Modern Rare Books II:
Artists Books from the
Mata and Arthur Jaffe Collection
A flora: words about flowers from sixteen authors, with
prints. London, England: Susan Allix, 1992.
1 v. (unpaged); 34 x 26.5 cm.
[Edition: #19 of 26]
[...printed by intaglio and relief printmaking methods, and finished
by hand colouring. The letterpress is hand set and printed in 24 point
Bembo, 48 point Caslon, and 42 point Caslon Old Face Italic. Also,
Hellenic Caps, Granby Light, and Spartan. ...printed on Richard de Bas
hand-made paper, 180 gsm. Velin Blanc Narcisse and Inclusion Florales.
The special sheets and interleaving are made by hand in Japan. ... The
watercolours and illuminated pages are on vellum or Saunders Waterford
paper. Bound in Japanese paper over boards with green leather onlays
Pyramids: an account by Herodotus.
London, England: Susan Allix, 1995.
1 v. (unpaged); 17 x 12 cm.
[Edition: #12 of 12]
[...printed letterpress in 14 pt. Centaur on Fabriano Artistico
200 gsm. paper. Signed by the artist. Bound in red goatskin, python
skin, and cloth. In box of red cloth and leather].
Tudor poetry and the Renaissance: Sir Thomas Wyatt, Francesco
Petrarca: sonnets & lyric poems in English and Italian.
Wyatt, Thomas, Sir, 1503?-1542.
Petrarca, Francesco, 1304-1374.
London, England: [s.n.], 1989.
 leaves (2 folded); 38 x 29 cm.
[Edition: 30 copies. This is an artist proof]
[The English text is taken from the Egerton and Devonshire
manuscripts in the British Library. The Italian text is from the
Vatican manuscript 3195, which is reproduced in Il Canzoniere di
Francesco Petrarca: Società Filologica Romana. Rome 1904. The
letterpress is hand set in 18 point Plantin, with titles in Plantin
and Cheltenham Bold. The edition is printed on Saunders `Waterford
all rag paper; the text on 190 gsm. sheets, and the etchings on 300
gsm. sheets. Red goatskin binding, with inlays and onlays in various
colors, by the artist. Title stamped on spine. In red velvet lined box
with gilt picture frame and plastic on front cover].
12 verses from The Day-Dream by Alfred, Lord Tennyson.
London, England: Susan Allix, 1995.
1 v. (unpaged); 17 x 15 cm.
[Edition: #11 of 17]
[...set in 18 point Verona Italic with titling in Mercury, and it is
printed letterpress on Somerset mould made 250 gsm. paper. The lino
cuts have been coloured freehand and with pochoir, by the artist.
Signed by the artist. Bound in brown morocco. On covers and spine are
abstract onlays and painted paper. In cathedral shaped cloth box lined
Diptera: a book of flies & other insects.
[Leeds, MA]: Gehenna Press, 1983.
 p., 33 etchings, 1 water color; 30.5 x 22 cm.
[Edition: 45 copies: this is an artists copy]
[Etchings by Leonard Baskin. Note by Jose Yglesias. Forty five
copies ... were printed at the Gehenna Press. The etchings were
printed from the original plates on divers English hand-made papers.
... All copies have some watercolor in-painting. The work was
completed in the spring of 1983. ... Signed by the artist. Bound in
full morocco leather and laid in a marble paper covered box].
Jewish artists of the Early & Late Renaissance: a book of
etchings & words by Leonard Baskin.
[Leeds, MA]: Gehenna Press, 1993.
 leaves of plates; 30.5 x 24 cm.
[Edition: #23 of 26]
[The great `J on the title page is the work of John E. Benson
of Newport, Rhode Island. Hosea Baskin composed the Spectrum types &
printed the letterpress on Gehennas middle-sized Albion
hand-press. The copperplates were printed by Michael Kuch; all color
is printed. A variety of european hand-made papers were used. The book
was hand-bound by Claudia Cohen of Easthampton, Mass. The edition is
arranged as follows: copies 1-8 have a second suite of the prints, a
drawing & one of the copperplates. Copies 9-26 comprise the
regular edition. Copies lettered a-j are hors commerce, intended for
the collaborators. Each page signed and numbered by the artist. Full
morocco leather binding with inlayed abstract design in purple, green,
and light green on front and back covers and spine. Title in gilt on
cover, gilt design on front and back covers. G.P. in gilt on spine. In
Bell, Lilian A.
Concrete paper: cobalt depths/caged rocks.
