201. SCUM (Society for Cutting Up Men) Manifesto [cover title). Scum manifesto ... with an introduction by Vivian Gornick. [New York]: The Olympia Press, Inc., [1970].
$250
Second printing, 12mo, pp. xxxvi, 52, [8] ads; original pictorial wrappers; near fine. From the library of Allan Kornblum, poet, fine press printer, and publisher who founded Coffee House Press.
"A radical feminist manifesto by Valerie Solanas, published in 1967. It argues that men have ruined the world, and that it is up to women to fix it. To achieve this goal, it suggests the formation of SCUM, an organization dedicated to overthrowing society and eliminating the male sex ... The SCUM Manifesto was little-known until Solanas attempted to murder Andy Warhol in 1968" (Wikipedia).
202. [Stamperia del Santuccio.] Three fragments from the posthumous papers of Conrad Fiedler MDCCCXLI - MDCCCXCV translated from the German by Thornton Sinclair together with Victor Hammer who has also contributed an introduction.. Lexington, Kentucky: printed ... under the auspices of Transylvania University, at the Stamperia del Santuccio, 1951.
$750
Edition limited to 152 copies printed by Carolyn Reading on Japanese Hosho paper; 8vo, pp. [4], 7-180, [2]; fine copy in original linen-backed blue cloth, plain blue paper dust jacket with printed paper label on spine. From the library of Kim Merker.
There was also an edition of 51 numbered copies, on slightly larger Magnani paper, apparently printed from the same setting.
Victor Hammer Artist and Printer, p. 152; Holbrook 13 (Opus XII).
203. re adjust ... just read. N.p.: [publisher not identified], n.d.
$150
Square 4to (8½"), pp. [12]; self-wrappers; some soiling; near fine.
Clearly printed in a small edition, and produced anonymously. To be sure, Steingroot may not be the one responsible for this. His name is written inside the back cover as if he were the artist/poet.
Not found in OCLC, or anywhere else for that matter.
204. Circular. [Minneapolis]: Out of Hand Press [at the Minneapolis College of Art & Design], 1995.
$200
Edition limited to 20 copies, metal film cannister containing 15 signed and numbered lithographs, each approx. 10¼" in diameter, and made by the lithography class at the Minneapolis College of Art & Design, marking the 10th anniversary of the Out of Hand Press (1985-1995).
Under the tutelage of Ivana Popovic Stamel the participants included: Matthew P. Wacker, Chris Ward, Matt Minjares, Judy Stone Nunneley, Sean Peterson, Rosemary Riskin, Jill Berquist, Sarah Hoffman, Noriko Itoh, Ryan Johnson, Monica Angle, Colin Atkinson, and Anya Belyat-Guinta.
Not found in OCLC. There is a copy in the MCAD archives.
205. Believe Mary. [Minneapolis]: Carolyn Swiszcz, September, 1992.
$375
Edition limited to 12 signed and numbered copies (this, no. 8); approx. 5½" x 7¾", pp. [16]; illustrations by Swiszcz; original blue velvet over boards, printed paper label on upper cover; some fading at the extremities of the binding, and the stitching a little loose; all else near fine.
This is Swiszcz's second book, completed while she was still a student at the Minneapolis College of Art and Design where she earned her BFA in 1994. Says Swiszcz, a transplant from New Bedford, Mass.: "As a result of The Storm [her first book completed in 1991] I had an internship with Gaylord Schanilec who taught me to set and print type properly. I worked with him the summer of 1992 on his book The Bread of This World, and I used his studio, in trade for more production work, to print another one of my books [Believe Mary]." From the colophoin: "The book was written, illustrated and printed by Carolyn Swiszcz. It couldn't have been made without the help of Gaylord Schanilec."
Not in OCLC.
206. The storm. 1991.
$500
Edition limited to 16 signed and numbered copies (this, no. 12); oblong 4to, pp. [16]; 10 linocut illustrations by Swiszcz; near fine in original coarse blue buckram.
