. 6" x 4", two folded sheets glued into board binders, printed with text on one side, illustrations on the opposite, the text from W. B. Yeats's "An Irish Airman Foresees His Death" on front, images of airports, flight maps, airmen on the back; on Rives BFK paper and bound in handmade yellow mottled paper over boards. Fine.
"I moved to the United States in 1997. My higher education was in Fine Arts with focuses on printmaking and bookmaking, and worked in the field upon graduation. I am a curious person who wants to discover histories and stories. I am fascinated with storytelling through prints, drawings, recipes, and data. As most recent, I used my precision hand skills in the world of culinary arts, mainly baking" (Linkedin).
Iowa and Otis College of Art & Design in OCLC.
99. Words, sounds, and power. An evocation of the heart & mind of Rastafari through the words and images of Dr. Bongo U. and the Brethren of St. James Parish, Montego Bay, Jamaica, W. I.. [Columbus]: Logan Elm Press, 1991.
$300
Edition limited to 65 copies signed by the author, 4to, pp. [8], 18, [6]; 6 full-page collotype illustrations; original quarter linen over handmade paper from cannabis hemp fiber; fine. This copy being the binder's copy, and unnumbered.
The text is based on "an afternoon the author spent with Dr. Bongo U, a Jamaican herb doctor and Rastafarian religious leader...on the shores of the Caribbean," and is largely an edited transcription of the words of Bongo U and his associates.
100. The door. Poems. Minneapolis: Out of Hand Press, 1988.
$35
Edition limited to 148 copies (this, no. 56) printed by Michael Johnson at the Minneapolis College of Art & Design, on Iyo Glazed paper, in Caledonia Bold; 7¼" x 5", pp. [30]; fine in original printed gray wrappers.
Georgia only in OCLC.