Search Results: Titles starting with A from Priscilla Juvelis

Shanghai: World Book Co, 1922. Modernized version of an ancient Chinese classic being the second volume of "One Hundred Beauties" with 50 full-page portraits and pictorial titlepage and colophon, text in Chinese, original green printed front wrapper and tan back wrapper, hand-sewn. Wrappers a bit soild and worn at edges as are some pages but generally sound, housed in custom-made black cloth over boards clamshell box. Issued during the Republic period when Shanghai was know as the Paris of the East and the Chinese cinema flourished as a new art form - that effect seen in the images in this book.

Canton, NY: Caliban Press, 2013. Artist's book, one of 48 copies, all on various handmade papers, mostly from La Papeterie St.-Armand, initialed and numbered by the publisher, Mark McMurray on the colophon. Page size: approximately12.75 x 3-15/16 inches, but some smaller; 50pp; 25 leaves plus 2pp. notes. The colophon notes that this book was printed by Mark McMurray and interns Elizabeth Vitek and Rebecca Doll with additional presswork by students Elizabeth Cashin, Erika Davin and Nicole Porter. Text is printed from metal and wood types in Caliban Press collection, including new additions of Samson uncial by Victor Hammer and Legend by Friedrich H.E. Schneidler. Many of the papers used have been dyed, dipped, and/or floated in an indigo dye bath, done with the assistance of Velma Bolyard. Additional support for this project came from St. Lawrence University "Crossing Boundaries: Re-envisioning the Humanities for the 21st Century" generously funded by the Andrew W. Mellon Foundation. Additional… Read More

New York: Vincent FitzGerald & Company, 1993. First Edition, one of 50 copies only, each signed and numbered by Feingold and Turner, all on Rives BFK paper. Page size: 10-7/8 x 8". Bound by Zahra Partovi: handmade paper with original etching over boards, printed on both sides, accordion style binding housed in a custom-made box by BookLab. The etchings, photogravures from noted photographer, Judith Turner's extraordinary photographs, were editioned by Peter Pettengill at Wingate Studio from plates by Jon Goodman. The text was printed by Dan Keleher at Wild Carrot Letterpress in Monotype Univers, with calligraphy by Jerry Kelly. Michael Feingold's Words are "songs" from the end of the world, where there are no more people, only empty landscapes. Alien visitors come to Earth and hear these "songs" without people in the barren landscape and try to understand what humans had done to themselves. This powerful and moving book has been nominated for the prestigious Brenden Gill Award given by the Municipal… Read More

Paris: Collection "Au Voilier," Domat, 1950. First Edition, one of 150 on pur fil Johannot from a total issue of 1000. 4to; handsomely rebound in 3/4 navy blue morocco and marbled paper boards, spine with gilt lettering, marbled endpapers, t.e.g., original wrappers and backstrip bound in, fine.

Buenos Aires: Ediciones Dos Amigos, 1974. Signed, limited edition, copy no. 12 of 33 copies on Auvergne Crema handmade paper by Richard de Bas, signed by the poet, Ricardo E. Molinari, on the colophon. Page size: 6-1/2 x 10 inches; 16pp. Bound: loose as issued in handmade paper wrappers printed letterpress in black with title and author. The poem is illustrated with two original xylographs (woodblock printing) printed in maroon. The text is hand set and printed letterpress under the direction of Samuel Cesar Palui (one of the Dos Amigos). Next to Borges and Leopoldo Marechal, Molinari (1898-1996) is considered one of the Argentine's great 20th century poets. He contributed to the avant-garde review "Martin Fierro" as did other great Argentian writers such as Jorge Luis Borges. He became a member of the Academia Argentina de las Letras in 1968. Alfonso Reyes (1889-1959), was a Mexican writer, philosopher and diplomat. His short story, "La Cena" ("The Supper") is considered a forerunner of Surrealism… Read More

Boston, MA, 2014. Artist's book, 1 of 8 copies, all on rice paper, each signed and numbered by the artist, Laura Davidson. Page size: 9 x 7.25 inches; 6 original full-page linoleum block prints, with hand-lettered colophon page, with small print incorporating the "A" from the title, ALMOST HOME, that is also an artist's statement. Bound: loose as issued, housed in blue-grey cloth over boards clamshell box, the small block print on the colophon repeated on the front panel ob box, decorated label on spine. The prints are housed in a tan paper wrapper that is cut with the silhouette of bridge suspension cables with the same small print from colophon collaged to front wrapper. The linoleum block prints are printed on an antique Kelton Press by the artist in two colors. The artist writes, "Each of these bridges represents a movement in time when we've almost made it to our destination. They are landmarks on a leisurely evening stroll or a white-knuckle drive across a vast expanse of water at the close of… Read More