This is Swiszcz's first book, completed when she was just 19 in her first printmaking class at the Minneapolis College of Art and Design where she earned her BFA in 1994. Says Swiszcz, a transplant from New Bedford, Mass.: "As a result of The Storm book I had an internship with Gaylord Schanilec who taught me to set and print type properly. I worked with him the summer of 1992 on his book The Bread of This World, and I used his studio, in trade for more production work, to print another one of my books in the 90s" (i.e. Believe Mary).
Not in OCLC.
207. Maia's barn. [Minneapolis: Minneapolis College of Art & Design, 1992].
$150
Edition limited to 3 copies signed by the artists, barn-shaped 4to (approx. 10½" x 8½"), accordion-fold, 8 panels, 10 mounted b&w photographs, text printed in brown; near fine.
"Conceived and designed by LeeAnne Tankenoff. Photographs by LeeAnne Tankenoff., text by Maia Namtvedt. Printed on Rives Heavyweight, March 1992."
Inscribed in pencil on rear endpaper: "To Jody, Thanks for all your help - you're the greatest! Love, Maia." And, "Jody, I'm at a loss for words so all I can say is thank you, thank you, thank you, Love, LeeAnne."
Maia Namtvedt Le Doux came to WSW from Minneapolis, MN to work as a studio intern. She earned her BFA from Minnesota College of Art and Design, where she studied a range of printmaking techniques, worked in library archives, and ran a small papermaking studio. She currently lives and works in Seattle, WA" (Women's Studio Workshop).
The late Jody Williams was a long-time instructor at Minneapolis College of Art & Design.
Not in OCLC.
208. I went to the woods ... Etchings by Madelyn Kozlowski. [Minneapolis: Minneapolis College of Art & Design, n.d., ca. 2017].
$50
Edition limited to 4 copies (this, no. 4) signed by the artist; 7" x 4", accordion-fold, 6 panels extending to 24"; floral paper over boards, printed paper label on the upper cover; fine.
"Madelyn Kozlowski is a Minneapolis based illustrator with a BFA in Illustration from Minneapolis College of Art and Design. She is one part illustrator, one part toy designer. When she’s not illustrating, she’s scoping out animals to pet" (artfullywalls.com).
209. North American miniatures. Twenty photographs. Iowa City, Iowa: Polyeidus Press, [1975].
$600
Edition limited to 30 copies, 16mo (5" x 4¼"), pp. [6] plus 20 original photographs in mounts (each approx. 1¼" x 2"); original white linen over boards stamped in black on upper cover; some spotting of the binding, but otherwise fine. From the library of Kim Merker.
"Acknowledgements go to ... K. K. Merker, Kay Amert, and Lissa Lunning ... without whose support and encouragement none of this would have been necessary."
Tiegreen graduated from Iowa with a degree in photography. This is her first of more than 20 books.
210. [Toothpaste Press.] Melissa & Smith. St. Paul: Bookslinger Editions, 1976.
$75
Limited edition in 300 copies, signed by the author, 7" x 5½", pp. [19], [1]; fine copy in purple Richard De Bas blind-stamped wrappers with Darjeeling endsheets; handset by David Duer, designed and printed by Allan Kornblum. From the library of Allan Kornblum, poet, fine press printer, and publisher who founded the Toothpaste Press and Coffee House Press.
211. Daedalus. [Parallel title in Greek]. [Colorado Springs]: The Press at Colorado College, 1993.
$1,500
Edition limited to 35 numbered copies signed by the printer James Trissel (this, copy no. 11); square folio, pp. [30]; illustrated throughout; original 3-toned blue cloth stamped in silver on the upper cover; fine copy. Letterpress from polymer plates. From the library of Kim Merker.
"This book began as a personal investigation into the flight of birds and slipped into a meditation on our friend Daedalus for equally personal reasons ... He was the appropriate conveyance for my own obsession with flight ... print[ed] with the help of Sally Hegarty and Travis Jordan. David Curnutt made the countless negatives for plates and Charles Walters let us use his splendid photographs of skies ... The type is computer-generated copperplate thirty-one BC and the paper is Magnani Pescia Incisioni" (colophon).