[U.S.: Lilian A. Bell, 1992]
1 maquette; folded; 36 x 28 x 14 cm., unfolded; 36 x 96 x 5 cm.
[Edition: #1 of 1]
[`Maquette for visual places series. Color & b&w
photocopies, cast paper, foam core, mat board, Styrofoam, wire, and
The banner line.
Ames Lake, WA: M Kimberly Press, 1991.
 folded leaves; 29 x 18 cm., box, 31 x 19.5 cm.
[Edition: #1 of 1]
[Gouache and pencil on paper. Opens to form a circus tent. Black
embossed box has a circus tent and the words: `Enter here on
Ames Lake, WA: M Kimberly Press, 1989.
5 folded plates; 25 x 20 cm
[Edition #1 of 1]
[In sequined box]
Berkeley, CA: Flying Fish Press, 1995.
1 v. (unpaged, accordion fold); 13 x 18 cm.; box, 27.5 x 9 x 6
[Edition: #41 of 75]
[Designed and printed by Julie Chen using an assortment of
letterpress techniques. Papers include Wyndstone Mica and Tuxedo
bronze, found aeronautical charts, and embossed paper designed by
Margaret Ahrens Sahlstrand at Icosa Studio. In silk covered box with
plastic front lid].
Phantasies of a love thief: an eleventh century Sanskrit
New York: Inanna Press, 1994.
1 v. (unpaged); 20.5 x 45 cm.
[Edition: #17 of 30]
[Translated & with an introduction by Barbara Stoler Miller;
illustrated by Maureen Cummins. ...completed & bound during the
onset of Spring, 1994. It is printed letterpress on snow-white Sekishu
and bound in black Japanese silk. The text is Zapf Civilité,
with titling calligraphy by Jerry Kelly. Blockprint illustrations by
Maureen Cummins and hand-binding by Kathy Hyde. Signed by the artist.
Mill Valley, CA: Sunflower Press, 1990.
 p.; 7.5 x 6.5 cm.
[Edition: #14 of 15 deluxe copies]
[Written, designed and printed letterpress... This is one of fifteen
deluxe copies in a special binding by [Joseph] DAmbrosio. Signed
by the artist and binder].
Mill Valley, CA: Sunflower Press, 1983.
1 v. (unpaged); 6 x 7 x 2.5 cm.; box, 6.5 x 7.5 x 3 cm.
[Edition: #57 of 115, and 10 artists proofs]
[...designed, illustrated & printed from handset type on Arches
paper... The mask inset into the cover of this book was hand made by
Anita Walden. Its design is based on the demon figures found in
Chinese and Japanese theater. The design and creation of the books
binding come from the inventive mind of my good friend Joe DAmbrosio.
Signed by the artist].
Oaxaca (Wa-ha-ka) and the Saguaro (Sa-wah-row) Cactus (a
Phoenix: DAmbrosio, 1996.
51 p.; 22 x 13.5 cm.
[Edition: #30 of 125]
[...has been letterpress printed on two colors of Confetti paper
using a Vandercook No. 4 printing press, Antique No. 14 type, and
handmade paper printing plates, and a multitude of
printing inks. Pyramid motif binding of fabric and paper. In box].
Above: #18 Oaxaca and the Saguaro Cactus by Joe DAmbrosio.
On the slain collegians: selections from the poems of Herman
New York: Farrar, Straus and Giroux, 1971.
1 v. (unpaged); 24 x 18 cm.
[Edition: #726 of 1000]
[Signed by the artist. In dustjacket].
1 lithograph; 45.5 x 32 cm., framed, 64 x 50 cm.
[From: On the slain collegians]
[Israel: Moishe Gershuni, 1989?]
 folded leaves; 11 x 11 cm.
[Edition:#1 of 30]
[Poetry by Aaron Shabtai. Text in Hebrew. In wooden box with
Between two wars.
Athens, OH: Labyrinth Editions; San Francisco: CA: Iris
1 v. (unpaged); 39.5 x 28.5 cm.
[Edition: #21 of 140]
[This book was designed & printed by Richard Bigus of Labyrinth
Editions, Athens, Ohio. The illustrations by Daniel Goldstein of the
Iris Press, San Francisco, California, were printed primarily from
photomechanical magnesium engravings. The type is 18-point Van Dijck
Roman & Italic designed by Jan Van Krimpen in 1935 ...; the
initials and the titling are Castellar; the introduction and interview
were set in 13-point Monotype Van Dijck; the book was printed
letterpress using a Vandercook proofing press. The paper was handmade
by Bob Serpa of Imago Hand Paper Mill. The decorative cover paper was
made by the illustrator. All copies are signed by the printer, artist,
and Bradford Morrow. ... In box].