Boston: Privately Printed Thomas Todd, 1900. First Edition, inscribed on ffe by the author to Samuel Bowles and dated May 1, 1900, one of 50 (or 57) copies (notation on AAS copy cites 57 copies printed but colophon states 50), of this privately limited edition, a memoir of the author's early childhood as daughter of Mark Healey, a Boston banker (President of The Merchant's Bank). Page size: 9-1/4 x 7 inches; [i-iiil] 100pp. + frontis half-tone engraving of medallion portrait of Mark Healey at age 84 by Edward Spring. Bound: grey cloth over boards with title stamped in gold gilt on front panel, 3 parallel vertical rules on either side of front panel, spine a bit sunned, else near fine. The memoir cites reformers such a Elizabeth Palmer Peabody and Maria Weston Chapman, amid the names of many Boston Brahmins. An attendee of Margaret Fuller's "Conversations" her publication on the subject provides the only first-hand account of this important feminist event. Dall became an important figure in the… Read More

Paris: A. Barraud, 1876. One of 100 on chine from a total issue of 1002. Bound by GRUEL: full black crushed morocco with gilt fillets forming interlocking grids on upper and lower covers, spine panelled, five raised bands, silk moire doublures, teg, original wrappers of ochre wove paper bound in, matching morocco-edged slipcase. Right outer joint worn, book fine. Illustrated with 40 etchings by Gilbert, engraved by Cattelain, and 22 culs-de-lampe by Choffard, the "romantique," Grandville-like work opens each chapter with an engraving incorporating each successive letter of the alphabet. Vicaire, v. 6, 264.

Paris: Editions Emile-Paul Freres, 1928. One of 200 on Hollande from a total issue of 225. Handsomely bound in brown and tan morocco with four large raised bands on spine, top edge gilt, original wrappers bound in, spine sunned, bottom edge scuffed, joints a bit rubeed. The text was printed by Coulouma and the engravings were pulled by Atelier de la Roserie.

Paris: Les Edition Mondiales, 1951. One of 100 on Marais, from a total issue of 110 copies. Handsomely bound in 3/4 dark blue morocco and marbled paste-paper boards, gilt fillets, spine paneled, author and title in gilt, top edge gilt, original wrapper bound in, near fine. Illustrated with 12 hors-texte color lithographs by Touchagues.

Paris: Librairie Honore Champion, 1926. One of 50 on velin d'Arches; 4to; handsomely bound by L. Pouillet in three-quarters navy blue morocco and marbled paper boards, spine with gilt lettering, marbled endpapers, t.e.g., original wrappers bound in, occasional very light foxing, else fine. Frontispiece reproduced after an original drawing by Ch[arles] Jouas.

Easthampton, MA: ABCedary Letterpress, 1989. One of 26 copies, all on T.H. Saunders watercolor paper for the text and B.F.K. Rivers for the etchings, interleaved with blue Moriki paper for the seal's story, with an additional suite of the plates each signed and numbered by the artist, Alan James Robinson, who has also numbered and signed the colophon which is also signed by the author, Mark Carol, and Brian Davies. Also included in this issue is an original drawing by Robinson, which he has signed in pencil. Page size: 11 x 15 inches; 74pp. Bound by Claudia Cohen and Sarah Creighton: full limp vellum with cut-out within gilt rule revealing woodengraving of head of seal pup, non-adhesive binding sewn on exposed vellum laces, blue headbands, extra suite housed in blue cloth folder, both book and folder housed in custom-made pale blue cloth clamshell box, title in gilt on vellum label on spine, box a bit faded else fine. The total edition of 80 included 25 copies bound in cloth, 25 bound in cloth with… Read More

Paris: Editions de la Revue Musicale, 1945. First Edition, one of 200 on Alfa Surfin Navarre, from a total issue of 1670; 4to; handsomely rebound in 3/4 plum morocco and marbled paper boards, spine with gilt lettering, marbled endpapers, t.e.g., original wrappers bound in, near fine. Illustrated with reproductions of three portraits of Gide and with a facsimile page from the autograph manuscript of a study on Chopin which was published in the December 1931 issue of the Revue Musicale.