The binding is by Greg Campbell at Campbell-Logan Bindery, Minneapolis. Drawings and some hand lettering; copier-printed materials (landscapes, diagrams and some calligraphic notation together with some handwritten remarks) from Lucite sheets. 23 halftones of photos and xeroxed images. Color printing of skies from Lucite sheets, and split-font color printing. Printed in black, blue, silver, red, yellow & gold.
212. The polyp (a Quetzalcoatl production), tych, polyptych, striking camp [envelope title]. Des Moines: Cookie Press, 1976.
$150
Broadsheet approx. 28" x 22" folded twice and contained in a manila envelope printed in red; one corner of the envelope with small (approx. 1" x .5") hole from nibbling; broadsheet unaffected; near fine. "This work concludes the cycle begun in Camping out B & continued in Tangerine universe in 3 refrains ..."
Wikipedia notes that Fred Truck is "an American artist currently living in Des Moines, Iowa. He is noted for his performance art and cartoon imagery using painting, sculpture and digital constructions."
MOMA, Iowa, Iowa State, Boise State and one copy in Germany in OCLC.
213. Give & take. [Chicago: Thirst, for Gilbert Paper, Menasha, Wisconsin, 1993].
$250
"Conceived, written, collected, designed and directed by Rick Valicenti and his friends at thirst..." 4to, consisting of 3 leaves and 10 bifolia printed and illustrated in color throughout, and contained in a folding portfolio, and the publisher's original printed plastic bag reading: "Warning: This collection of personal words and images may be seen as art." From the library of Allan Kornblum, poet, fine press printer, and publisher who founded the Toothpaste Press and Coffee House Press.
An early promotional by Rick Valicenti, the founder and design director of Thirst, a communication design practice in Chicago providing design and immersive environments for high profile clients in the architectural, performing arts, and education communities.
Bowling Green only in OCLC. To which we can add New Mexico State University and Illinois State.
214. Inhale / exhale: a modest manual for living. 2013.
$45
Edition limited to 30 (?) copies, 4¾" x 2¾", pp. [24]; fine in original gray paper-covered boards printed in yellow; the text "inhale/exhale" printed in orange. Fine.
Not found in OCLC.
215. [Warwick Press.] One woman's work. A lecture by Carol J. Blinn, a.k.a. The Duck Lady ... about her life's work as a typographic designer, letterpress printer, book-artist and publisher ... Lucy Scribner Library ... Skidmore College, Saratoga Springs, New York. [Easthampton: Warwick Press], 2001.
$250
Broadside (approx. 15" x 9½"), signed by Blinn, illustrated with a hand-colored collage caricature of Blinn as a duck, using green, orange, red and yellow; slight wrinkle in the collage due to glue, otherwise fine.
216. [Warwick Press.] Warwick Press: a personal view. A lecture with slides ... A demonstration and workshop on making decorative paste papers ... at the King Library Press, University of Kentucky. [Easthampton: Warwick Press], 2001.
$275
Broadside (approx. 15" x 9½"), edition limited to 200 (which is crossed out and in its place Blinn has penciled in 100) copies signed by Blinn (this, no. 6); with 2 hand-colored illustrations by Blinn of ducks with a composing stick, and ducks watching paste paper being made; fine.
217. The bad sparrow or, My pathetic fallacy. [Minneapolis]: Heros & Criminals Press, 2008.
$50
Edition limited to 100 copies (this, no. 81); 4½" x 4¾", pp. [32]; illustrated throughout; fine in gray paper over boards, printed paper label on upper cover; fine.
"This edition of the Bad Sparrow is a digitally printed, codex version of the first edition, a letterpress printed scroll measuring nine inches high and twenty-five feet in length. It is printed on Mohawk Superfine, and the cover paper is made by Twinrocker." The first edition, from which this was taken, "was printed with photopolymer plates and pochoir, then hand colored. The paper was Okawara and the typeface is Palatino. All work was executed at the University of lowa Center for the Book. Special thanks to Julla Leonard, Sara Langworthy, and Sara Sauers for guidance and inspiration. In a variable edition of 5" (from the colophon of the original edition).
Surprisingly, only Iowa in OCLC.