[U.S.: David Horton, 1994]
1 v. (unpaged); folded, 23 x 23 x 14 cm.
[An edition of 5; 4 for sale]
[An 8-page accordion folded structure of wood with photo
illustrations. Monofilament and string suspend 4 pop-up events. A
comet is lit in the far right panel. The wood frames are painted with
acrylic. Housed in a purple velvet draw string bag, with second small
bag for the electrical cord and converter. ...created for an exhibit
at the Smithsonian Institute Libraries].
To the land of beyond.
[S.l.: Paul Johnson, 1995].
 folded leaves; 28 x 35 cm.
[Edition:#1 of 1].
[Pop-up, multicolored abstract design. Decorative paper binding
over board with dyed strings for closure].
71125: fifty years of silence: Eve Kellners story.
[New York]: Tatana Kellner, 1992.
1 v. (unpaged); 31 x 50 cm.
[Edition: #6 of 40].
[This project is made possible in part through the Decentralization
Program of NYSCA administered by the Dutchess County Arts Council.
Text paper has been provided by Mohawk Paper Mill. Die cutting was
done by Rylance Printing. Three dimensional arm, cast in hand made
paper from the arm of the authors mother, each page is die cut.
Text in Czech and English. Spiral bound and housed in a white pine box
with the number 71125 on cover].
Anansi Company: a collection of thirteen hand-made wire and
card rod-puppets animated in colour and verse by Ronald King & Roy
[London, England]: Circle Press, 1992.
 folded leaves; 40 x 30 x 11 cm., box 45 x 34 x ll.5 cm.
[Edition: #14 of 120]
[The puppets, which are made from hand-bent brass wire and card,
measure 30 cms... ...silk-screened, hand stencilled and letterpressed
by Ronald King at Circle Press onto Arches rag-made paper supplied by
John Purcell Paper. Jessica King and Jona...were responsible for the
construction of the puppets and Nick Gardner for the assembly of the
ties and pockets which hold the puppets in place. The box was designed
by the artist and made up by Perstell Bookbinders ltd Wimborne. The
type is Walbaum Monotype 374. Signed by the artist and author]
Heart rendering stuff: (and other stories).
London, England: Elaine Kowalsky, 1988.
 leaves; 22 x 38 cm.
[Edition: #3 of 12]
[The lithographs and silk screens were drawn and printed by Elaine
Kowalsky in Leeds. The pop-ups were designed and the book bound by
Charles Gledhill in London. In box].
#30 Novus Atlas Coelestis by Carlos Macià.
Le petit Chaperon Rouge.
[Paris]: Adrien Maeght Editeur, n.d.
 folded sheet; 16.5 x 11.5 cm.
New York: Limited Editions Club, 1983.
1 v. (unpaged); 33 x 25 cm.
[Edition: #1234 of 1500]
[....printed by Bruce Chandler and Daniel Keleher at the Wild Carrot
Letterpress in Hadley, Massachusetts. The book was designed by Ben
Shiff. The test was hand set in Foundry Optima Medium at the
Golgonooza Letter Foundry, Ashuelot Village, New Hampshire. The eight
original silkscreens were printed in eleven colors at The Studio
Heinrici Ltd., New York City. The book was full bound in black aniline
leather at Robert Burlen & Son. Signed by the artist, John Hersey,
and Robert Penn Warren].
Novus Atlas Coelestis.
[S.l.]: Carlos Macià, 1992.
1 v. (unpaged); 42 x 30 cm.
[Edition: #1 of 1]
[Bound in vellum. Signed by the artist].
[S.l: Catherine Michaelis, n.d.]
 folded leaf; 10.5 x 8 cm., box, 11.5 x 9 x 3 cm.
[Edition: #32 of 35]
[Opens to form a Japanese kimono]
Smoke: [poems by Charles Hine; sugarlift and spitbite aquatints
[by] Joan Mitchell].
San Francisco: Limestone Press, 1989.
16 folded leaves in portfolio; folded, 36 x 23 cm.; unfolded, 36 x
[Edition: #24 of 80, plus 10 proof copies]
[...sixteen diptych etchings ... The poems ... were set in 12 pt.