Vashon, WA: Foolsgold Studio, 2007. One of 60 copies, 50 of which are for sale, all signed and numbered by the artist / author, Donald Glaister, each book on pages of painted stiffened fabric on which dimensional constructions are mounted, text printed on Zerkall Frankfurt paper. Page size: 15-1/4 x 9-1/4 inches; 40pp. Bound by Donald Glaister: quarter leather made of Nigerian goatskin with wood veneers and cloth over boards, housed in drop spine box made at Book Lab II. The artist tells us that this new book is inspired by hand-made wooden sailboats, citing their custom craftsmanship, exotic materials and a balance of wild adventure and the need to survive it all. The result, he adds, is a happy combination of these elements resulting in a beautiful contradiction: a craft that is serenely graceful yet brutally sound. His book is an homage to the material and spiritual grace of these boats and to sailing. The text is a two-part poem with studies of the materials used to make sail boats, the spirit of… Read More

[Paris]: GLM, 1950. One of 925 on alfama paper, from a limited total issue of 975 copies. Together with: Char, Rene. Dehors la nuit est gouvernee precede de Placard pour un chemin des ecoliers. [Paris:] GLM, 1949. One of 975 from a limited total issue of 1022 copies. Bound together in 3/4 green morocco and pastepaper over boards, original wrappers bound in, teg, edges rubbed, very good. This is a series of short prose pieces and poems by this influential early subscriber to the Surrealist group.

New York: Abrams, 1989. Illustrated with 252 illustrations, including 202 color plates, this is the first major study of the flowering of the art of bookbinding at the end of the nineteenth and beginning of the twentieth century. A detailed biography and bibliography of every major binder is included: Rose Adler, Paul Bonet, Georges Crette, Pierre Legrain, et al.

[NP], 1904. Card size: 4-3/8 x 4-5/8". The quote reads "Julia Ward Howe / Pres' New England Women's / Club / Ex-pres' of the Association for / the Advancement of Women. / Mine eyes have seen the glory" and is all in Howe's hand. On the verso is the autograph of "Charles W. Eliot / Harvard University / 1904". Julia Ward Howe has summed up her life's work citing contributions to women's rights first. Housed in custom-made blue linen clamshell box, lined with blue velvet, indent for quotation housed in plastic sleeve that can be flipped to view either side without removing, although plastic is open at top edge for removal as well, red morocco label on spine stamped in gold gilt, fine. Julia Ward Howe (1819-1910) was catapulted to instant fame in February 1862 when the Atlantic Monthly published the "Battle Hymn of the Republic." Mrs. Howe's activities increased after 1868 in the burgeoning postwar woman's movement. She served as President of the Massachusetts Woman Suffrage Association, the New England… Read More

2 West 86 St. [New York], 1915. Four Page Holograph letter. 4-7/8 x 6-1/2"; written on cream colored stationary, Catt's address printed in black at the head of the first page, very light age discoloration near the edges, creased once horizontally for mailing, very good. In this letter, addressed to another suffrage leader Mrs. William Todd Helmuth, Catt (1859-1947) expresses her sorrow at Helmuth's illness, and urges her to get well, telling her that the "Feds [won't run] a convention without you." Carrie Chapman Catt succeeded Susan B. Anthony as President of the National American Woman Suffrage Organization in 1900 and served until 1904, when her husband's illness forced her to resign. However, she returned to office in December 1915, and within a few months had forged her "Winning Plan" which did much to secure passage of the Nineteenth Amendment and woman suffrage. A recent profile describes Catt as "a master builder, [something evident in this letter], who reached the apex of her powers just… Read More

New York: October 22, 1900. Letter. 4 1/2 x 7"; 2pp; written on cream colored personal stationary, folded vertically to form two pages, one crease horizontally for mailing, stamped date at the top of the first page reading "OCT 23 1900," very good. Margaret Sangster (1838-1912) was a magazine editor and author who supplied verse, articles and stories to a number of publications. She edited children's and family pages for Hearth and Home and the Christian Intelligencer and was appointed editor of Harper's Bazaar in 1889. She regarded herself as a "Christian leader of women" and was interested in the welfare of girls. Originally opposed to woman suffrage, she changed her views about 1910 because she saw "the helplessness of woman as a competitor in the labor market when she has no voice in the making of the laws affecting her." In this letter, she discusses arrangements for the January 1901 issue of Cosmopolitan. NAW III, pp. 235. Feminist Guide, p. 946.

Evanston, Ill, 1890. Autograph Letter Signed, "Frances Willard" to Dr. Ward on letterhead of National Woman's Christian Temperance Union, President Frances E. Willard. Single sheet, 8-7/16" x 5-3/8", folded in thirds to fit envelope, else fine. Frances Willard (1839-1898), feminist and reformer, distinguished herself as an educator in the early part of her life. By the 1870's, however, she had found her life's work: temperance. Bringing a small prayer-dominated group to the national stage and prodding the WCTU into other causes -- like suffrage and labor reform -- she shaped the group into a strong woman's movement. By 1890, Miss Willard had experience of 10 years in American party politics and was influential in making the Prohibitionists a successful political force. In her autobiography, GLIMPSES OF FIFTY YEARS, she mentions writing for The Independent as early as 1870. The Independent was a New York-based weekly journal of considerable importance in 19th-century America, absorbing Harper's Weekly… Read More