218. Connections. [Minneapolis]: Flying Paper Press, 2011.
$150
Edition limited to 55 copies (this, no. 20), numbered and signed by Williams and Jim Dryden; oblong 16mo, 4" x 6", 19 double-sided leaves; illustrated throughout; blue paper-backed printed tan paper-covered boards; fine.
Artist book designed by Jody Williams and Jim Dryden, and published by Williams's Flying Paper Press. The 18 images are by members and friends of the Form + Content Gallery, an artists' cooperative in downtown Minneapolis. Among the artists are Jody Williams and Jim Dryden, Faye Passow, Jay Isenberg, Jeff Wetzig, Jil Evans, Christine Baeumler, Carol Lee Chase, Lynda Monick-Isenberg, Joyce Lyon, Cameron Zebrun, Kenneth Steinbach, Robyn Stoller Awend, Carolyn Swiszcz, Barbara Gilhooly, Leah Golberstein and Camille J. Gage. Each artist chose a word related to these of connections, and had two months to complete an image inspired by that word. The pages are five different colors of Hahnemuhle Burga paper.
219. Trips so far. Minneapolis: Flying Paper Press, 1994.
$150
Unstated edition, but likely small; signed by Williams; approx. 1½" x 1¼", accordion fold extending to 8¼"; decorative paper-covered boards; fine.
"By Rose and Jody" (colophon).
Not in OCLC.
220. Shaping the page: poems from SplitRock ... Thanks to Joyce Stuphen. Minneapolis: Flying Paper Press, 2003.
$50
Only edition and likely printed in a small edition for the participants; tall 8vo (approx. 9" x 4¼"), pp. [32]; fine in original printed green wrappers, string-bound.
Designed by Jody Williams. Poets include Betsy Kitowski, Tina Wittmer, Mike Mahany, Susan Kachel, Lisa Berg, Soraya Paris, Leslie Yoder, Nancy Nelson, Cathy Cato, and Jody Williams herself.
Not found in OCLC.
221. Being in doubt. Minneapolis: Flying Paper Press, 2006.
$250
Edition limited to 40 copies (this A.P. II), signed by Williams; approx. 2¼" square, pp. [32]; fine.
From the artist's 2014 catalogue: "Originally completed as part of an artists' book exchange with the assigned theme of inside/outside. Digital illustrations and text (using the artist's own font) about the many meanings of in and out. Hardcover, with exposed three-section hand-sewn binding, printed on handmade and Japanese papers using an archival Epson printer. The assorted papers, consistent throughout the edition, were leftovers from previous book and print projects. This was the last editioned book using the artist's handmade paper ... Twelve copies went to exchange participants."
USC only in OCLC.
222. Drifting here and there: water, crystal, light, rock and grass. Minneapolis: Flying Paper Press, 2012.
$350
Edition limited to 75 copies (this, no. 20) signed and dated by Williams; 5 volumes, in a box 3¼" x 2¼" x 1¾"; each volume accordion fold and opening to 16"; fine.
From the artist's 2014 catalogue: "A boxed set of five books created for a solo exhibition entitled Starting from Nothing. The photographs in the books lack obvious subject matter, but are, of course, really about nothing. Detailed shots are paired with panoramic views of the title themes in each book, and include a band of writing about myriad manifestations of nothing. The slipcase, an open-sided box is covered with taupe Japanese Momi paper, and lined with gray Hahnemuhle Bugra paper. Photos and images are digitally produced using an archival Epson inkjet printer on Sakamoto paper for the books' hard covers, and a Strathmore drawing paper for the pages."
223. Intersections. Minneapolis: Flying Paper Press, 1993.
$150
Edition limited to 65 copies (OCLC suggests 60) signed by the artist (this, Proof A); 2¾" x 3"; pp. [10]; fine.