Bodoni monotype and hand-printed from a flatbed press. The etchings
and poems were printed...on Arches 280 gm paper. The edition consists
of 90 books. ... Books 11-70 are presented in folio in a hand-made box
and are signed by the artist and writer on the colophon page].
Dark Ahab; Herman Melville.
[S.l]: Lois Morrison, 1992.
 leaves; 23 x 22 cm.
[Edition #1 of 2]
[Heavily edited from the last sentences of the chapters of Moby
Dick. Embroidered batik and appliqued fabric with sequins and tin
figures, held together with thread and buttons; in a four-fold batik
box in miniature pillow case].
Tokyo: Kaiko Nakiyama, 1948.
 folded leaf; 2 x 3 cm.
[Edition: #1 of 1?]
[Miniature accordion book with twelve flowers hand painted in water
color on Japanese paper. In paper slip].
Nicastri, Joe & Sherry Tan
Vision of Hell.
[U.S.: Joe Nicastri & Sherry Tan, 1995]
1 mixed media sculptural book; 40 x 38 x 24 cm.
[Edition: #1 of 1]
[Two antique books with collage and polymer fresco, glass base]
Domestic science: idioms.
Berkeley, CA: Flying Fish Press, 1990.
 p.; 30.5 x 16 cm.
[Edition: #87 of 150]
[Printed on both sides of a continuous strip with additional leaves
attached, folded accordion style and laid loose in a box. The idioms
appear on one side of the strip, the pop-up icons on the
other. Added title page has subtitle: Pop-up icons. Signed by the
artist. In decorated case]
Niagara Falls, NY: Carol Schwartzott, 1993.
1 v. (unpaged); 11.5 x 12 cm.
[Edition: #7 of 50]
[Concertina fold-out with individual signatures stitched to the
spine. Each signature contains an Haiku poem and illustrations on
Japanese art paper. Bound in Japanese paper and boxed in a Lucite
[U.S.: Steven Stankiewicz, 1994]
1 v. (unpaged); 31 x 24 cm.
[Edition: #4 of 10, and 3 artists proofs]
[...printed in 1994 by Steven Stankiewicz and Marjorie Van Dyke, and
bound by Judith Ivry. It consists of 64 etchings printed on 280 gram
white Rives BFK 100% rag paper. Embossed copper and cloth binding]
[U.S.]: Virginia Stearns, 1984.
 leaves; 40 x 30 cm.
[Edition: #1 of 1]
[Paintings and collages on hand made and commercial papers]
Van Vliet, Claire.
Dido and Aeneas: an opera performd at Mr. Josias Priests
boarding-school at Chelsey by young gentlewomen.
Purcell, Henry, 1659-1695.
Newark, VT: Janus Press; Bangor, ME: Theodore Press, 1998.
 p.; 38 x 17 cm.
[Edition: #41 of 150]
[The words by Mr. Nahum Tate; the musick composed by Mr. Henry
Purcell. Signed by Claire Van Vliet. A deluxe edition of the libretto,
which is based on Virgils Aeneid. 300th anniversary
publication, April 1989. The first edition of Nahunm Tates
libretto...was probably distributed to the audience at the 1st
performance...in April 1689. The text was prepared, typographically
designed & handset...by Michael Alpert at the Theodore Press in
Bangor, Maine. Printed at the Janus Press in Newark, Vermont by
Michael Alpert & Claire Van Vliet...The book structure and box
were designed by Claire Van Vliet.
Consists of printing and art work on one side of a folded strip and
on leaves attached to the strip, in a box containing a pocket holding
a compact disc recording of the opera and an empty 2nd pocket to
accommodate any other compact disc. The book can be stood in a
line or in a star-circle shape].
[Lincoln, MA: Penmaen Press, 1978.
1 broadside; 61.5 x 35 cm., in frame, 79 x 53 cm.
[Edition: #29 of 300]
[The text is Part II of HOWL, copyright 1956, 1959 by Allen
Ginsberg. Original wood engraving... printed on French Rives paper...
Signed by the artist and poet].
A Merz sonata.
[Easthampton, MA: Emanon Press; Rosendale, NY: Womens
Studio Workshop, 1985.
 p.; 29.5 x 21 cm.
[Edition: 50 copies numbered 450 to 500. This is #463]
[...The type, handset Futura, was Schwitters favorite
typeface. Debra Weier did the two multiple-plate etchings, four
type-high line plates & rubber stamp drawings. ... Carol Joyce
bound the book, printed on Rives BFK with special handmade endpapers.