From the artist's 2014 catalogue: "This was the first artist's book without letterpress ... Produced at the Frans Masereel Center for Printmaking in Kasterlee, Belgium, as an artist-in-residence during ... May of 1993. Pearlescent peach-colored handmade paper was brought from the artists' home studio to Belgium; book pages and covers were designed, laid out and printed in the intaglio/relief studio. Abstract line drawings and text all related to the theme/title of Intersections. Line work and text were printed with black intaglio ink; six colors of abstract shapes were printed on the same run with relief rolls using a stencil. Accordion binding was glued shut to emphasize the six page spread compositions. Front cover has hand-cut window to reveal part of the first page. Covers are separate book boards with etched violet Japanese kozo paper. Brass wire closure weaves through front and back covers and across spine."
Minnesota and Walker Art Center only in OCLC.
224. Life goes by. Minneapolis: Flying Paper Press, 1997.
$115
Edition limited to 100 copies, signed by Williams; approx. 1½" x 1¾", accordion fold extending to 19"; decorative paper-covered boards; fine.
Part of Williams' Time / Life Series. From the artist's 2014 catalogue: "The series began as a single book when the artist turned forty: Life at Forty. Life on the Edge addressed the approaching millennium, and Life Goes By just general thoughts on life and time ... Printed on black from an etched copperplate. Front and back boards covered with Japanese Chiyogama papers; closure is bolo tie-style silk thread and bead." A box was available for the series of three.
Not found in OCLC.
225. Marvel Ann's dream. Rosendale, N.Y.: Women's Studio Workshop, 1989.
$350
Edition limited to 60 copies signed by the artist (this, no. 2); 4¼" x 5¾", pp. [28]; each an accordion-fold book with 20 panels; all fine in original paper-covered boards.
From the artist's 2014 catalogue: "Journey through an inner space where time, motion, form, and color all play a role. We follow Marvel Ann on a wonderful dream discovery of visual perceptions, as she questions what is found and searches for some sense and order to it all. Something of an autobiographical record of her artistic development, this was Williams' first editioned artist's book published by Women's Studio Workshop as a book artist-in-residence for five weeks in May and June, 1989. The writing and artist's handmade paper were brought to WSW where the book was designed, screenprinted with five colors, and letterpress printed in black using Century Schoolbook hand-set type on a platen press."
This copy comes from Jody's estate.
226. Next to nothing. Minneapolis: Flying Paper Press, 2012.
$150
Edition limited to 75 copies (this, artist's proof, no. IV) signed by Williams; 2½" x 3" x 1⅛", opening to 55"; accordion book in a two-part box, with a laser-cut opening in the outer box revealing the title page. "The book explores things that exit between the realms of something and nothing with text and image, and opens fully as a running landscape of imagery alternately moving close in and far away. The book was printed with multiple runs through an etching press, of two etched copper plates, one blue and one gray ink onto cream Rives BFK paper ... The box is lined with Sakamoto paper and covered with commissioned handmade paper by Ann Marie Kennedy" (from the artist's 2014 catalog). Fine.
227. No longer there. Minneapolis: Flying Paper Press, 2008.
$125
Open edition, "sold only at shows or studio sales," 1¾" x 1" x ½"; accordion-bound, opening to 60"; fine in gray pictorial boards.
"This book was digitally produced on Mulberry paper using an Epson archival printer, with photos and drawings from Hawaii, Montana, Minnesota, Illinois, Nantucket, and Ireland" (colophon). "Originally intended as an edition on of two, this book was designed to sit on a shelf in a specimen box of the same name. The original two books have different cover papers and glass vials with specimens. Closure is a bolo tie-style with black linen thread and a bead" (from the artist's 2014 catalogue).
228. Quintessential questions. Minneapolis: Flying Paper Press, 1996.
$375
Edition limited to 40 copies signed by the artist (this, Artist's Proof II); 4¼" x 3½" x 1¼", 7 "leaves, 3 of which are "false bottom boxes inerspersed with 4 flat bookboards, lined with 6 intaglio-print spreads on the artist's handmade paper. Color bands with each main 'question' were printed with stenciled relief rolls on copper plates. Each spread addresses variations of the quintessential 'who,' 'what,' 'where,' 'when,' and 'how' questions, with text and symbolic imagery inspired from research into realms where such questions are asked, such as science, religion, philosophy and the occult. Mixed media elements, including beads and buttons, enhance the imagery" (from Williams' 2014 catalogue).
229. Relative remains. [Minneapolis]: Flying Paper Press, 2010.
$150
Edition limited to 100 copies, 2½" x 2¼", 17 double-sided leaves; fine in open-ended slipcase.
"This book features pairs of related invertebrates: fossils on the left, and contemporary species on the right. Images and text are etchings, with color from an archival digital printer on Rives BFK paper" (colophon). The slipcase is covered with Japanese Momi paper; Kozo paper-covered boards with printed paper label; exposed spine binding is sewn with a modified coptic stitch.
OCLC notes a numbered, accordion-bound copy. This copy is unnumbered, and bound, and conforms to the last Flying Paper Press catalogue (i.e., bound). It comes from the estate of Jody Williams and her Flying Paper Press.
230. Sand sea sky. Minneapolis: Flying Paper Press, 2001-2005.
$250
3 volumes (approx. 2" x 1½", x ½"), accordion-fold, and contained in a hinged box approx. 2" x 2" x 2"; and contained in a hinged box 3" x 2" x 2½"; fine.
From the artist's 2014 catalogue: "Reflections on the qualities of the shore, the sea, and the sky, illustrated with creatures who inhabit each place. Box and book hardcovers are Japanese papers (suminagashi and chiyogami) on bookbinders' board. Book pages are intaglio drawings and text with a linoleum block on the back, printed on white, gray and cream Rives BFK paper."
231. Science experiments. [Minneapolis]: Flying Paper Press, 1997.
$300
Edition limited to 100 copies (this, A.P., no. 4), numbered and signed by Williams; triptych measuring 2¾" x 2¾" closed, opening to 8¾"; fine.
Bookboard covered with etching on Kozo paper; title on red paper collaged on front; interior is screenprint and color etching on Rives BFK paper. "A tour of a real-life, kindergarten thru third-grade school science fair, as experienced and recorded by the artist. Triptych format echoes student displays." Originally published at $50, the book is now long out-of-print. This artist's proof comes from Williams's estate.
232. Snow of dust. [Minneapolis]: Flying Paper Press, 2012.
$75
Limited edition with unstated limitation, 5¾" x 4¼", pp. [28], largely printed on rectos only; original gray cloth stamped with a crow in flight in black; fine.
A poem, apparently, by Jody Williams in response to her reading of Robert Frost's "Dust of Snow" which is printed on the recto of the final leaf.
Not found in OCLC and not in Williams' 2014 catalogue.
233. Some specimens. Minneapolis: Flying Paper Press, 2005.
$150
Edition limited to 100 copies (this, no. 21) signed by Williams; 2¾" x 2¼" x ⅝"; pp. [44]; fine in original boards with shell inset into glass, original paper slipcase; fine.
From the artist's 2014 catalogue: "This book features a collection of ten poems and 32 specimen drawings completed in the Burren, County Clare, Ireland, when the artist was tutoring a group of students from the Minneapolis College of Art and Design for a semester. Each front book cover contains a unique specimen, a tiny shell from Galway Bay in a glass-covered inset box. ... Pages were digitally produced from scanned graphite drawings, printed on Rives heavyweight paper using an Epson archival printer."
234. Still sense: details, substance, and essence. Minneapolis: Flying Paper Press, 2008.
$325
Edition limited to 75 copies (this, no. 52) signed by Williams; 3 conjoined boxes, each 2¾" square and ¾" deep, and each with mounted displays reminiscent of the Minnesota prairie, with specimens, images and text in each box; each box with a slipcase compartment holding 6 loose cards with drawings of native prairie plants, and sections of a map-like image on the versos; these 18 leaves, each with one word, may be arranged into any number of phrases and configurations. The images and text are etchings, printed on Rives BFK and Magnani papers, with screenprinting beneath the map etching on the verso. Fine.
235. The diminutive digest. Minneapolis: Flying Paper Press, 2001-2005.
$350
5 volumes in 10, each 16 pages, each 2½" x 2", and contained in a hinged box 3" x 2" x 2½"; fine.
From the artist's 2014 catalogue: "Semi-annual periodical devoted to tiny things, computer generated (using Adobe Illustrator and Photoshop, Fontographer). Regular features include The Tiny Top Ten, Runty Rants and Raves, the Concise Cat, Small Foods, Little Letters, and a wee quote ... The box was designed to hold all ten issues, and was sold to regular subscribers ... This was the artist's first digital project."
236. This time. Minneapolis: Flying Paper Press, 2007.
$125
Edition limited to 100 copies (this, no. 5) signed by the artist; 2½" x 2", in a folding box 3" x 2½"; pp. [8]; fine.
From the artist's 2014 catalogue: "Conceived during 5000 miles worth of bicycle riding when she turned 50. The artist realized that not just wheels, but many things go around and around, over and over ... What happens This Time is illuminated in this still-leaf bound book of color etchings (black intaglio and 3 relief colors from stencils) printed on five page spreads of four different shades of Rives BFK paper. The drop-spine box and hadrcovers feature archival Epson digital prints on Tairei paper mounted on bookbinders' board."
237. To be between. Minneapolis: Flying Paper Press, 2002.
$250
Edition limited to 75 copies signed by the artist (this, no. 7); 1½" x 2" x 1", accordion-bound and opening to 19".
From the artist's 2014 catalogue: "Paper meets metal and what happens inbetween. Brass-hinged etched copperplate covers add weight to the light-hearted yet heavy poetic text. Text is in two stanzas, verso and recto. Sturdy accordion pages of four-ply rag board features windows to other images, paper, metal and spaces inbetween. Color etching on Japanese paper and handmade (by the artist) papers."
238. Word for word. Minneapolis: Flying Paper Press, 2001.
$325
Edition limited to 100 copies (this, an artist's proof, no. III)) signed by Williams; 2½ x 2" x ¾"; 8 leaves plus covers (a modified accordion glued back to back); color etching and screenprinting on Rives BFK paper, and an imitation Scrabble tile screenprinted slipcase of Japanese paper over board. Fine.
"A seven-word Scrabble game played out page by page with letter layouts, acrostic-type drawings, and random thought on the nature of puzzles, words, and points. The final grid appears on the last page with a game summary. The artist won, unopposed" (Flying Paper Press catalogue, 2014).
239. [Williams, Wightman.] The winter sea. A book of poems. [Cummington, Massachusetts]: The Cummington Press, Printers & Publishers, December, 1944.
$6,500
Edition limited to 330 copies, this one of 300 on Sterling Laid paper; small 8vo, pp. [52]; title page printed in blue and black; original cream paper-covered boards bearing a 5-color watercolor by Wightman Williams on the upper cover; fine copy in a slightly chipped, unadorned dust jacket.
From the library of Kim Merker, with his initials in pencil on the front free endpaper, "KKM / 12-70."
While not called for, this copy is signed in full by Tate on the colophon. Additionally, there is a presentation on the front free endpaper "To Max Wolf, with affectionate regards, Allen Tate, May 29, 1945." And, this copy is bound as if it were one of the thirty numbered in roman numerals, containing on the upper cover a very nice watercolor by Wightman Williams, signed "WW/45."
Richmond 18.
240. Carnet de route / Route book. Domart-en-Ponthieu: Maison du livre d'artiste contemporain, 1996.
$125
Edition limited to 450 copies (this, no. 271), approx. 8¼" x 6", pp. [56]; text alternates between English and French, inkjet illustrations from photographs in black & white and blue & white; grey cloth-backed blue paper-covered boards stamped in blind; small spot on upper cover at fore-edge, else fine. Issued as the fifth in the series Le Livre des Livres.
Houston Museum of Fine Arts, BnF, Paris-Terra Foundation, and the Getty in OCLC.
241. Selected frames from wands. A super 8mm animated poem field. Iowa City: Bird in the Bush Press, 1973.
$125
First edition, narrow folio, 13 leaves printed on rectos only with screen shots of words and letters; side-stapled; edges toned, top corners of first 2 leaves with shallow chips; all else very good. Front cover with permutations of the word "concrete."
Iowa only in OCLC.